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Towards a Unified Theory Analysing Workplace Ideologies: Marxism And
Marxism and Racial Oppression: Towards a Unified Theory Charles Post (City University of New York) Half a century ago, the revival of the womens movementsecond wave feminismforced the revolutionary left and Marxist theory to revisit the Womens Question. As historical materialists in the 1960s and 1970s grappled with the relationship between capitalism, class and gender, two fundamental positions emerged. The dominant response was dual systems theory. Beginning with the historically correct observation that male domination predates the emergence of the capitalist mode of production, these theorists argued that contemporary gender oppression could only be comprehended as the result of the interaction of two separate systemsa patriarchal system of gender domination and the capitalist mode of production. The alternative approach emerged from the debates on domestic labor and the predominantly privatized character of the social reproduction of labor-power under capitalism. In 1979, Lise Vogel synthesized an alternative unitary approach that rooted gender oppression in the tensions between the increasingly socialized character of (most) commodity production and the essentially privatized character of the social reproduction of labor-power. Today, dual-systems theory has morphed into intersectionality where distinct systems of class, gender, sexuality and race interact to shape oppression, exploitation and identity. This paper attempts to begin the construction of an outline of a unified theory of race and capitalism. The paper begins by critically examining two Marxian approaches. On one side are those like Ellen Meiksins Wood who argued that capitalism is essentially color-blind and can reproduce itself without racial or gender oppression. On the other are those like David Roediger and Elizabeth Esch who argue that only an intersectional analysis can allow historical materialists to grasp the relationship of capitalism and racial oppression. -
Spring 2018 Commencement Program
TE TA UN S E ST TH AT I F E V A O O E L F A DITAT DEUS N A E R R S I O Z T S O A N Z E I A R I T G R Y A 1912 1885 ArizonA StAte UniverSity CommenCement And ConvoCAtion ProgrAm Spring 2018 May 7–11, 2018 The NaTioNal aNThem The STar-SpaNgled BaNNer O say can you see, by the dawn’s early light, What so proudly we hailed at the twilight’s last gleaming? Whose broad stripes and bright stars through the perilous fight O’er the ramparts we watched, were so gallantly streaming? And the rockets’ red glare, the bombs bursting in air Gave proof through the night that our flag was still there. O say does that Star-Spangled Banner yet wave O’er the land of the free and the home of the brave? alma maTer ariZoNa STaTe UNiVerSiTY Where the bold saguaros Raise their arms on high, Praying strength for brave tomorrows From the western sky; Where eternal mountains Kneel at sunset’s gate, Here we hail thee, Alma Mater, Arizona State. —Hopkins-Dresskell marooN aNd gold Fight, Devils down the field Fight with your might and don’t ever yield Long may our colors outshine all others Echo from the buttes, Give em’ hell Devils! Cheer, cheer for A-S-U! Fight for the old Maroon For it’s Hail! Hail! The gang’s all here And it’s onward to victory! Students whose names appear in this program are candidates for the degrees listed, which will be conferred subject to completion of requirements. -
The Rainbow Spectrum Explained
A LAB JOURNAL OF THE PG STUDENTS OF JOURNALISM AND MASS COMMUNICATION COMMUNIQUE CONCERN, COMPASSION, CONSCIENCE VOLUME -11; ISSUE - 01 ST. JOSEPH’S COLLEGE (AUTONOMOUS) July 2019 The month of June is The rainbow spectrum explained celebrated as “Pride Month” during which rainbow flags, Ankita Roy sexuality along with it being a very request to create it from the first Director of Swabhava Trust – hats, shoes, and more come intimate aspect, is also a necessity openly gay U.S. politician, Harvey regarding the need to have separate out in full force across the exuality, or sexual as it grooms a person’s psychology. Milk. flags for every sub-community globe. Cities all around the orientation is a spectrum; Hayley Kiyoko, informally History recalls the first ever that fall under the LGBTQIA+, he world host Pride marches, Snot of colours or sexual titled Lesbian Jesus –who once rainbow flag to consist of eight said, “The LGBTQIA+ movement brands launch Pride identities but of experiences and sang “girls like girls like boys do, colours, each representing it’s own replicates some of the divisions collections, and social media learnings. nothing new,” held open the doors significance; hot pink for sex, red that our usual, conforming society platforms release special The golden rule to first study the for more queer artists to create and for life, orange for healing, yellow enforces upon us. It is necessary spirited features that get users LGBTQIA+ community is to never write songs that make the not-so- for sun, green for serenity with to challenge them and ensure that and influencers creating and forget that there is a whole history straight hearts feel giddy. -
Department of English and American Studies Advice-Giving on Twitter 2018
Masaryk University Faculty of Arts Department of English and American Studies Teaching English Language and Literature for Secondary Schools Petra Seidlová Advice-giving on Twitter Master’s Diploma Thesis Supervisor: Doc. Mgr. Jan Chovanec, PhD. 2018 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my supervisor, Doc. Mgr. Jan Chovanec, PhD., for his valuable advice and support. Table of conents 1. Introduction ................................................................................................. 6 1.1. Social Media ............................................................................................ 8 1.1.1. General characteristics ...................................................................... 9 1.1.2. Twitter ............................................................................................... 9 1.1.3. Twitter facilities .............................................................................. 11 1.1.4. Privacy ............................................................................................ 13 1.2. YouTubers ............................................................................................. 14 2. Advice-giving ........................................................................................... 16 2.1. Definition .............................................................................................. 17 2.2. Phatic function -
MARCH 7-10, 2019 GEORGETOWN UNIVERSITY Annual Meeting of the American Comparative Literature Association
2019 MARCH 7-10, 2019 GEORGETOWN UNIVERSITY Annual Meeting of the American Comparative Literature Association ACLA 2019 | GEORGETOWN TABLE OF CONTENTS Welcome to ACLA 2019 and Acknowledgments ...................................................................................4 Welcome to Georgetown University ........................................................................................................6 General Information ..................................................................................................................................7 Registration .............................................................................................................................................7 Book Exhibit............................................................................................................................................7 Conference Locations ............................................................................................................................7 Bookstore .................................................................................................................................................7 Accessibility .............................................................................................................................................8 Audiovisual and Media Needs ..............................................................................................................9 Wi-Fi ........................................................................................................................................................9 -
The Phonological Non Standard English in Youtuber Daniel Howell’S Videos
The Phonological Non-standard English In Youtuber Daniel Howell’s Videos THE PHONOLOGICAL NON STANDARD ENGLISH IN YOUTUBER DANIEL HOWELL’S VIDEOS Rifqo Insyiani Zanah English Department, Faculty of Languages and Art, State University of Surabaya [email protected] Widyastuti English Department, Faculty of Languages and Art, State University of Surabaya [email protected] Abstrak Perkembangan Bahasa non-standard Ingrris menjadi ideologi yang muncul dalam hubungan sosial dan berlaku di komunitas – komunitas dengan hubungan yang baik (Coupland, 2007). Hal ini, bisa dilihat dari video Daniel Howell dimana Bahasa non-standard Inggrisnya mengalami perubahan. Dari dua video Daniel Howell berjudul “Hello Internet” (2009) dan “Draw My Life” (2013), artikel ini membahas analisis dari fitur – fitur linguistic yang berbeda di kedua video dan kenapa perbedaan tersebut dapat terjadi. Descriptive qualitative adalah metode yang digunakan dalam penelitian ini. Pengumpulan data dilakukan dengan mengelompokkan dan menganalisa kalimat Bahasa non-standard Inggris dari kedua video. Alat yang digunakan adalah peneliti sendiri yang menggunakan laptop, pemutar video VLC, dan earphone untuk membantu peneliti dalam mengumpulkan data. Hasil penelitian menunjukkan bahwa terdapat 4 fitur linguistic yang terjadi; fonologi, morphologi, syntax, dan lexical. Di fitur fonologi antara lain; realization of final /ŋ/, the velar nasal, as the alveolar nasal /n/; -r deletion; final consonant cluster reduction; devoicing; and the change of vowel sound. Kata kunci: Non-standard, Youtubers, Daniel Howell. Abstract Non-standard maintenance later becomes an ideology which is work within social network, and it usually operates in tight communities (Coupland, 2007). This can be seen in Daniel Howell’s videos in which his non-standard English Language experiencing the changes. -
Dating the Real Dan Howell
Jun 12, · Dan Howell and Phil Lester are a British duo that has created content together since The pair became a hit soon after they started collaborating. They attracted fans with their exciting content, which ranged from challenges to Q&A videos and pranks. Partner, Dating Info Dan Howell and Phil Lester sharing a stage circa In , Daniel Howell publicly came out as gay on his Youtube channel. After the video was uploaded, various speculations started to circulate among the fans regarding his dating info. Many guessed that Phil Lester was actually his partner and not merely his best friend. "Daniel Howell just ended biphobia," added another. But many people are more curious about whether he and his longtime collaborator, Phil Lester are dating. Midway through his minute video, Daniel addresses his more-than-friendship. Jan 14, · Dan was born with the full name Daniel James Howell with the white ethnical background. Although his parent’s name hasn’t surfaced yet, their occupation is known. His father worked at a departmental store, whereas his mother owned a beauty parlor. Dan Howell quickly rose to fame on the internet has one half of the comedy duo "Dan & Phil." If you don't recognize Dan's name, it may be because you know him from his old YouTube name, Danisnotonfire. The two were known for making YouTube videos, each uploading their first video in , and their first together as a duo in Dating The Real Dan Howell, free dating site madagascar, oktoberfest rencontre, dating coaching program for men Ein warmherziges Herz sucht das gegenüber! Du bist in meinem Alter mit beiden Beinem im Leben stehend (so wie ich) dann bist du richtig hier. -
Download, and Redistribute Live Streams Without the Knowledge Or Permission of the Original Creators
i We’ll See You Guys Back on the Internet: Live Performance On and Off-Line By: Ash Sedillo B.A., Trinity University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment Of the requirement for the degree of Master of Arts Department of Theatre and Dance 2017 ii This thesis entitled: We’ll See You Guys Back on the Internet: How Digital Communities Complicate Live Performance Both On and Off-Line Written by Ash Sedillo __________________________________________ Bud Coleman, Ph.D __________________________________________ Marcos Steuernagel, Ph.D. __________________________________________ Cecilia J. Pang, Ph.D. Date: ___________ The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii Sedillo, Ash (M.A., Theatre [Department of Theatre & Dance]) We’ll See You Guys Back on the Internet: How Digital Communities Complicate Live Performance Both On and Off-Line Thesis directed by Professor Bud Coleman This thesis illuminates the world of YouTube culture by analyzing how both fans and content creators use liveness as a way to connect to each other and create a holistic community experience. YouTube, and YouTube fan culture, complicates liveness by creating several different live experiences (both digital and IRL), often at the same time. YouTube content creators are skilled at utilizing both new technology and older forms of live performance to engage their audiences and provide an unexpected live experience. In this thesis I will explore how liveness entwines both creator and audience in a variety of platforms, including purely digital live experiences through live streams, online video conventions like VidCon that facilitate both a digital and physical live experience, and the recent trend of YouTube live shows that draw on traditional theatrical forms to create a physical live experience. -
'Eating, Sleeping, Breathing, Reading': the Zoella Book Club and The
. Volume 16, Issue 1 May 2019 ‘Eating, sleeping, breathing, reading’: The Zoella Book Club and the young woman reader in the 21st Century Maxine Branagh-Miscampbell, University of Stirling, UK Stevie Marsden, University of Leicester, UK Abstract: This article considers the development and promotion of WH Smith’s Zoella Book Club and its success in developing an online community who share a reading experience through their engagement with the club. The Zoella Book Club is considered in relation to contemporary celebrity book club culture, as well as within an historical context that appraises the Zoella Book Club in terms of the construction and promotion of ideal(ised) notions of the young woman reader. Through its aesthetic, choice of books and rhetoric, the Zoella Book Club propagated, commodified, and ultimately perpetuated, highly feminised and domestic imagery to construct an image of the ideal woman reader in the twenty-first century. Keywords: celebrity, influencers, social media, book clubs, women readers, young adult fiction Introduction At 6pm on Wednesday 8 June 2016, British YouTuber Zoe Sugg, better known as her online alias Zoella, released a paid-for advertorial video announcing the ‘Zoella Book Club’ (henceforth referred to as ZBC), an online book club in partnership with the high-street book retailer WH Smith. In the video, Sugg explained how she had been reading ‘non-stop’ in preparation for the club and had ‘basically been eating, sleeping, breathing, reading’ (Zoella, 2016a). She stated she had selected eight young adult books published between 2013 and 2016 for the first round of the book club, which would take place over the summer months Page 412 Volume 16, Issue 1 May 2019 in 2016, and this was followed by an autumn selection in October 2016. -
Research Essay
RESEARCH ESSAY Institut Guindàvols Anna Ariño Serra 2nd Batxillerat humanistic Tutor: Rosa Borrell January 2015 Women‟s presence on YouTube INDEX 1. ACKNOWLEDGEMENTS................................................................................. 4 2. GLOSSARY ........................................................................................................ 5 3. INTRODUCTION ............................................................................................... 6 3.1. Why did I choose this topic? ................................................................ 6 3.2. Objectives ...................................................................................................... 6 3.3. Structure of the project .................................................................................. 7 3.4. Methodology .................................................................................................. 7 4. UNDERRATED BY THEIR GENDER ............................................................. 8 4.1. Women in history .......................................................................................... 8 4.2. The apparition of feminism ........................................................................... 9 5. WOMEN IN NEW TECHNOLOGIES ............................................................. 10 5.1. History ......................................................................................................... 10 5.2. Statistics ...................................................................................................... -
Ja Amatööritekstitysten Piirteet Youtube-Sisällössä Tarkastelussa Daniel Howellin Ja Philip Lesterin Videoiden Tekstitykset
Fani- ja amatööritekstitysten piirteet YouTube-sisällössä Tarkastelussa Daniel Howellin ja Philip Lesterin videoiden tekstitykset Iida Röksä Tampereen yliopisto Viestintätieteiden tiedekunta Monikielisen viestinnän ja käännöstieteen maisteriopinnot Saksan kääntämisen ja tulkkauksen opintosuunta Pro gradu -tutkielma Huhtikuu 2018 Tampereen yliopisto Viestintätieteiden tiedekunta Monikielisen viestinnän ja käännöstieteen maisteriopinnot Saksan kääntämisen ja tulkkauksen opintosuunta RÖKSÄ, IIDA: Fani- ja amatööritekstitysten piirteet YouTube-sisällössä. Tarkastelussa Daniel Howellin ja Philip Lesterin videoiden tekstitykset Pro gradu -tutkielma 73 sivua, saksankielinen lyhennelmä 14 sivua Huhtikuu 2018 YouTube-sisältöön tehdyistä käyttäjien tuottamista tekstityksistä ja niiden piirteistä ei ole ai- kaisempaa tutkimusta, vaikka YouTuben ja verkkokääntämisen yhä kasvavan suosion myötä niitä on syytä tarkastella. Tässä tutkielmassa tavoitteena on tutkia, minkälaisia YouTube-sisäl- lön tekstitykset ovat ja ovatko fani- ja amatööritekstityksen piirteet niissä vallitsevia. Tutkiel- man hypoteesina on, että fanitekstityksen piirteitä esiintyy YouTuben tekstityksissä, sillä käyt- täjien tuottamat tekstitykset ovat harvoin ammattilaisen käsialaa. Fani- ja amatööritekstityksen piirteet perustuvat muun muassa Boguckin (2009) amatööriteks- titysten tutkimukseen sekä Pérez-Gonzálezin (2007a) ja Díaz Cintasin ja Muñoz Sánchezin (2006) kautta myös Ferrer Simón (2005) koostamaan fanitekstitysten piirteiden listaan. Näitä piirteitä ovat lähtötekstin läheisyys,