List of First Comics publications

First Comics is an American comic book company.

Titles

A

B

C

D

E

Whisper (disambiguation)

Whisper is a sound produced by whispering

Whisper or Whispers may refer to:

Fictional characters

Music

Bands

Albums

Songs

Yes (Morphine album)

Yes is an album by alternative rock band Morphine, released in March 1995. It was their first album to make the Billboard Top 200, but fared less well abroad than its predecessor.

Track listing

All songs written by Mark Sandman (except as noted).

Chart history

Album

References

Almaș

Almaș (Hungarian: Háromalmás) is a commune in Arad County, Romania. Situated in the Gurahonț Basin, in the left valley of the Crişul Alb River, the commune is composed of four villages: Almaș (situated at 97 km (60 mi) from Arad), Cil (Alcsil), Joia Mare (Kakaró) and Rădești (Bozósd). Its total administrative territory is 8127 ha.

Population

According to the last census the population of the commune counts 3009 inhabitants. From an ethnic point of view, it has the following structure: 96.3% are Romanians, 0.2% Hungarians, 3.4% Roma and 0.1% are of other or undeclared nationalities.

History

The first documentary record of the locality Almaș dates back to 1334.

Cil was mentioned in documents in 1369, Rădeşti in 1441 and Joia Mare in 1439.

Economy

The commune's present-day economy can be characterized by a powerful dynamic force with significant developments in all the sectors.

Tourism

There is a monastery dedicated to the Annunciation, and the Rădeștilor Valley.

References

Coordinates: 46°16′59″N 22°13′59″E / 46.283°N 22.233°E / 46.283; 22.233

Alma (play)

Alma is an example of site-specific promenade theatre (or more precisely a "polydrama") created by Israeli writer Joshua Sobol based on the life of Alma Mahler-Werfel. It opened in 1996, under the direction of Austrian Paulus Manker, at a former Jugendstil sanatorium building designed by architect Josef Hoffmann located in Purkersdorf near Vienna; and subsequently toured to locations in Venice, Lisbon, Los Angeles, Petronell, Berlin, Semmering, Jerusalem, and Prague.

Protagonist Alma Mahler-Werfel was initmately connected to an astonishing list of the famous creative spirits of the 20th century. Not only was she married sequentially to composer Gustav Mahler, architect Walter Gropius, and poet Franz Werfel (“The Song of Bernadette”), but she had also fervent and sometimes notorious love affairs with the painters Oskar Kokoschka, Gustav Klimt, and several others.

The performance is not presented as a conventional theatre piece, but instead takes place throughout an entire building in simultaneous scenes highlighting the events and defining relationships of Alma's tumultuous life, with each playing area fully equipped with appropriate furniture and props.

Oswald de Andrade

José Oswald de Souza Andrade (January 11, 1890 – October 22, 1954) was a Brazilian poet and polemicist. He was born and spent most of his life in São Paulo.

Andrade was one of the founders of Brazilian modernism and a member of the Group of Five, along with Mário de Andrade, Anita Malfatti, Tarsila do Amaral and Menotti del Picchia. He participated in the Week of Modern Art (Semana de Arte Moderna).

Andrade is very important too for his manifesto of critical Brazilian nationalism, Manifesto Antropófago (Cannibal Manifesto), published in 1928. Its argument is that Brazil's history of "cannibalizing" other cultures is its greatest strength, while playing on the modernists' primitivist interest in cannibalism as an alleged tribal rite. Cannibalism becomes a way for Brazil to assert itself against European postcolonial cultural domination. The Manifesto's iconic line is "Tupi or not Tupi: that is the question." The line is simultaneously a celebration of the Tupi, who had been at times accused of cannibalism (most notoriously by Hans Staden), and an instance of cannibalism: it eats Shakespeare. On the other hand, some critics argue that Antropofagia, as a movement) was too heterogeneous to extract overarching arguments from it and that often it had little to do with a post-colonial cultural politics (Jauregui 2018, 2012)