Two Can Play That Game


Book Description

John 21 portrays seven disciples fishing all night yet catching nothing. In the morning, a shoreline stranger instructs them to recast their net. Surprisingly, the disciples fail to recognize him. After a miraculous catch and subsequent breakfast, however, there is no doubt as to who this stranger is. Jesus then questions Peter about his love and commissions him to feed Jesus' sheep. Using narrative criticism, Lowdermilk examines this recognition scene, asking, "How would a reader, well acquainted with recognition and deception as portrayed in Genesis, understand John 21?" He discards "trickster" terminology and argues that biblical recognition occurs within a context of "manipulation." After proposing a detailed taxonomy of manipulation, he ventures further and argues for patterns in Genesis where manipulators are "counter-manipulated" in a reciprocal manner, ironically similar to their own behavior, providing a transforming effect on the manipulator. These findings, plus a careful examination of Greek diminutives, inform Lowdermilk's new reading of John 21:1-19. Peter withholds his identity as a disciple in John 18 and later Jesus actively withholds his identity in ironic counter-manipulation, mirroring Peter's denials. Jesus' threefold questioning of Peter continues the haunting echoes of Peter's earlier denials. Will it result in a disciple transformed?




Jet


Book Description

The weekly source of African American political and entertainment news.




Roger Ebert's Movie Yearbook 2003


Book Description

Every single new Ebert review.




Two Can Play That Game


Book Description

Mya is a hopeless romantic and she plans to make someone the perfect wife one day. But after countless breakups and meaningless one night stands, she's given up on hope of finding love and is sure she will grow old alone. Then she meets Gavin. Gavin is sexy, ricj, and drives her crazy in bed, but it's his brother, Derek that Mya dreams about at night. Torn between the two brothers she knows she has to make a choice, but eventually she takes her best friend's advice and decide to date both brothers, after all men date more than one woman at a time, so why can't she. Mya is having fun playing the game and playing the field. But when playing the game of love, you have to be willing to lose because someone is always bound to get hurt and the consequences can be deadly.




A Dictionary of Anglo-American Proverbs & Proverbial Phrases, Found in Literary Sources of the Nineteenth and Twentieth Centuries


Book Description

A Dictionary of Anglo-American Proverbs & Proverbial Phrases Found in Literary Sources of the Nineteenth and Twentieth Centuries is a unique collection of proverbial language found in literary contexts. It includes proverbial materials from a multitude of plays, (auto)biographies of well-known actors like Britain's Laurence Olivier, songs by William S. Gilbert or Lorenz Hart, and American crime stories by Leslie Charteris. Other authors represented in the dictionary are Horatio Alger, Margery Allingham, Samuel Beckett, Lewis Carroll, Raymond Chandler, Benjamin Disraeli, Edward Eggleston, Hamlin Garland, Graham Greene, Thomas C. Haliburton, Bret Harte, Aldous Huxley, Sinclair Lewis, Jack London, George Orwell, Eden Phillpotts, John B. Priestley, Carl Sandburg, Harriet Beecher Stowe, Jesse Stuart, Oscar Wilde, and more. Many lesser-known dramatists, songwriters, and novelists are included as well, making the contextualized texts to a considerable degree representative of the proverbial language of the past two centuries. While the collection contains a proverbial treasure trove for paremiographers and paremiologists alike, it also presents general readers interested in folkloric, linguistic, cultural, and historical phenomena with an accessible and enjoyable selection of proverbs and proverbial phrases.




Two Can Play that Game


Book Description




Jet


Book Description

The weekly source of African American political and entertainment news.




Two Can Play at that Game


Book Description




Don't Turn Around


Book Description

Don't Trust Anyone. . . Casey McDaniels knows the unbearable consequences of domestic violence--and the darkness that can swallow a life. An advocate for victim's rights, Casey is giving key testimony in the arraignment of the man who savagely murdered her best friend. But to her horror, he's set free. . . Don't Let Your Guard Down. . . He's hiding in plain sight, following a plan that has worked before, performing each move with exact precision, waiting for the perfect moment to strike again--and this time, the victim will be Casey McDaniels. . . And Whatever You Do, Don't Turn Around. . . At first, Casey suspects her friend's killer is following her. She's receiving threats over the phone and bizarre messages in the mail--strange, childlike drawings of human eyes. But then Casey starts to have doubts. Could someone else be stalking her? As Casey enters a deadly cat-and-mouse game, she soon comes face-to-face with her stalker--and her worst nightmare. . .




Critical Play


Book Description

An examination of subversive games like The Sims—games designed for political, aesthetic, and social critique. For many players, games are entertainment, diversion, relaxation, fantasy. But what if certain games were something more than this, providing not only outlets for entertainment but a means for creative expression, instruments for conceptual thinking, or tools for social change? In Critical Play, artist and game designer Mary Flanagan examines alternative games—games that challenge the accepted norms embedded within the gaming industry—and argues that games designed by artists and activists are reshaping everyday game culture. Flanagan provides a lively historical context for critical play through twentieth-century art movements, connecting subversive game design to subversive art: her examples of “playing house” include Dadaist puppet shows and The Sims. She looks at artists’ alternative computer-based games and explores games for change, considering the way activist concerns—including worldwide poverty and AIDS—can be incorporated into game design. Arguing that this kind of conscious practice—which now constitutes the avant-garde of the computer game medium—can inspire new working methods for designers, Flanagan offers a model for designing that will encourage the subversion of popular gaming tropes through new styles of game making, and proposes a theory of alternate game design that focuses on the reworking of contemporary popular game practices.