Rhetorical Meaning-Making Within Intimate Encounters and Their Discourses at the Macro, Meso, and Micro Levels
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Gossip Girl Viral Promotion Problem Statement
Group 4 - Round Table Media Case 14-1: Gossip Girl Viral Promotion Problem Statement: The CW’s show Gossip Girl has lost live viewers, which decreases the value of the advertising spots available during the show. The network seeks to increase live viewership by incentivizing viewers via a creative, viral campaign to watch Gossip Girl live instead of recording the show and watching it later. Critical Factors: A. The primary target market for this campaign is women, 18-24 years of age. The CW is the only network capturing women in this target. The secondary target market is college males. B. Increased use of digital video recorders, websites streaming television shows, and services like DirecTV and Tivo means that viewers are choosing to record shows and watch them later, and can fast forward through commercials.1 C. The CW has requested this campaign be a non-traditional and outside-the-box publicity and promotional campaign. The CW network executives highly admired Jack in the Box’s “Hang in There Jack” campaign and its use of non-traditional media. D. The CW Network has fourteen weeks to launch a viral Gossip Girl media campaign before the next season premiere, then the campaign will continue while Gossip Girl airs. E. Gossip Girl emphasizes fashion and technology, and is influential in these industries. F. The success of the promotional campaign will be measured by changes in ratings during the time of the campaign, and hopefully will result in a significant increase in ratings. G. Gossip Girl is one of The CW’s most popular series, so it is understood that we are working with a large budget. -
AGE Qualitative Summary
AGE Qualitative Summary Age Gender Race 16 Male White (not Hispanic) 16 Male Black or African American (not Hispanic) 17 Male Black or African American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 18 Malel Blacklk or Africanf American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Female White (not Hispanic) 18 Female Asian, Asian Indian, or Pacific Islander 18 Male Asian, Asian Indian, or Pacific Islander 18 Female White (not Hispanic) 18 Female White (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 19 Male Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Female Native American or Alaskan Native 19 Female White (p(not Hispanic)) 19 Male Hispanic (unspecified) 19 Female Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female White (not Hispanic) 19 Male Hispanic/Latino – White 19 Male Hispanic/Latino – White 19 Male Native American or Alaskan Native 19 Female Other 19 Male Hispanic/Latino – White 19 Male Asian, Asian Indian, or Pacific Islander 20 Female White (not Hispanic) 20 Female Other 20 Female Black or African American (not Hispanic) 20 Male Other 20 Male Native American or Alaskan Native 21 Female Don’t want to respond 21 Female White (not Hispanic) 21 Female White (not Hispanic) 21 Male Asian, Asian Indian, or Pacific Islander 21 Female White (not -
Philip Roth's Confessional Narrators: the Growth of Consciousness
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1979 Philip Roth's Confessional Narrators: The Growth of Consciousness. Alexander George Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation George, Alexander, "Philip Roth's Confessional Narrators: The Growth of Consciousness." (1979). Dissertations. 1823. https://ecommons.luc.edu/luc_diss/1823 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Alexander George PHILIP ROTH'S CONFESSIONAL NARRATORS: THE GROWTH OF' CONSCIOUSNESS by Alexander George A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 1979 ACKNOWLEDGE~£NTS It is a singular pleasure to acknowledge the many debts of gratitude incurred in the writing of this dissertation. My warmest thanks go to my Director, Dr. Thomas Gorman, not only for his wise counsel and practical guidance, but espec~ally for his steadfast encouragement. I am also deeply indebted to Dr. Paul Messbarger for his careful reading and helpful criticism of each chapter as it was written. Thanks also must go to Father Gene Phillips, S.J., for the benefit of his time and consideration. I am also deeply grateful for the all-important moral support given me by my family and friends, especially Dr. -
Gossip Girl-Season1 Episode3 (The Letter)
www.SSEcoach.com Gossip Girl-Season1 Episode3 – Blair reads her letter to Serena Title: Gossip Girl – The letter Time – 2:31 Part 1 - Script 1. Blair: Whenever something’s bothering you, I can always find you here. 2. Serena: You here for another catfight? 3. Serena: What’s that? 4. Blair: A letter; I wrote it to you when you were away at boarding school. 5. Blair: I never sent it. 6. Blair: Dear Serena, my world is falling apart and you’re the only one who would understand. My father left my mother for a 31 year old model; a male model. I feel like screaming because I don’t have anyone to talk to. 7. Blair: You’re gone. My dad’s gone. Nate’s acting weird. Where are you? Why don’t you call? Why did you leave without saying goodbye? 8. Blair: You’re supposed to be my best friend. I miss you so much. Love Blair. 9. Serena: Why didn’t you send it? I would’ve- 10. Blair: You would’ve what! 11. Blair: You knew Serena and you didn’t even call. 12. Serena: I didn’t know what to say to you. I didn’t know how to be your friend after what I did. I’m so sorry. 13. Blair: Erik told me what happened; I guess your family’s been going through a hard time too. 14. Gossip Girl: Spotted in Central Park: Two white flags waving. Could an Upper East Side peace accord be far off? 15. Gossip Girl: So what will it be? Truce or consequences? We all know one nation can’t have two queens. -
The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019
Masthead Logo Scholar Works Honors Theses Honors 2019 Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker University of Maine at Farmington Follow this and additional works at: https://scholarworks.umf.maine.edu/honors_theses Part of the Comparative Literature Commons Recommended Citation Decker, Nichole, "Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl" (2019). Honors Theses. 5. https://scholarworks.umf.maine.edu/honors_theses/5 This Research Project is brought to you for free and open access by the Honors at Scholar Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholar Works. For more information, please contact [email protected]. 2 Bricolage on the Upper East Side: The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019 “Okay, so you’re probably going, is this like a Noxzema commercial or what?” - Cher In this paper I will analyze the classic novel Emma, and the 1995 film Clueless, as an adaptive pair, but I will also be analyzing the TV series, Gossip Girl, as a derivative text. I bring this series into the discussion because of the ways in which it echos, parallels, and alludes to both Emma and Clueless individually, and the two as a source pair. I do not argue that the series is an actual adaptation, but rather, a sort of collage, recombining motifs from both source texts to create something new, exciting, and completely absurd. -
Pirate and Hacking Speak Because Your Communicating with the World, Tell Them What You Think
Pirate and Hacking Speak Because your communicating with the world, tell them what you think.... ----------------------------------------------------------------------- Afrikaans Poes / Doos - Pussy Fok jou - Fuck you Jy pis my af - You're pissing me off Hoer - Whore Slet - Slut Kak - Shit Poephol - Asshole Dom Doos - Dump Pussy Gaan fok jouself - Go fuck yourself ------------------------------------------------------------------------ Arabic Koos - cunt. nikomak - fuck your mother sharmuta - whore zarba - shit kis - vagina zib - penis Elif air ab tizak! - a thousand "dicks" in your ass! kisich - pussy Elif air ab dinich - A thousand dicks in your religion Mos zibby! - Suck my dick! Waj ab zibik! - An infection to your dick! kelbeh - bitch (lit a female dog) Muti - jackass Kanith - Fucker Kwanii - Faggot Bouse Tizi - Kiss my ass Armenian Aboosh - Stupid Dmbo, Khmbo - Idiot Myruht kooneh - Fuck your mother Peranuht shoonuh kukneh - The dog should shit in your mouth Esh - Donkey Buhlo (BUL-lo) - Dick Kuk oudelic shoon - Shit eating dog Juge / jugik - penis Vorig / vor - ass Eem juges bacheek doer - Kiss my penis Eem voriga bacheek doer - Kiss my ass Toon vor es - You are an ass Toon esh es - You are a jackass Metz Dzi-zik - Big Breasts Metz Jugik - Big penis ------------------------------------------------------------------------ Bengali baing chood - sister fucker chood - fuck/fucker choodmarani - mother fucker haramjada - bastard dhon - dick gud - pussy khanki/maggi - whore laewra aga - dickhead tor bapre choodi - fuck your dad ------------------------------------------------------------------------ -
Thrill of the Chace
REVIEW Ed and Thrill of Jessica are dating in real life KELLY RUTHERFORD CE (Lily van der Woodsen) It’s a case of life imitating THELUCKY SHANNON O’M EARACHA KEEPS A DATE Ed and art as 40-year-old WITH GOSSIP GIRL NICE GUY NATE Chace are Kelly, who plays a great mates multi-divorced mum, off-screen battles for custody of her WAKE-UP call at 6am is not real-life son, Hermès. much fun, although if Chace ED WESTWICK Crawford – Gossip Girl’s Nate (Chuck A Bass), CHACE CRAWFORD Archibald – is at the end of the line, (Nate Archibald) and JESSICA could there be a better reason to get SZOHR (Vanessa Abrams) up in the morning? Nate and Vanessa briefly dated on So Grazia happily (and breathlessly) the show, but party-boy Ed is now takes the call from the Texan romancing Jessica in the real world – heart-throb, who has a rare day off despite the gay rumours that plague former flatmates Ed and Chace. from !lming the hit drama series. The 23-year-old is eager to tell us about his crush on Australia and his penchant for Aussie stars. “I want to get to Australia so bad,” Chace says. “Ed [Westwick, aka Chuck Bass] has of the been down there and he had a blast. Real-life drama s Australia is de!nitely next on my list. The accent, the girls!” CAST Despite having hordes of female GOSSIP GI RL fans, the actor remains surprisingly THE ON-SCREEN SOAP OPERA HAS grounded, mostly thanks to some NOTHING ON THEIR OFF-SCREEN PLOTS good ole southern values. -
GOSSIP GIRL by Cecily Von Ziegesar
Executive Producer Josh Schwartz Executive Producer Stephanie Savage Executive Producer Bob Levy Executive Producer Les Morgenstein Executive Producer John Stephens Co-Executive Producer Joshua Safran Producer Amy Kaufman Producer Joe Lazarov Episode 206 “New Haven Can Wait” Written by Alexandra McNally & Joshua Safran Directed by Norman Buckley Based on GOSSIP GIRL by Cecily von Ziegesar Double White Revisions 8/20/08, pg. 41 Goldenrod Revisions 8/14/08, pgs. 2, 3, 3A Green Revisions 8/12/08, pg. 16 Yellow Revisions 8/12/08, pgs. 5, 20, 20A-21, 22, 23, 31, 31A, 31B-32, 32A, 33, 36, 37, 38, 38A-39, 49A, 50, 51 Full Pink Revisions 8/11/08 Full Blue Revisions 8/8/08 Production #: 3T7606 Production Draft 8/5/08 © 2008 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment, Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. “New Haven Can Wait” Character List CAST Serena van der Woodsen Blair Waldorf Dan Humphrey Jenny Humphrey Nate Archibald Chuck Bass Rufus Humphrey Lily Bass Eleanor Waldorf Dorota Vanessa Abrams Headmaster Prescott Headmistress Queller Assistant GUEST CAST * Dean Berube (pronounced Barraby) Jordan Steele Skull and Bones Leader Skull Bones Shirley History Professor Girl (Miss Steinberg) Yale Guy EXTRAS Constance and St. Jude’s Seniors Yale Students Serena’s Driver Yale Guys and Two Super-Hot Yale Girls Skull and Bones Members Three Masked -
2020-05-25 Prohibited Words List
Clouthub Prohibited Word List Our prohibited words include derogatory racial terms and graphic sexual terms. Rev. 05/25/2020 Words Code 2g1c 1 4r5e 1 1 Not Allowed a2m 1 a54 1 a55 1 acrotomophilia 1 anal 1 analprobe 1 anilingus 1 ass-fucker 1 ass-hat 1 ass-jabber 1 ass-pirate 1 assbag 1 assbandit 1 assbang 1 assbanged 1 assbanger 1 assbangs 1 assbite 1 asscock 1 asscracker 1 assface 1 assfaces 1 assfuck 1 assfucker 1 assfukka 1 assgoblin 1 asshat 1 asshead 1 asshopper 1 assjacker 1 asslick 1 asslicker 1 assmaster 1 assmonkey 1 assmucus 1 assmunch 1 assmuncher 1 assnigger 1 asspirate 1 assshit 1 asssucker 1 asswad 1 asswipe 1 asswipes 1 autoerotic 1 axwound 1 b17ch 1 b1tch 1 babeland 1 1 Clouthub Prohibited Word List Our prohibited words include derogatory racial terms and graphic sexual terms. Rev. 05/25/2020 ballbag 1 ballsack 1 bampot 1 bangbros 1 bawdy 1 bbw 1 bdsm 1 beaner 1 beaners 1 beardedclam 1 bellend 1 beotch 1 bescumber 1 birdlock 1 blowjob 1 blowjobs 1 blumpkin 1 boiolas 1 bollock 1 bollocks 1 bollok 1 bollox 1 boner 1 boners 1 boong 1 booobs 1 boooobs 1 booooobs 1 booooooobs 1 brotherfucker 1 buceta 1 bugger 1 bukkake 1 bulldyke 1 bumblefuck 1 buncombe 1 butt-pirate 1 buttfuck 1 buttfucka 1 buttfucker 1 butthole 1 buttmuch 1 buttmunch 1 buttplug 1 c-0-c-k 1 c-o-c-k 1 c-u-n-t 1 c.0.c.k 1 c.o.c.k. -
We Are All Gossip Girl”: Gossip Girl and the Promise of Interactive Television
PREVIOUSLY ON “We are all Gossip Girl”: Gossip Girl and the Promise of Interactive Television Elisa Lange In November 2010, Current TV, a cable network founded by former Vice President Al Gore, has started airing a 30 minute TV series called Bar Karma, which is created in online collaboration with fans and is thus a new step to truly participatory and interactive TV. On a website users can pitch storylines, comment on submitted entries, talk to the producers, and contribute marketing ideas. The show is co-produced by SimCity creator Will Wright and features well-known actors like William Sanderson (http://current.com/studios/about/). Of course, there is no guarantee that the fans’ story idea will find its way into the actual show since the producers and writers still hold the power to decide how and if a pitch is worked into the final product. Still, this project allows viewer to have more than an imaginary control over the televised narrative even if the project’s success still remains to be seen. Still, interactivity rarely plays out on the primary level of the TV program itself, but more commonly on the secondary level and tertiary level of the televisual text, that is network created websites that allow some contributions from fans and unregulated communications between fans (Fiske, 1983: 85). Interactivity within the TV landscape is often associated with the viewers’ ability to turn from passive consumers into active producers of content that “adds” to the televised narrative but does not change it (Hassapopoulou, 2010: 48). This distinction usually does not to take into account that even when viewers are passively sitting on their couch watching soap operas, their minds are still actively engaged in making sense of the narratives and relationships. -
Do You Fit the Alloy Mold?
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Do You Fit the Alloy Mold? The Homogenization of Structure and Audience in the Television Adaptations of 'Gossip Girl,' 'Pretty Little Liars,' and 'The Vampire Diaries' Caitlin Murray Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3064 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Caitlin Murray 2013 All Rights Reserved Do You Fit the Alloy Mold? The Homogenization of Structure and Audience in the Television Adaptations of Gossip Girl, Pretty Little Liars, and The Vampire Diaries A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English at Virginia Commonwealth University. by Caitlin Murray Bachelor of Arts, Virginia Tech, Blacksburg, VA, 2010 Director: Dr. Richard Fine, Professor of English Virginia Commonwealth University Richmond, Virginia April 25, 2013 Acknowledgment The author wishes to thank several people. I would like to thank my parents and my sister for their unending love and support. I would also like to thank Zachary for his support and patience in the year it took me to write this thesis. I would like to thank my committee members, Dr. Christenbury and Dr. Brinegar for all of the help they have given me throughout this process. -
Dissertation for the Degree of Master of Arts In
DISSERTATION FOR THE DEGREE OF MASTER OF ARTS IN LINGUISTICS (BY RESEARCH) STEPHEN TURTON (454123) TITLE Trufax about Discussion Group Netspeak: An Historical Analysis of Semantic Change in the English Slang of Newsgroups and Web Forums SUPERVISOR Dr Andrew Van der Spuy Stephen Turton (454123) LING7010 Page i DECLARATION I, Stephen Turton, state that to the best of my knowledge and belief this dissertation contains no material previously published by any other person except where due acknowledgement has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. This is my own unaided work. Signed: Date: 27 October 2014 Stephen Turton (454123) LING7010 Page ii A NOTE OF THANKS I should like to thank the Department of Linguistics at the University of the Witwatersrand for the kindness and generosity they have shown to me over the last five years. In particular I wish to thank my supervisor, Dr Andrew Van der Spuy, for the enthusiasm, encouragement, and insight he offered in guiding my research from an inkling of an idea to the completed dissertation. Stephen Turton (454123) LING7010 Page 1 TABLE OF CONTENTS 1 Introduction p. 4 1.1 A Note on the Title p. 4 1.2 Preliminary Remarks p. 4 1.3 Overview p. 6 1.4 Regarding the Presentation of Data p. 7 2 Background p. 8 2.1 Semantic Change p. 8 2.2 Slang p. 8 2.3 Internet Discussion Groups p. 13 3 Literature Review p. 17 4 Methodology p. 21 5 Theoretical Framework p.