Paul Young – författare

An exciting new approach to learning about botany. Teaches the structure and function of plants and surveys the entire plant kingdom.

This book examines the Great Exhibition as a decisive moment in the formation of a capitalist world picture. In so doing it foregrounds a vision of peace and progress which took hold of British society, within the Crystal Palace and beyond. It emphasizes too that this Victorian understanding of global order legitimized imperial ambition.

Young traces the evolution of the term information from its general linguistic use into the mainstream of modern science, proposing an entirely new definition of information as a mass-energy phenomenon. He demonstrates that: information is in all cases a form phenomenon; both form and information are mass-energy rather than abstract phenomena; mind can be viewed as a mass-energy rather form-manipulating process; form constitutes a mechanism immanent in the physical universe via which mass-energy systems can communicate informationally and control their own energetic activities.

2017 EISNER AWARD NOMINEE for Best Academic/Scholarly WorkIn the late 1970s and early 1980s, writer-artist Frank Miller turned Daredevil from a tepid-selling comic into an industry-wide success story, doubling its sales within three years. Lawyer by day and costumed vigilante by night, the character of Daredevil was the perfect vehicle for the explorations of heroic ideals and violence that would come to define Miller’s work.    Frank Miller’s Daredevil and the Ends of Heroism is both a rigorous study of Miller’s artistic influences and innovations and a reflection on how his visionary work on Daredevil impacted generations of comics publishers, creators, and fans. Paul Young explores the accomplishments of Miller the writer, who fused hardboiled crime stories with superhero comics, while reimagining Kingpin (a classic Spider-Man nemesis), recuperating the half-baked villain Bullseye, and inventing a completely new kind of Daredevil villain in Elektra. Yet, he also offers a vivid appreciation of the indelible panels drawn by Miller the artist, taking a fresh look at his distinctive page layouts and lines.   A childhood fan of Miller’s Daredevil, Young takes readers on a personal journey as he seeks to reconcile his love for the comic with his distaste for the fascistic overtones of Miller’s controversial later work. What he finds will resonate not only with Daredevil fans, but with anyone who has contemplated what it means to be a hero in a heartless world.    Other titles in the Comics Culture series include Twelve-Cent Archie, Wonder Woman: Bondage and Feminism in the Marston/Peter Comics, 1941-1948, and Considering Watchmen: Poetics, Property, Politics.

2017 EISNER AWARD NOMINEE for Best Academic/Scholarly WorkIn the late 1970s and early 1980s, writer-artist Frank Miller turned Daredevil from a tepid-selling comic into an industry-wide success story, doubling its sales within three years. Lawyer by day and costumed vigilante by night, the character of Daredevil was the perfect vehicle for the explorations of heroic ideals and violence that would come to define Miller’s work.    Frank Miller’s Daredevil and the Ends of Heroism is both a rigorous study of Miller’s artistic influences and innovations and a reflection on how his visionary work on Daredevil impacted generations of comics publishers, creators, and fans. Paul Young explores the accomplishments of Miller the writer, who fused hardboiled crime stories with superhero comics, while reimagining Kingpin (a classic Spider-Man nemesis), recuperating the half-baked villain Bullseye, and inventing a completely new kind of Daredevil villain in Elektra. Yet, he also offers a vivid appreciation of the indelible panels drawn by Miller the artist, taking a fresh look at his distinctive page layouts and lines.   A childhood fan of Miller’s Daredevil, Young takes readers on a personal journey as he seeks to reconcile his love for the comic with his distaste for the fascistic overtones of Miller’s controversial later work. What he finds will resonate not only with Daredevil fans, but with anyone who has contemplated what it means to be a hero in a heartless world.    Other titles in the Comics Culture series include Twelve-Cent Archie, Wonder Woman: Bondage and Feminism in the Marston/Peter Comics, 1941-1948, and Considering Watchmen: Poetics, Property, Politics.

By the middle of the twentieth century, Hollywood, formerly the one and only dream factory, found itself facing a host of media rivals for the public's attention. In the 1980s, another competitor arrived in the form of the proto-Internet—a computer network as yet untested by all but research scientists, college students, the military, and a few thousand PC and modem owners. How did Hollywood respond to this nascent challenge? By dreaming about it, in a series of technological fantasies, from Tron to War Games to Lawnmower Man. The Cinema Dreams Its Rivals examines the meaning and effect of the movies' attempts to reshape the shifting media landscape. Paul Young looks at the American cinema's imaginative constructions of three electronic media—radio, television, and the Internet—at the times when these media seemed to hold limitless possibilities. In doing so, he demonstrates that Hollywood is indelibly marked by the advent of each new medium, from the inclusion of sound in motion pictures to the use of digital graphics. But conversely, Young argues, the identities of the new media are themselves changed as Hollywood turns them to its own purposes and its own dreams. Paul Young is professor of English and director of the film studies program at Vanderbilt University.