A gypsy fortune-teller's prophecy for Captain Haddock begins coming true, Bianca Castafiore's emerald vanishes, and Tintin is hard put to clear everything up

New essays on the philosophy of Ned Block, with substantive and wide-ranging responses by Block. Perhaps more than any other philosopher of mind, Ned Block synthesizes philosophical and scientific approaches to the mind; he is unique in moving back and forth across this divide, doing so with creativity and intensity. Over the course of his career, Block has made groundbreaking contributions to our understanding of intelligence, representation, and consciousness. Blockheads! (the title refers to Block's imaginary counterexample to the Turing test—and to the Block-enthusiast contributors) offers eighteen new essays on Block's work along with substantive and wide-ranging replies by Block. The essays and responses not only address Block's past contributions but are rich with new ideas and argument. They importantly clarify many key elements of Block's work, including his pessimism concerning such thought experiments as Commander Data and the Nation of China; his more general pessimism about intuitions and introspection in the philosophy of mind; the empirical case for an antifunctionalist, biological theory of phenomenal consciousness; the fading qualia problem for a biological theory; the link between phenomenal consciousness and representation (especially spatial representation); and the reducibility of phenomenal representation. Many of the contributors to Blockheads! are prominent philosophers themselves, including Tyler Burge, David Chalmers, Frank Jackson, and Hilary Putnam. Contributors Ned Block, Bill Brewer, Richard Brown, Tyler Burge, Marisa Carrasco, David Chalmers, Frank Jackson, Hakwan Lau, Geoffrey Lee, Janet Levin, Joseph Levine, William G. Lycan, Brian P. McLaughlin, Adam Pautz, Hilary Putnam, Sydney Shoemaker, Susanna Siegel, Nicholas Silins, Daniel Stoljar, Michael Tye, Sebastian Watzl

Key French-language theoretical texts on comics translated into English for the first time The French Comics Theory Reader presents a collection of key theoretical texts on comics, spanning a period from the 1960s to the 2010s, written in French and never before translated into English. The publication brings a distinctive set of authors together uniting theoretical scholars, artists, journalists, and comics critics. Readers will gain access to important debates that have taken place among major French-language comics scholars, including Thierry Groensteen, Benoît Peeters, Jan Baetens, and Pierre Fresnault-Deruelle, over the past fifty years. The collection covers a broad range of approaches to the medium, including historical, formal, sociological, philosophical, and psychoanalytic. A general introduction provides an overall context, and, in addition, each of the four thematic sections is prefaced by a brief summary of each text and an explanation of how they have influenced later work. The translations are faithful to the originals while reading clearly in English, and, where necessary, cultural references are clarified.

Herg's Tintin cartoon adventures have been translated into more than fifty languages and read by tens of millions of children aged, as their publishers like to say, 'from 7 to 77'. Arguing that their characters are as strong and their plots as complex as any dreamt up by the great novelists, Tom McCarthy asks a simple question: is Tintin literature? McCarthy takes a cue from Tintin himself, who spends much of his time tracking down illicit radio signals, entering crypts and decoding puzzles and suggests that we too need to 'tune in' and decode if we want to capture what's going on in Herg's work. What emerges is a remarkable story of hushed-up royal descent in both Herge's work and his own family history. McCarthy shows how the themes this story generates - expulsion from home, violation of the sacred, the host-guest relationship turned sour and anxieties around questions of forgery and fakeness - are the same that have fuelled and troubled writers from the classical era to the present day. His startling conclusion is that Tintin's ultimate 'secret' is that of literature itself. Appearing on the eve of the release of a major Steven Spielberg Tintin film, Tintin and the Secret of Literature should be avidly devoured by not only Tintin lovers but also by anyone with an interest in literature, philosophy or art.

The most comprehensive reference ever compiled about the rich and enduring genre of comic books and graphic novels, from their emergence in the 1930s to their late-century breakout into the mainstream. • Includes over 330 entries on comic books and their creators • Presents the work of 80 contributors—accomplished academics and librarians who are also fans of comic books and graphic novels • Offers selected bibliographic listings with the entries • Provides a comprehensive index of artists, writers, works, characters, genres, and themes

As the creator of Tintin, Hergé (1907-1983) remains one of the most important and influential figures in the history of comics. When Hergé, born Georges Prosper Remi in Belgium, emerged from the controversy surrounding his actions after World War II, his most famous work leapt to international fame and set the standard for European comics. While his style popularized what became known as the "clear line" in cartooning, this edited volume shows how his life and art turned out much more complicated than his method. The book opens with Hergé's aesthetic techniques, including analyses of his efforts to comprehend and represent absence and the rhythm of mundaneness between panels of action. Broad views of his career describe how Hergé navigated changing ideas of air travel, while precise accounts of his life during Nazi occupation explain how the demands of the occupied press transformed his understanding of what a comics page could do. The next section considers a subject with which Hergé was himself consumed: the fraught lines between high and low art. By reading the late masterpieces of the Tintin series, these chapters situate his artistic legacy. A final section considers how the clear line style has been reinterpreted around the world, from contemporary Francophone writers to a Chinese American cartoonist and on to Turkey, where Tintin has been reinvented into something meaningful to an audience Hergé probably never anticipated. Despite the attention already devoted to Hergé, no multi-author critical treatment of his work exists in English, the majority of the scholarship being in French. With contributors from five continents drawing on a variety of critical methods, this volume's range will shape the study of Hergé for many years to come.

Through the combination of text and images, comic books offer a unique opportunity to explore deep questions about aesthetics, ethics, and epistemology in nontraditional ways. The essays in this collection focus on a wide variety of genres, from mainstream superhero comics, to graphic novels of social realism, to European adventure classics. Included among the contributions are essays on existentialism in Daniel Clowes's graphic novel "Ghost World," ecocriticism in Paul Chadwick's long-running "Concrete" series, and political philosophies in Herge's perennially popular "The Adventures of Tintin." Modern political concerns inform Terry Kading's discussion of how superhero comics have responded to 9/11 and how the genre reflects the anxieties of the contemporary world. Essayists also explore the issues surrounding the development and appreciation of comics. Amy Kiste Nyberg examines the rise of the Comics Code, using it as a springboard for discussing the ethics of censorship and child protection in America. Stanford W. Carpenter uses interviews to analyze how a team of Marvel artists and writers reimagined the origin of one of Marvel's most iconic superheroes, Captain America. Throughout, essayists in Comics as Philosophy show how well the form can be used by its artists and its interpreters as a means of philosophical inquiry. Jeff McLaughlin is assistant professor of philosophy at Thompson Rivers University in Kamloops, British Columbia."

Richard Egües and José Fajardo are universally regarded as the leading exponents of charanga flute playing, an improvisatory style that crystallized in 1950s Cuba with the rise of the mambo and the chachachá. Despite the commercial success of their recordings with Orquesta Aragón and Fajardo y sus Estrellas and their influence not only on Cuban flute players but also on other Latin dance musicians, no in-depth analytical study of their flute solos exists. In Cuban Flute Style: Interpretation and Improvisation, Sue Miller—music historian, charanga flute player, and former student of Richard Egües—examines the early-twentieth-century decorative style of flute playing in the Cuban danzón and its links with the later soloistic style of the 1950s as exemplified by Fajardo and Egües. Transcriptions and analyses of recorded performances demonstrate the characteristic elements of the style as well as the styles of individual players. A combination of musicological analysis and ethnomusicological fieldwork reveals the polyrhythmic and melodic aspects of the Cuban flute style, with commentary from flutists Richard Egües, Joaquín Oliveros, Polo Tamayo, Eddy Zervigón, and other renowned players. Miller also covers techniques for flutists seeking to learn the style—including altissimo fingerings for the Boehm flute and fingerings for the five-key charanga flute—as well as guidance on articulation, phrasing, repertoire, practicing improvisation, and working with recordings. Cuban Flute Style will appeal to those working in the fields of Cuban music, improvisation, music analysis, ethnomusicology, performance and performance practice, popular music, and cultural theory.

Explores the sources in real life of all the Tintin adventures.

Issues for Apr. 1971- include separately paged section: Children's book review: occasional list, no. 1- .