Kristine Larsen

This chapter notes how Gaiman's work flits between the mythic, the real, and the mythopoeic, drawing upon physics and mathematics to analyze the spooky action (at a distance) paradox that Gaiman constructs in Overture. Looking at its placement with the larger Sandman universe as the prequel to the original text, this chapter will examine, in particular, Death's role in Dream's larger journey as "the ultimate observer" with the Sandman universe. Using her as the central perspective, the reader will discover how Death functions as that which brings order to the otherwise chaos of The Sandman.

Imagine, if you can, that workers at CERN have begun talking to dead people, thanks to the LHC. This is the plot of Franklin Clermont’s novel The Voices at CERN. Shannon Fields, the fictional CERN senior press relations coordinator, is tasked with speaking to the concerned wife of one of the technicians. Shannon’s superiors reason that she is qualified for this task because her job entails explaining “each new discovery to the waiting news organizations that felt compelled to deliver news in 30 second sound bites only and language pegged at an eighth grade reading level or lower” [1] as well as talking to the general public about black hole fears and “that destroy-the-world stuff” [2]. Shannon is understandably concerned about the ramifications to their public image (especially on safety issues) if the employees’ claims becomes public, imagining the resulting “lurid American tabloid headlines: ‘CERN: I Hear Dead People’” [3]. While this example is clearly outlandish, the fictional headline is an excellent parody of reality. However, studies suggest that it is not the tabloids that Shannon and her real-world counterpart have to be concerned about, but rather the Internet, especially in the United States [4]. The fact-checking website Snopes.com has had to debunk several curious Internet claims about CERN, perhaps the most bizarre being a video purporting to show a ritual human sacrifice conducted on the grounds of the facility [5]. In reality it was a prank conducted without the knowledge or permission of CERN and those responsible were held accountable [6]. However, the damage has already been done, as the video is still easily found online.

Death - \u27Gift of Iluvatar\u27 or \u27The Last Enemy\u27 -- Theological Reflection on Death in Tolkien\u27s Legendarium - Richard Cornell Although Tolkien never set out to teach Christian theology in his Legendarium his Catholic faith shines through in numerous and significant ways. Yet in what Tolkien himself considered the central theme of his work, there seems to be a profound tension with his faith. Death is considered to be the Gift of Iluvatar to men. But is not this at odds with the Apostle Paul\u27s conception of death as the result and consequence of sin and the last enemy to be defeated by the work of Christ? Tolkien himself suggested in one of this letters that death as the gift of God might be bad theology. Are these two views of death really at odds with one another or is there a deeper theological connection between these two seemingly incompatible views? This question will be considered with reference to passages from the Silmarillion, the The Tale of Aragorn and Arwen (from Appendix A in The Return of the King), the Athrabeth Finrod Ah Andreth (published posthumously in Morgoth\u27s Ring), and Tolkien\u27s letters. \u27Frodo, I am Your Father\u27: Reflections on Tolkien, the Virtues and Parenting - Jim Spiegel and Amy Spiegel The Lord of the Rings trilogy is rich with exemplifications of the virtues. Inspiring for all dimensions of the moral life, Tolkien\u27s vivid portraits of courage, faithfulness, generosity, and self-control are especially applicable for that great human adventure that is parenting. In this presentation we explore ways in which Tolkien\u27s narrative and character provide insightful metaphors for guiding children into maturity and their own excruciating life quests. Subcreation at work: the Art of Tom Loback - Brad Eden This paper will focus on the artwork of Tom Loback, whose Tolkien art has graced the covers of Mythlore and other Tolkien journals. The presenter commissioned two large triptychs from Mr. Loback over the last 4 years, prior to his death last year from 9/11-related disease. One is a 3-panel presentation of Feonor making the Silmarils, and the other is a 3-panel presentation of the battle between Morgoth and the Valar at the end of the 1st Age. Mr. Loback was commissioned to make a 3rd triptych depicting the battle between the Valar and Morgoth at the end of the world/Middle-earth, but he was only able to fully complete one panel before his death. The presenter will be bringing these large pieces of artwork to the conference for display and discussion. One of the unique features of Mr. Loback\u27s work is the use of Elvish languages and script throughout his artwork, and the imitation of medieval illumination techniques

While speculation that the LHC could banish all adults to a parallel universe or create zombies is clearly unfounded, given the steady diet of mad scientists fed to the public by popular media we should not be surprised that some in the public have wondered if they can trust the record-breaking high-energy experiments at CERN.

The books of Maria Barton Hack (1777–1844) were widely read, but there is limited information concerning her life. She was born at Carlisle on November 10, 1777, to a merchant father Stephen Barton (1755–1789) and his wife Maria/Mary Done (1752–1784), both members of the Society of Friends (Quakers), although her father had converted as a young man and was not, like his first wife, born into the religion (Fell-Smith 1892). Stephen Barton had professed an interest in literature and perhaps even tried his hand at writing, and her paternal grandfather, Bernard Barton, had received a medal from the Royal Society in recognition of a machine he had invented that was used in calico printing. Maria’s half-brother, John Barton, was also a writer, producing pamphlets on philanthropic topics including the plight of the poor (Fell-Smith 1892).

This is a 2007 chapter from an aborted book project on the science of the tv series Lost. It was written before the ending of the series, which, as we now all know, violated the promise to have a scientific explanation for the Island and its mysteries. Two brief addendums (updates through February 2009) appear after the references.

The television series Lost has, at its very core, an exploration of the dynamic tension between self and other. The definition of "otherness" varies throughout the still-unfolding text of the series, including geographical, cultural, temporal, and racial senses, among others. This inherent dichotomy of "us" and "them", "self" and "other", is central to the show's message and mythology. For example, within the first episode of the series we witness the separation of characters into living and dead, families and singles, survivors and the outside world, survivors and the island (including those Danielle Rousseau later identifies as "The Others"), and English-speakers and non-English speakers. In addition, throughout the series, classical (and often cartoonish) stereotypical caricatures of often marginalized groups are thrust into our faces, including Arabs, Asians, obese persons, the physically-challenged, and Americans of southern heritage (aka "hillbillies").  This paper, written in 2007 while the series was still ongoing, focuses on yet another type of "othering," namely scientists versus non-scientists.

Set 50-70 years in the future, the 2-season Netflix original sci-fi series Another Life 2019-21) depicts a climate change and pollution damaged planet, with cities such as Washington, D.C., and St. Petersburg flooded and clean drinking water an expensive resource. Mars has a colony and the first faster-than-light interstellar spacecraft, the Salvare, has been built. Without warning an extraterrestrial craft lands in the Pacific Northwest and spontaneously transforms into a behemoth tower dubbed the Artifact, emitting a mysterious signal towards the star Pi Canis Majoris. Six months later the signal remains undeciphered (an intelligence test that humanity has difficulty passing), and an impatient US government sends the Salvare to Pi Canis Majoris in the hopes of making direct contact.