The Dark (Curley novel)
The Dark is a fantasy novel written by Marianne Curley. It is the second book in the Guardians of Time Trilogy; as with all of the Guardians of Time books, the prologue is written in the third person, while all the chapters are written in first person switching points of view between two narrators. In this book, the two narrators are Arkarian; the story is set in Angel Falls, located above the ancient city of Veridian. The story is set in the near-present time; some of the story takes place in the past, in a variety of times/places. It takes place in the Underworld. Arkarian is kidnapped by the Order of Chaos. Isabel is determined to save him, but that means defying Lorian's orders, risking her life, facing the underworld itself. Going through many hardships in the underworld with her friend Ethan, brother Matt, they meet a new friend along the way but rescuing Ethan's sister, killed when he was a boy -. When rescuing Arkarian, they gain another member of the guard Dillon, working for the Order of Chaos but came to the good side.
Arkarian and Isabel realise they love each Arkarian saves them by opening a rift. When they return Lorian summons Isabel to a hearing and Arkarian pleads for her life and finds out Lorian is his father. At the hearing Isabel is pardonned and Lorian grants her the power to cease ageing so she and Arkarian can be together. Kirkus Reviews described this book in their review as "Pure soap-opera fluff with only the lightest sprinkling of the fantastic". Susan L. Rogers was mixed in her review for School Library Journal saying "There is enough action and excitement here to keep non-discriminating readers involved, but little else." The Named The Key Marianne Curley's website Bloomsbury Guardians of Time website
OCLC Online Computer Library Center, Incorporated d/b/a OCLC is an American nonprofit cooperative organization "dedicated to the public purposes of furthering access to the world's information and reducing information costs". It was founded in 1967 as the Ohio College Library Center. OCLC and its member libraries cooperatively produce and maintain WorldCat, the largest online public access catalog in the world. OCLC is funded by the fees that libraries have to pay for its services. OCLC maintains the Dewey Decimal Classification system. OCLC began in 1967, as the Ohio College Library Center, through a collaboration of university presidents, vice presidents, library directors who wanted to create a cooperative computerized network for libraries in the state of Ohio; the group first met on July 5, 1967 on the campus of the Ohio State University to sign the articles of incorporation for the nonprofit organization, hired Frederick G. Kilgour, a former Yale University medical school librarian, to design the shared cataloging system.
Kilgour wished to merge the latest information storage and retrieval system of the time, the computer, with the oldest, the library. The plan was to merge the catalogs of Ohio libraries electronically through a computer network and database to streamline operations, control costs, increase efficiency in library management, bringing libraries together to cooperatively keep track of the world's information in order to best serve researchers and scholars; the first library to do online cataloging through OCLC was the Alden Library at Ohio University on August 26, 1971. This was the first online cataloging by any library worldwide. Membership in OCLC is based on use of services and contribution of data. Between 1967 and 1977, OCLC membership was limited to institutions in Ohio, but in 1978, a new governance structure was established that allowed institutions from other states to join. In 2002, the governance structure was again modified to accommodate participation from outside the United States.
As OCLC expanded services in the United States outside Ohio, it relied on establishing strategic partnerships with "networks", organizations that provided training and marketing services. By 2008, there were 15 independent United States regional service providers. OCLC networks played a key role in OCLC governance, with networks electing delegates to serve on the OCLC Members Council. During 2008, OCLC commissioned two studies to look at distribution channels. In early 2009, OCLC negotiated new contracts with the former networks and opened a centralized support center. OCLC provides bibliographic and full-text information to anyone. OCLC and its member libraries cooperatively produce and maintain WorldCat—the OCLC Online Union Catalog, the largest online public access catalog in the world. WorldCat has holding records from private libraries worldwide; the Open WorldCat program, launched in late 2003, exposed a subset of WorldCat records to Web users via popular Internet search and bookselling sites.
In October 2005, the OCLC technical staff began a wiki project, WikiD, allowing readers to add commentary and structured-field information associated with any WorldCat record. WikiD was phased out; the Online Computer Library Center acquired the trademark and copyrights associated with the Dewey Decimal Classification System when it bought Forest Press in 1988. A browser for books with their Dewey Decimal Classifications was available until July 2013; until August 2009, when it was sold to Backstage Library Works, OCLC owned a preservation microfilm and digitization operation called the OCLC Preservation Service Center, with its principal office in Bethlehem, Pennsylvania. The reference management service QuestionPoint provides libraries with tools to communicate with users; this around-the-clock reference service is provided by a cooperative of participating global libraries. Starting in 1971, OCLC produced catalog cards for members alongside its shared online catalog. OCLC commercially sells software, such as CONTENTdm for managing digital collections.
It offers the bibliographic discovery system WorldCat Discovery, which allows for library patrons to use a single search interface to access an institution's catalog, database subscriptions and more. OCLC has been conducting research for the library community for more than 30 years. In accordance with its mission, OCLC makes its research outcomes known through various publications; these publications, including journal articles, reports and presentations, are available through the organization's website. OCLC Publications – Research articles from various journals including Code4Lib Journal, OCLC Research, Reference & User Services Quarterly, College & Research Libraries News, Art Libraries Journal, National Education Association Newsletter; the most recent publications are displayed first, all archived resources, starting in 1970, are available. Membership Reports – A number of significant reports on topics ranging from virtual reference in libraries to perceptions about library funding. Newsletters – Current and archived newsletters for the library and archive community.
Presentations – Presentations from both guest speakers and OCLC research from conferences and other events. The presentations are organized into five categories: Conference presentations, Dewey presentations, Distinguished Seminar Series, Guest presentations, Research staff
A prologue or prolog from Greek πρόλογος prologos, from πρό pro, "before" and λόγος logos, "word" is an opening to a story that establishes the context and gives background details some earlier story that ties into the main one, other miscellaneous information. The Ancient Greek prólogos included the modern meaning of prologue, but was of wider significance, more like the meaning of preface; the importance, therefore, of the prologue in Greek drama was great. It is believed that the prologue in this form was the invention of Euripides, with him, as has been said, it takes the place of an explanatory first act; this may help to modify the objection which criticism has brought against the Greek prologue, as an impertinence, a useless growth prefixed to the play, standing as a barrier between us and our enjoyment of it. The point is that, to an Athenian audience, it was useful and pertinent, as supplying just what they needed to make the succeeding scenes intelligible, but it is difficult to accept the view that Euripides invented the plan of producing a god out of a machine to justify the action of deity upon man, because it is plain that he himself disliked this interference of the supernatural and did not believe in it.
He seems, in such a typical prologue as that to the Hippolytus, to be accepting a conventional formula, employing it perversely, as a medium for his ironic rationalism. Many of the existing Greek prologues may be in date than the plays they illustrate, or may contain large interpolations. On the Latin stage the prologue was more elaborate than it was in Athens, in the careful composition of the poems which Plautus prefixes to his plays we see what importance he gave to this portion of the entertainment. Molière revived the Plautian prologue in the introduction to his Amphitryon. Racine introduced Piety as the speaker of a prologue; the tradition of the ancients vividly affected our own early dramatists. Not only were the mystery plays and miracles of the Middle Ages begun by a homily, but when the drama in its modern sense was inaugurated in the reign of Elizabeth, the prologue came with it, directly adapted from the practice of Euripides and Terence. Sackville, Lord Buckhurst, prepared a sort of prologue in dumb show for his Gorboduc of 1562.
Prologues of Renaissance drama served a specific function of transition and clarification for the audience. A direct address made by one actor, the prologue acted as an appeal to the audience's attention and sympathy, providing historical context, a guide to themes of the play, a disclaimer. In this mode, a prologue, like any scripted performance, would exist as the text, the actor who speaks that text, the presentation of the language as it is spoken. In ushering the audience from the reality into the world of the play, the prologue straddles boundaries between audience, characters, playwrights--basically, it creates a distinction between the imaginary space within the play and the outside world. Ben Jonson has been noted as using the prologue to remind the audience of the complexities between themselves and all aspects of the performance; the actor reciting the prologue would appear dressed in black, a stark contrast to the elaborate costumes used during the play. The prologue wore no makeup.
He may have carried a book, scroll, or a placard displaying the title of the play. He was introduced by three short trumpet calls, on the third of which he entered and took a position downstage, he made three bows in the current fashion of the court, addressed the audience. The Elizabethan prologue was unique in incorporating aspects of both classical and medieval traditions. In the classical tradition, the prologue conformed to one of four subgenres: the sustatikos, which recommends either the play or the poet. In the medieval tradition, expressions of morality and modesty are seen, as well as a meta-theatrical self-consciousness, an unabashed awareness of the financial contract engaged upon by paid actors and playwrights, a paying audience. Prologues have long been used in non-dramatic fiction, since at least the time of Geoffrey Chaucer's Canterbury Tales, although Chaucer had prologues to many of the tales, rather than one at the front of the book. Epigraph Epilogue Foreword Introduction Preface Prolegomena Attribution This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed..
"Prologue". Encyclopædia Britannica. Cambridge University Press; the dictionary definition of prologue at Wiktionary
Fantasy is a genre of speculative fiction set in a fictional universe inspired by real world myth and folklore. Its roots are in oral traditions, which became literature and drama. From the twentieth century it has expanded further into various media, including film, graphic novels and video games. Fantasy is distinguished from the genres of science fiction and horror by the absence of scientific or macabre themes though these genres overlap. In popular culture, the fantasy genre is predominantly of the medievalist form. In its broadest sense, fantasy consists of works by many writers, artists and musicians from ancient myths and legends to many recent and popular works. Most fantasy uses other supernatural elements as a main plot element, theme, or setting. Magic and magical creatures are common in many of these worlds. An identifying trait of fantasy is the author's reliance on imagination to create narrative elements that do not have to rely on history or nature to be coherent; this differs from realistic fiction in that realistic fiction has to attend to the history and natural laws of reality, where fantasy does not.
An author applies his or her imagination to come up with characters and settings that are impossible in reality. Many fantasy authors use real-world mythology as inspiration. For instance, a narrative that takes place in an imagined town in the northeastern United States could be considered realistic fiction as long as the plot and characters are consistent with the history of a region and the natural characteristics that someone, to the northeastern United States expects. Fantasy has been compared to science fiction and horror because they are the major categories of speculative fiction. Fantasy is distinguished from science fiction by the plausibility of the narrative elements. A science fiction narrative is unlikely, though possible through logical scientific or technological extrapolation, where fantasy narratives do not need to be scientifically possible. Authors have to rely on the readers' suspension of disbelief, an acceptance of the unbelievable or impossible for the sake of enjoyment, in order to write effective fantasies.
Despite both genres' heavy reliance on the supernatural and horror are distinguishable. Horror evokes fear through the protagonists' weaknesses or inability to deal with the antagonists. Elements of the supernatural and the fantastic were a part of literature from its beginning. Fantasy elements occur throughout the ancient Akkadian Epic of Gilgamesh; the ancient Babylonian creation epic, the Enûma Eliš, in which the god Marduk slays the goddess Tiamat, contains the theme of a cosmic battle between good and evil, characteristic of the modern fantasy genre. Genres of romantic and fantasy literature existed in ancient Egypt; the Tales of the Court of King Khufu, preserved in the Westcar Papyrus and was written in the middle of the second half of the eighteenth century BC, preserves a mixture of stories with elements of historical fiction and satire. Egyptian funerary texts preserve mythological tales, the most significant of which are the myths of Osiris and his son Horus. Folk tales with fantastic elements intended for adults were a major genre of ancient Greek literature.
The comedies of Aristophanes are filled with fantastic elements his play The Birds, in which an Athenian man builds a city in the clouds with the birds and challenges Zeus's authority. Ovid's Metamorphoses and Apuleius's The Golden Ass are both works that influenced the development of the fantasy genre by taking mythic elements and weaving them into personal accounts. Both works involve complex narratives in which humans beings are transformed into animals or inanimate objects. Platonic teachings and early Christian theology are major influences on the modern fantasy genre. Plato used allegories to convey many of his teachings, early Christian writers interpreted both the Old and New Testaments as employing parables to relay spiritual truths; this ability to find meaning in a story, not true became the foundation that allowed the modern fantasy genre to develop. The most well known fiction from the Islamic world was The Book of One Thousand and One Nights, a compilation of many ancient and medieval folk tales.
Various characters from this epic have become cultural icons in Western culture, such as Aladdin and Ali Baba. Hindu mythology was an evolution of the earlier Vedic mythology and had many more fantastical stories and characters in the Indian epics; the Panchatantra, for example, used various animal fables and magical tales to illustrate the central Indian principles of political science. Chinese traditions have been influential in the vein of fantasy known as Chinoiserie, including such writers as Ernest Bramah and Barry Hughart. Beowulf is among the best known of the Nordic tales in the English speaking world, has had deep influence on the fantasy genre. Norse mythology, as found in the Elder Edda and the Younger Edda, includes such figures as Odin and his fellow Aesir, dwarves, elves and giants; these elements have been directly imported into various fantasy works. The separate folklore of Ireland and Scotland has sometimes been us
The Key (Curley novel)
The Key is a fantasy novel written by Marianne Curley. It is the third book in the Guardians of Time Trilogy; as with all of the Guardians of Time books, the prologue is written in the third person, while all the chapters are written in the first person switching points of view between two narrators. In this book, the two narrators are Matt. In this installment of the series and Rochelle struggle to deal with the impending battle, predicted to decide the fate of the Named. Meanwhile, tensions have been mounting as romance between the Named forms, much to the displeasure of some characters. A traitor has been discovered; this book states the struggles between different characters point of view from Rochelle, but finds a way to get through them by ignoring the accusations The story is set in Angel Falls, located above the ancient city of Veridian. The story is set in the near-present time; some of the story takes place in the past, in a variety of times/places. It takes place in the Underworld realm and the Heavenly realm.
More so than in the previous two novels, the story takes place in the lost city and a mythical city of Atlantis, pre-sinking. Other locations of action include the high school in Angel Falls and the woods surrounding the city, where the epic battle takes place. Shelle Rosenfeld in her review for Booklist said that "Matt and Rochelle's alternating, present-tense first-person narratives add suspense to an engrossing, if not dense, driven by detailed descriptions of a dizzying array of magic devices, time periods and settings." School Library Journal said in their review that "other than brief references, the book relies on familiarity with the earlier volumes for understanding the causes of action and all other background. The characters never develop and the dialogue borders on being overwrought; the constant action may appeal to fans of the earlier volumes." The Named The Dark Marianne Curley's website Bloomsbury Guardians of Time website