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Hobgoblin (comics)

The Hobgoblin is the alias of several fictional supervillains appearing in American comic books published by Marvel Comics depicted as enemies of Spider-Man. The Hobgoblin identity first appeared when used by Roderick Kingsley in The Amazing Spider-Man #238 and was created by Roger Stern and John Romita Jr. and was carried by Jason Macendale during the late 1980s and most of the 1990s. In 2009, the Hobgoblin was ranked by IGN's as the 57th Greatest Comic Book Villain of All Time; the Hobgoblin was created by writer Roger Stern and artist John Romita Jr. for The Amazing Spider-Man #238. Like other writers, Stern found himself under pressure to have Spider-Man fight the Green Goblin again, but did not wish to bring Norman Osborn or Bart Hamilton back from the dead, have Harry Osborn be the Green Goblin again, or create yet another Green Goblin. Stern instead developed the Hobgoblin. Stern recounts that he directed Romita to base the costume on the Green Goblin's but to make it "a little more medieval-looking", while Romita asserts that he was given no direction beyond using the Green Goblin as a basis.

Both agree, that the costume was chiefly Romita's design. The Hobgoblin's identity was not revealed, generating one of the longest-running mysteries in the Spider-Man comics. According to Stern, "I plotted that first story with no strong idea of; as I was scripting those gorgeous pages from JR the last third of the book, developing the Hobgoblin’s speech pattern, I realized who he was. It was Roderick Kingsley, that sunuvabitch corporate leader I had introduced in my first issue of Spectacular." A handful of readers deduced that Kingsley was the Hobgoblin immediately. In order to throw off the scent and in the same stroke provide a retroactive explanation for his inconsistent characterization of Kingsley in his early appearances, Stern came up with the idea of Kingsley having his brother Daniel Kingsley sometimes impersonate him, sealing the deception by having the Hobgoblin conspicuously appear in the same room as Kingsley in Amazing Spider-Man #249. Stern's original plan was to have the Hobgoblin's mystery identity run one issue longer than that of the Green Goblin's identity, meaning the truth would be revealed in The Amazing Spider-Man #264.

However, Stern left after The Amazing Spider-Man #251, editor Tom DeFalco took his place. Wanting to resolve the mystery in a manner that would do justice to Stern's stories, DeFalco asked Stern who the Hobgoblin was, but objected when Stern said it was Kingsley. DeFalco argued that the "twin brother" scheme was cheating the readers since there had been no hint that Roderick had a brother, much less one who could serve as a body double. Stern disagreed but said that DeFalco should feel free to choose whoever DeFalco wanted for the Hobgoblin's secret identity, reasoning that "I knew that whomever Tom chose, he would make it work." Upon reviewing the clues, DeFalco decided. Moreover, he decided that the Hobgoblin's mystery should be prolonged as long as possible, since it was the chief element that made the Hobgoblin interesting. Through both Stern and DeFalco's runs, mystery answer was continuously teased on the cover art, with the covers of Amazing Spider-Man #245, 251, 276 all showing Spider-Man unmasking the Hobgoblin.

The mystery was further complicated. Owsley's relationship with DeFalco and artist Ron Frenz was strained from the beginning; when Owsley asked who the Hobgoblin was at a creators conference, DeFalco lied and said the man in question was Ned Leeds. Owsley wrote the one-shot Spider-Man vs Wolverine in which Leeds is killed off, instructed The Spectacular Spider-Man writer Peter David to reveal the Hobgoblin's identity as the Foreigner. David argued that the only person who fit the clues was Leeds; because Spider-Man vs. Wolverine had been drawn, however, it was too late to undo Leeds's death. Thus, the Hobgoblin's identity was revealed posthumously in The Amazing Spider-Man #289. With Spider-Man's archenemy now dead, a new storyline was created from Jason Macendale's hatred of the Hobgoblin. Though the Hobgoblin's posthumous unmasking as Leeds was unpopular with fans, David said in a 2009 interview of still being proud of the story, arguing that the Hobgoblin being unmasked in a climactic battle with Spider-Man was the sort of tale readers had seen countless times before, whereas having an archvillain unmasked in a flashback after having been brutally killed by nameless assassins was unprecedented and shocking.

From 1987 to 1997, Macendale wielded only the Hobgoblin's weaponry but the 1988-1989 Inferno crossover writer Gerry Conway had Macendale imbued with demonic powers by N'astirh. In addition to power over hellfire and increased strength and speed to far greater than that of the original Hobgoblin, these powers disfigure Macendale so that his head is more grotesque than the Hobgoblin mask, alters his mind so that he was deluded into thinking that his appearance is normal. Several years Macendale succeeds in purging himself of his demonic powers and was revamped again with cybernetic implants. Stern was unhappy with the Hobgoblin's civilian identity revelation was Leeds and wrote the three-issue miniseries Spider-Man: Hobgoblin Lives in 1997, with the retcon that Kingsley was the original Hobgoblin while Leeds

Abandonment (existentialism)

Abandonment, in philosophy, refers to the infinite freedom of humanity without the existence of a condemning or omnipotent higher power. Original existentialism explores the liminal experiences of anxiety, death, "the nothing" and nihilism. Existential thought bases itself fundamentally in the idea that one's identity is constituted neither by nature nor by culture, since to "exist" is to constitute such an identity, it is from this foundation. Søren Kierkegaard and Frederich Nietzsche, the supposed originators of the existentialist school of thought, constrained their theories to theological systems. Both were concerned with the "singularity of existence" and the fact that "existence comes before essence"; the first to do so were Martin Heidegger. According to Sartre, there are three schools of philosophical thought that influence the freedom of the individual: Christian Belief: The idea that God exists and creates people with a purpose in mind that gives meaning to life. To believers, because men are inherently evil, a life without meaning accorded by a higher power the world will devolve into anarchy.

Christian Existentialism: Man creates his identity and gives meaning to his own life. However, he does so in his inimical search for union with God, thus the struggle to find meaning itself defines the identity of an individual. Atheist Existentialism: The philosophy that there is no “human nature” because there is no creator, no definition of man until he encounters himself; the “human reality” is subjective to the journey of the individual, existence comes before the development of the meaning of that existence. The absence of God in the conceptualization of life came to be known as “abandonment" because of Sartre’s 1946 lecture L'Existentialisme est un humanisme in which he says: …when we speak of “abandonment” – a favorite word of Heidegger – we only mean to say that God does not exist, that it is necessary to draw the consequences of his absence right to the end; the existentialist is opposed to a certain type of secular moralism, which seeks to suppress God at the least possible expense.

Abandonment is, in essence, the derivative of atheism. In the Supreme Court case Murray v. Curlett, the case that removed reverential Bible reading and oral unison recitation of the Lord's Prayer in the public schools, the petitioners defined their beliefs thus: An atheist loves his fellow man instead of god. An atheist believes that heaven is something for which we should work now – here on earth for all men together to enjoy. An atheist believes that he can get no help through prayer but that he must find in himself the inner conviction and strength to meet life, to grapple with it, to subdue it, enjoy it... He seeks to know his fellow man rather than to know a god. An atheist believes. An atheist believes. An atheist strives for involvement in life and not escape into death; this foundational philosophy is the refrain of all of the most well known atheists: Sartre and Nietzsche, as well as Albert Camus, Michel Foucault, Noam Chomsky. Ethical behavior, regardless of who the practitioner may be, results always from the same causes and is regulated by the same forces, has nothing to do with the presence or absence of religious belief.

Therefore belief in a higher power is unnecessary when one relates to the world under the understanding that humans have no original purpose or meaning to their creation. Before Sartre defined abandonment as abandonment by, or of the idea of, a higher omnipotent power, philosopher Martin Heidegger wrote about the abandonment of self in much the same way. Deriving his ideas from Nietzsche’s work, Heidegger theorized that the abandonment of being is the cause of “the distress of lack of distress,” under the belief that a person’s distress is the opening of the mind to the truth of existence the truth that one’s existence is meaningless; therefore a person’s truest state, one in which being comes before meaning, is one of extreme distress. Heidegger summarizes this concept as the abandonment of being, he claims it is brought on by the darkness of the world in “modern” times and derangement of the West. The importance of abandonment theory is that it, according to Heidegger, determines an epoch in the historical search for “be-ing.”

It is the disownment of the surety of being as less useful than the constant questioning of being, the magnitude of the non-form that reveals the “truth” of life better than transparent and empty platitudes. Heidegger claims that there are three “concealments” of the abandonment of being: calculation and the claim of massiveness. Calculation: Heidegger characterizes this as the machination of technicity, or the belief that one understands scientific data and experiments and in so doing places their full faith in those concepts. Heidegger believes that this is a parallel to the belief in God, because there is no longer need for questioning this concept that has become own-most to truth. Acceleration: The mania for what is new or surprising technologically. Heidegger believed that this overpowered the truth and questioning of abandonment because the excitement sweeps one away and gets one caught

Portrait of a Young Girl at the End of the 60’s in Brussels

Portrait of a Young Girl at the End of the 60’s in Brussels is a 1994 television film by Belgian feminist and avant-garde filmmaker Chantal Akerman. It is a semi-autobiographical coming-of-age story with LGBT themes; the film was created for Arte's nine-part series. The series, which belongs to le jeune cinéma français movement of the 1990's, has been described as "'enormously influential" by the British Film Institute's Sight & Sound magazine; the film follows 15-year old Michelle, her best friend Danielle, the army deserter Paul in Brussels, April 1968. After dropping out of school one day, Michelle meets Paul at the cinema, they kiss. Afterwards, they wander the streets, discussing love, sexuality and philosophy. Michelle reveals to Paul that she kissed him in order to tell someone else about it, make them "suffer." She leaves Paul to meet with her friend Danielle, to whom she tells the story of kissing him. Danielle remarks, they make plans to go to a party together that night, Michelle returns to Paul.

They resume their wandering around Brussels. Having claimed to be in Brussels to meet a lover, Paul reveals that he has deserted the army, he and Michelle have her first sexual encounter after dancing together to Suzanne in her cousin's empty apartment. By the end of their day together, Michelle has decided that Paul would be a better match for Danielle, they make plans to meet in the evening, after Danielle and Michelle attend the party. At the party and Danielle dance together in the middle of a dance circle to La Bamba. Danielle moves to the outside of the circle, Michelle is supposed to choose a new partner to bring inside the ring. Instead, she chooses Danielle again; when the song changes and the circle breaks apart, Danielle dances with a boy, Michelle watches with an expression of yearning. She leaves the party, Danielle follows her outside; the film ends with Danielle and Michelle walking away from the party holding hands to meet with Paul. Circe Lethem as Michelle Joelle Marlier as Danielle Julien Rassam as Paul Cynthia Rodberg as Mireille Portrait of a Young Girl was one of nine films commissioned by Arte for its series Tous les garcons et les filles de leur âge.

The series includes works by André Téchiné, Olivier Assayas, Claire Denis, Olivier Dahan, Émilie Deleuze, Laurence Ferreira Barbosa, Cédric Kahn and Patricia Mazuy. Three of the films in the series received expanded theatrical releases: Assayas' Cold Water, Kahn's Trop de bonheur and Téchiné’s Wild Reeds. Certain elements were required of all the films in the series: adolescence as a subject matter, the inclusion of popular songs from the filmmakers' youth, a party scene; the films are semi-autobiographical in nature. This is reflected in Portrait of a Young Girl's casting: film scholar Patricia White suggests that protagonist Michelle is a stand-in of-sorts for Akerman, noting that Circe Lethem physically resembles a young Akerman "in stance and presence." Portrait of a Young Girl makes prominent use of diegetic music, with the songs of the 60's featuring in dance and party scenes. Songs featured in Portrait of a Young Girl include: Suzanne and performed by Leonard Cohen It's a Man's Man's Man's World and performed by James Brown La Bamba, performed by Trini Lopez Noir, C'est Noir, performed by Johnny Hallyday The film is set 25 years in the past but contains undisguised anachronisms, like modern cars on the streets of Brussels and contemporary CD stores.

According to Variety critic David Rooney, the film "thumbs nose at period authenticity." New Yorker critic Richard Brody states that these anachronisms "mark the contemporary world with the buried feelings of youth, as if to prove Faulkner's dictum,'The past is not dead. In fact, it's not past." French cinema scholar Nicoleta Bazgan states that the film's refusal of period authenticity has thematic resonances, stating that it has the effect of is destabilising "dichotomies such as private and public and clichèd, past and present." Nicoleta Bazgan states that Portrait of a Young Girl exists in "direct conversation" with the French New Wave cinematic movement of the 1950's and 60's. Both the film's settings - "record stores, bookstores and restaurants" - and cinematic style - the "use of authentic urban settings without any extras and iconic jump cuts" - are reminiscent of New Wave films. However, Bazgan sees the film's emphasis upon its young heroine's emotional fragility and subjectivity as a departure from the New Wave, whose protagonists are cool and detached.

According to Bazgan, by"emphasising... the haptic and emotional quality of journey, the focus on emphatic connection, Akerman deviates, in a fundamental way, from the aesthetic codes of the New Wave she is revisiting."Feminist film scholar Patricia White suggests that Portrait of a Young Girl is addressing the French New Wave. She writes that the film's setting, April 1968, calls to mind the Paris, May 68 worker-student strikes, which "function as a mythical origin story in the narratives of the new left, Post-structuralist theory and film culture." By "virtue of being not quite Paris, not yet May," White says, Portrait of a Young Girl suggests that its story is "not given meaning by the heroic politics that would require historical authenticity." French film scholar Judith Mayne sums up Portrait of a Young Girl as an adolescent comin


Risinghurst is an outlying residential area of Oxford, just outside the Eastern Bypass Road which forms part of the Oxford ring road. It is 3 miles east of Oxford city centre, it is part of the Risinghurst and Sandhills civil parish and is typical of housing estates built between the wars to house an prosperous working class who were moving into new urban centres—in this instance to take advantage of the burgeoning motor industry in Oxford. These estates offered decent housing sizeable gardens, a garage for a car and whilst Risinghurst isn't quite a garden city it has a sense of tranquillity. During the 1930s some 600 homes were built in sets of semi-detached units. So not quite a self-contained community and one that by and large was defined by'The Works' that offered a broad range of amenities for their employees; the name Risinghurst'rising ground towards the hurst or wooded hill' reflects the fact that Risinghurst was built on rising land running upwards towards Shotover Hill. Through part of the Estate runs the course of the Roman road between Silchester and Towcester.

The Kilns itself is so-named because kilns were excavated here that are thought to date back to the Roman period. Evidence of Romano-British occupation was discovered during clay-quarrying in the late-19th century Finds recorded in 1898 include building stones, gravel floors, pottery dated to the 3rd and 4th centuries but including some 2nd-century Samian ware; the surface of a'probable road' was sectioned, lying parallel to the main road but over 100 yards to the east. Coins recovered from the site and recorded by Harding in 1939 ranged from issues of Tiberius to Honorius. In the 17th century a small settlement grew up in what is now the southeast corner of the Estate—the houses are still there. Brick and tile works were established and that remained in operation until the early part of the 20th century; the rest of what is now Risinghurst was farmland. Magdalen Farm was located where the top end of Stanway and Collingwood Roads now are; the northern part of Risinghurst was one large field. On the site where Nielsen's HQ now sits was a house called Shotover Lodge in the middle of the 19th century but Forest Lodge by the turn of the 20th century.

Up until the late 18th century, the Oxford to London road ran over Shotover Hill. A turnpike was opened on a new route further north with upwards of 80 coaches plus the Mail coach making the trip to London daily; this is today's A40 road. An 18th century turnpike milestone can still be seen on the central reservation near the Thornhill Park and Ride. Bounding the western edge of Risinghurst is Green Road. Maps from the 19th century show that it was a road at that time and it is older. In the mid to late 1930s the bulk of the Estate was built by Benfield and Loxley and sold between £350 and £500 in 1936. Most of the houses in Risinghurst are still these pebble-dashed semi-detached 1930s three-bedroom houses, although the newer houses behind Nielsen's UK headquarters date from the 1970s, some smaller ex-council houses date from the late 1980s, 18 houses built in 1997 are on the site of a coppice; the Estate was built to house the increasing number of workers employed at Morris Motors. In 1958 work started on the Eastern Bypass—a plan had been under discussion for 30 years and when Risinghurst was built, a gap was left between it and Headington Quarry so that a road could be built.

This dual carriageway cut off Risinghurst from Headington Quarry. The latter, until had been seen as part of the same district by the residents. Now Risinghurst was much an island with two major trunk roads running along two sides and open countryside along the rest. In 1968 the turn into Risinghurst from the dual carriageway was blocked off causing anger among residents and letters to the local press such as this: Does the Oxford City Corporation think that by closing the Risinghurst turn for cars, mopeds etc it will reduce accident figures for that stretch of road. In my view and moped riders returning from the factories will be jostling to get through the ridicuously small gap. I don't think that many men on mopeds, are going to continue up the Green Road Roundabout, on to the A40... The OCC capitulated; the 2001 Census showed that of 840 people in employment who lived in Risinghurst, 165 worked in healthcare/social work, 130 in r

Werner Langen

Werner Langen is a German politician who served as Member of the European Parliament from 1994 until 2019. He is a member of part of the European People's Party. Between 1990 and 1991, Langen served as State Minister for Agriculture in the cabinet of Minister-President Carl-Ludwig Wagner of Rhineland-Palatinate. From 1992 until 1993, he was a member of the CDU executive board under the party's then-chairman, Chancellor Helmut Kohl. Langen first became a Member of the European Parliament in the 1994 elections. Throughout his time in office, he served on the Committee on Monetary Affairs. In this capacity, he was in charge of steering key financial reforms through the European Parliament, including the European Market Infrastructure Regulation and the Insurance Mediation Directive in 2015. In July 2016, Langen was elected to chair the Parliament's Committee of Inquiry into Money Laundering, Tax Avoidance and Tax Evasion that investigated the Panama Papers revelations and tax avoidance schemes more broadly.

Between 1999 and 2009, Langen was a member of the Committee on Industry and Energy, where he served as the European People's Party rapporteur for public services whose remit included competition cases. Between 2006 and 2012, Langen chaired the CDU/CSU delegation to the European Parliament. In this capacity, he once again served as a member of the CDU executive board, this time under the party's chairwoman, Chancellor Angela Merkel. In 2010, he was a CDU delegate to the Federal Convention for the purpose of electing the President of Germany. From 2014 until 2019, Langen was a member of the European Parliament Intergroup on Biodiversity, Countryside and Recreational Fisheries. Konrad Adenauer Foundation, Member European Energy Forum, Member German European Security Association, Founding Member Kangaroo Group, Member Ludwig Erhard Foundation, Member Pollichia, Member "MEP profile: Werner LANGEN". European Parliament. Retrieved 2011-02-26. "Members of the Committee on the Affairs of the European Union".

Bundestag. Retrieved 2011-02-26. "Ausschuss für die Angelegenheiten der Europäischen Union: Fotoliste der Mitglieder". Bundestag. Retrieved 2011-02-26. Media related to Werner Langen at Wikimedia Commons

Khoon Ka Karz

Khoon Ka Karz is a 1991 Bollywood film directed by Mukul S. Anand, it stars Vinod Khanna, Sanjay Dutt, Dimple Kapadia, Kimi Katkar, Sangeeta Bijlani and Kader Khan. The film deals with three individuals who are arrested for infringements under the Indian Penal Code: Karan and Arjun recount to the court how two of them were adopted and nursed by a saintly woman and how they fall in love with three women, it was dubbed and released in Tamil as Arasan: The Don in 2009, eighteen years after its original release. Arrested for a wide variety of infringements of the Indian Penal Code, Karan and Arjun recount to the court how two of them were adopted and nursed by a saintly woman, Sarita Devi. After good-hearted Savitri Devi was robbed of her baby by her criminal husband, she started raising orphaned children in an ashram, teaching them truth and honesty, but not all her children follow this path as e.g. Arjun and Kishan. Society didn't grant them access to a better future because they are orphans and poor, so they took on the criminal path and got in with dubious Champaklal, whose son Robin wants to establish a mighty mafia imperium in India.

But Karan, another former foster child of Savitri's, gives them a rough time as Savitri has begged him to save Arjun and Kishan from the path of crime. For this purpose, Karan gets help from his love, tough taxi driver Tara Lele, from Kishan's and Arjun's girlfriends Sheetal and Sagarika, but when Kishan and Arjun learn some unexpected truths, their aversion for Karan decreases a bit. Vinod Khanna as Karan Rajinikanth as Kishan Sanjay Dutt as Arjun Dimple Kapadia as Tara Lele Kimi Katkar as Sheetal Sangeeta Bijlani as Sagarika Sushma Seth as Savitri Devi Kader Khan as Champaklal Khoon Ka Karz on IMDb Khoon Ka Karz at