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Pedophilia, Poe, and Postmodernism in Lolita
Nabokov’s Dark American Dream: Pedophilia, Poe, and Postmodernism in Lolita by Heather Menzies Jones A Thesis Submitted to the Department of English of the State University of New York, College at Brockport, in partial fulfillment of the requirements for the degree of MASTER OF ARTS 1995 ii Nabokov’s Dark American Dream: Pedophilia, Poe, and Postmodernism in Lolita by Heather Menzies Jones APPROVED: ________________________________________ _________ Advisor Date ________________________________________ _________ Reader ________________________________________ __________ Reader ________________________________________ __________ Chair, Graduate Committee _______________________________________ ___________ Chair, Department of English iii Table of Contents Chapter Page Introduction 1 Pedophilia and Lolita 10 Poe and Lolita 38 Postmodernism and Lolita 58 Works Cited 83 1 INTRODUCTION The following thesis about Vladimir Nabokov's Lolita first began as a paper written as an assignment for a course about postmodern American literature. In the initial paper's title there was an allusion made to the implicated reader, and the paper itself was about giving Lolita a newer and postmodern reading. To read Lolita again, years after doing so initially, was a distinctly disturbing thing to do. The cultural climate has certainly changed since the mid-1950's when the book was first published in this country, and this alone makes the rereading of this novel an engaging opportunity. Lionel Trilling wrote that Nabokov sought to shock us and that he had to stage-manage something uniquely different in order to do so. Trilling believed that the effect of breaking the taboo "about the sexual unavailability of very young girls" had the same force as a "wife's infidelity had for Shakespeare" (5). -
Sammy Strain Story, Part 4: Little Anthony & the Imperials
The Sammy Strain Story Part 4 Little Anthony & the Imperials by Charlie Horner with contributions from Pamela Horner Sammy Strain’s remarkable lifework in music spanned almost 49 years. What started out as street corner singing with some friends in Brooklyn turned into a lifelong career as a professional entertainer. Now retired, Sammy recently reflected on his life accomplishments. “I’ve been inducted into the Rock & Roll Hall of Fame twice (2005 with the O’Jays and 2009 with Little (Photo from the Classic Urban Harmony Archives) Anthony & the Imperials), the Vocal Group Hall of Fame (with both groups), the Pioneer R&B Hall of Fame (with Little An- today. The next day we went back to Ernie Martinelli and said thony & the Imperials) and the NAACP Hall of Fame (with the we were back together. Our first gig was to be a week-long O’Jays). Not a day goes by when I don’t hear one of the songs engagement at the Town Hill Supper Club, a place that I had I recorded on the radio. I’ve been very, very, very blessed.” once played with the Fantastics. We had two weeks before we Over the past year, we’ve documented Sammy opened. From the time we did that show at Town Hill, the Strain’s career with a series of articles on the Chips (Echoes of group never stopped working. “ the Past #101), the Fantastics (Echoes of the Past #102) and The Town Hall Supper Club was a well known venue the Imperials without Little Anthony (Echoes of the Past at Bedford Avenue and the Eastern Parkway in the Crown #103). -
KLOS Feb. 9Th 2014 Ed Sullivan 50Th
1 Playlist Feb. 9th 2014 2 The Beatles 50 Anniversary debut on The Ed Sullivan Show Special 9AM Let’s check in with Murray the K New City 50 years ago The Beatles - Love Me Do – Please Please Me (McCartney-Lennon) Lead vocal: John and Paul The Beatles’ first single release for EMI’s Parlophone label. Released October 5, 1962, it reached #17 on the British charts. On U.S. albums: Introducing… The Beatles (Version 1) - Vee-Jay LP The Early Beatles - Capitol LP The Beatles - P.S. I Love You – Please Please Me (McCartney-Lennon) Lead vocal: Paul The b-side of “Love Me Do,” released October 5, 1962, in the UK. Introducing… The Beatles (Version 1) - Vee-Jay LP The Early Beatles - Capitol LP The Beatles - Thank You Girl - Non-LP B-Side (McCartney-Lennon) Lead vocal: John and Paul U.S.!Non-album single (b-side of “From Me To You” and “Do You Want To Know A Secret”) (Vee-Jay) On U.S. album: The Beatles’ Second Album - Capitol LP!UK:!Non-album single (B- side)!! 3 The Beatles - Ask Me Why – Please Please Me On U.S. albums: Introducing… The Beatles (Version 2) - Vee-Jay LP 9.12 BREAK When the Beatles touched down on an American tarmac 45 yrs ago this weekend, it was the second-most momentous landing of the '60s -- maybe the first, if moon shots don't count. Ten thousand hooky-playing fans were waiting at New York's JFK International Airport as the moptops' plane approached on the afternoon of Feb. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
ESSENTIAL QUESTION How Did Changes in the Technology of Record Manufacturing Effect Popular Music, Radio, and the People Who Consumed Both?
THE SHORT AND LONG OF IT: HOW 45 RPM SINGLES AND 33 1/3 RPM ALBUMS HELPED SHAPE RADIO AND AMERICAN CULTURE OVERVIEW ESSENTIAL QUESTION How did changes in the technology of record manufacturing effect popular music, radio, and the people who consumed both? OVERVIEW The earliest recordings made with Thomas Edison’s phonograph in 1877 required no electricity. To record, musicians directed their performances into a large, funnel-shaped horn. The narrow end of this horn was attached to a needle that recorded the sound vibration by cutting a groove into a wax cylinder as it was rotated by turning a crank. To play the sound captured on that wax cylinder, this process was reversed. Though the improvements to this process have been many, the basic concept of making “records” in the pre-digital era continued to involve capturing sound in the form of indentations on a material surface. What did change over the course of time was the surface on which records were made. Wax cylinders were replaced by flat shellac discs. Shellac however was hard, heavy, and, worse, breakable. Vinyl, the more flexible compound still used for records today, was introduced in the 1930s. With the introduction of vinyl, fierce competition within the recording industry led to two closely timed technological advances in the late 1940s. First, in 1948, Columbia Records introduced the “Long Player,” a 12-inch record that rotated at 33 1/3 rpm and held almost three times as much music as previous records, roughly 18 minutes per side. The following year, Columbia’s main competitor, RCA Victor, released a new 45 rpm 7-inch record. -
Stockton Goes to the Beach Presents Ronnie Spector of the Ronettes
Stockton Goes to the Beach Presents Ronnie Spector of the Ronettes Coming to the Cape May Convention Center July 29 For Immediate Release Wednesday, June 26, 2013 Contact: Suzé DiPietro Interim Director, Stockton PAC Galloway Township, NJ 08205 [email protected] (609) 652-4927 Galloway Township, NJ – The 12th annual Stockton Goes to the Beach Summer Concert Series continues at the Cape May Convention Center in Cape May, NJ for the summer of 2013, with Ronnie Spector and her revolutionary performing style lighting up the stage on Monday, July 29 at 8 p.m. Spector’s sensuality, dress, attitude and sound have served as an inspiration for a generation of rock ‘n’ roll women. Tickets are priced at $35 and may be ordered online at www.capemaycity.com or by calling 1-855-708-9699 or by going to the Cape May Convention Center. Beginning in 1963, Ronnie Spector - as lead singer of the ultimate girl group, The Ronettes - recorded a long string of classic pop hits: powerful, poignant teen anthems such as the Grammy Award-winning “Walking in the Rain,” “Do I Love You,” “Baby I Love You,” “The Best Part of Breaking Up,” “I Can Hear Music,” and the international Number One smash, “Be My Baby.” Only a few artists in history have been capable of defining an entire era in pop music. Ronnie Spector is one of those artists: the embodiment of the heart, soul, and passion of female rock and roll in the 1960s. And to this day, no one has ever surpassed Ronnie's powerful Colpix label. -
That None Should Be Lost: War and Gospel in The
THAT NONE SHOULD BE LOST: WAR AND GOSPEL IN THE CHRISTIAN INDEX, 1860-1865 by THOMAS LEE DREWRY Under the direction of Emory Thomas ABSTRACT Human tragedy breeds certain questions. Loss and grief expose dark recesses of the human spirit, those fears and feelings often hidden from life’s mundane routines that persist, unsuspecting of pending crisis or mortality. Prompted by questions of life, death, and tragedy, many turn to individual frameworks of belief, often religious in nature and in form, in order to heal, to find answers, and simply to do something. During the Civil War, many Confederates sought religion for the sustenance, direction, and motivation necessary for individual and collective survival. For many Americans on both sides of conflict, religion and war were partners. For Confederates, evangelical Christianity proved influential in the daily practices of individual faith and the formation of a national identity. Historians have not adequately examined this relationship, and such inadequacies inspired this study. INDEX WORDS: Civil War, Confederate States of America, religion, Evangelicalism, religious newspapers, Baptists, Georgia Baptists THAT NONE SHOULD BE LOST: WAR AND GOSPEL IN THE CHRISTIAN INDEX, 1860-1865 by THOMAS LEE DREWRY A.B., The University of Georgia, 2000 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2002 © 2002 Thomas Lee Drewry All Rights Reserved. THAT NONE SHOULD BE LOST: WAR AND GOSPEL IN THE CHRISTIAN INDEX, 1860-1865 by THOMAS LEE DREWRY Approved: Major Professor: Emory Thomas Committee: John Inscoe Sandy Martin Electronic Version Approved: Gordhan L. -
FRIDAY, JANUARY 8, 1965 Yosemite National Park, California from the LODGE a SENTINEL Reporler, Shortly After the Flood, Found Lo
FRIDAY, JANUARY8, 1965 YosemiteNational Park, California FROM THE LODGE A SENTINELreporler, shortly after the flood, found Lodge manager Wayne Whiteman still glassy-eyed but finally dry. In his office, a discussion about the Yosernite Lodge and the flood revea- led that at about midnight, December 22, Whiternan decided that things would get worse before they got better and gave orders to start mov- ing furniture - and guests. The first floor furniture in Pine Cottage madeits fourth trip into the attic; earlier trips having been in 1950, 1955, and 1963. Yosemite Creek was THANKS, AND GOODWISHES If this issue of The Sentinel had appearedat time height of our recent unpleasantness, it might have seem- ed ironic to wish our fellow- employ- ees o Happy New Year while our spirits were thus mutually dampened. That we now are fortunately back in full operation so speedily is due to the magnificent performance of our whole organization under the most trying conditions. It would require pages to relate all the individual action which contributed to time safety to our guests, the preservation of our property and the amazingly rapid re- turn to normal activity. The clbove photos reticle by A)lsel. Aclclma following the 1937 flood were loan.ed We do wish you to know that we to th.e Se~ti.~lel by Dick l~,le~n. While the Ch.npel’got cl moreseT)e’re s~nclshi~tg are fully aware of the hardship many by H~at. flood tha.~l by th.e last, the e;uterior sce-~tecoT~lcl hat;e beenreticle last of you endured and the efforts you ~]non.tl}..937 zmt~dr~l, Aceo!’diTig lo.n. -
Hugh Grundy, Colin Blunstone, Paul Atkinson, Chris White, and Rod Argent (From Le )
The Zombies in West London, 1965: Hugh Grundy, Colin Blunstone, Paul Atkinson, Chris White, and Rod Argent (from le ) > The > 20494_RNRHF_Text_Rev1_70-95.pdfZombies 1 3/11/19 5:19 PM his year’s induction of the Zombies into the Rock & Roll Hall of Fame is at once a celebration and a culmina- tion of one of the oddest and most convoluted careers in the history of popular music. While not the first band to have two smash hits right out of the box, they may be the only group who pro- ceeded to then fail miserably with their next ten sin- gles over a three-year period before finally achieving immortality with an album, Odessey [sic] and Oracle (1968) and a single, “Time of the Season,” that were released only after they had broken up. Even then, it would be a year after the album’s ini- tial release that, through the intercession of fate and Tthe idiosyncratic tastes of a handful of radio listeners in Boise, Idaho, “Time of the Season” would become a million-selling single and remain one of the most beloved staples of classic-rock radio to this day. Even more ironic was the fact that, despite that hit single, the album Odessey and Oracle was still met with indif- ference. Decades later, succeeding generations of crit- ics and an ever-growing cult fan base raised Odessey and Oracle to its status as one of the most cherished and revered albums of late 1960s British rock. As the album approached its fiftieth anniversary, four of the five original Zombies (guitarist Paul Atkinson passed away in 2004) went on tour, playing it in its entirety for sellout crowds throughout North America and the United Kingdom. -
Detroit Rock & Roll by Ben Edmonds for Our Purposes, The
"KICK OUT THE JAMS!" Detroit Rock & Roll by Ben Edmonds For our purposes, the story of Detroit rock & roll begins on September 3, 1948, when a little-known local performer named John Lee Hooker entered United Sound Studios for his first recording session. Rock & roll was still an obscure rhythm & blues catchphrase, certainly not yet a musical genre, and Hooker's career trajectory had been that of the standard-issue bluesman. A native of the Mississippi Delta, he had drifted north for the same reason that eastern Europeans and Kentucky hillbillies, Greeks and Poles and Arabs and Asians and Mexicans had all been migrating toward Michigan in waves for the first half of the 20th Century. "The Motor City it was then, with the factories and everything, and the money was flowing," Hooker told biographer Charles Shaar Murray." All the cars were being built there. Detroit was the city then. Work, work, work, work. Plenty work, good wages, good money at that time."1 He worked many of those factories, Ford and General Motors among them, and at night he plied the craft of the bluesman in bars, social clubs and at house parties. But John Lee Hooker was no ordinary bluesman, and the song he cut at the tail of his first session, "Boogie Chillen," was no ordinary blues. Accompanied only by the stomp of his right foot, his acoustic guitar hammered an insistent pattern, partially based on boogie-woogie piano, that Hooker said he learned from his stepfather back in Mississippi as "country boogie." Informed by the urgency and relentless drive of his Detroit assembly line experiences, John Lee's urban guitar boogie would become a signature color on the rock & roll palette, as readily identifiable as Bo Diddley's beat or Chuck Berry's ringing chords. -
The Pr of the U.K. Invasion: a Historical Case Study Of
THE PR OF THE U.K. INVASION: A HISTORICAL CASE STUDY OF THE BEATLES’ 1964 U.S. TOUR A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFULLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY RICHARD J. SADLIER ADVISOR: BECKY MCDONALD BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2012 ACKNOWLEDGEMENTS I am deeply indebted to all who have contributed, directly or otherwise, to the completion of the research within these pages. Foremost, I am deeply grateful to my committee chairperson, Dr. Becky McDonald, for her guidance and patience, not only in regard to my research and writing but also in life. Likewise, I extend my sincere thanks to committee members Dr. Dustin Supa and Prof. Mark Masse’ for additional support and guidance throughout this process. Many thanks go to my family and friends for enduring those moods directly resulting from my academic pursuits and for providing consistent emotional support. Finally, I express my thanks to Ms. Colleen Holmes and Drs. Jerrfrey Roessner and Ken Schiff who first taught me to recognize and appreciate scholarship of popular music and the culture surrounding it. CONTENTS Chapter Page 1. PROBLEM 4 2. REVIEW OF LITERATURE 7 3. METHODOLOGY 11 4. FINDINGS 15 5. SUMMARY AND CONCLUSIONS 36 REFERECE LIST 41 APPENDIXES 43 CHAPTER ONE: PROBLEM The Beatles are generally considered by numerous sources to be the most influential musical group of the 20th century (Berger, 2001; Blaney, 2008; Davies, 1968; Frontani, 2007; Goldsmith, 2004; Ilson, 2008; Inglis, 2000; Kozinn, 1995; Lewisohn, 1992; Miles, 1998; Norman, 2003; Spizer, 1994). Countless sources have examined their career from even more numerous angles, though a general narrative-based biography seems to be the most common method. -
Lita Ford and Doro Interviewed Inside Explores the Brightest Void and the Shadow Self
COMES WITH 78 FREE SONGS AND BONUS INTERVIEWS! Issue 75 £5.99 SUMMER Jul-Sep 2016 9 771754 958015 75> EXPLORES THE BRIGHTEST VOID AND THE SHADOW SELF LITA FORD AND DORO INTERVIEWED INSIDE Plus: Blues Pills, Scorpion Child, Witness PAUL GILBERT F DARE F FROST* F JOE LYNN TURNER THE MUSIC IS OUT THERE... FIREWORKS MAGAZINE PRESENTS 78 FREE SONGS WITH ISSUE #75! GROUP ONE: MELODIC HARD 22. Maessorr Structorr - Lonely Mariner 42. Axon-Neuron - Erasure 61. Zark - Lord Rat ROCK/AOR From the album: Rise At Fall From the album: Metamorphosis From the album: Tales of the Expected www.maessorrstructorr.com www.axonneuron.com www.facebook.com/zarkbanduk 1. Lotta Lené - Souls From the single: Souls 23. 21st Century Fugitives - Losing Time 43. Dimh Project - Wolves In The 62. Dejanira - Birth of the www.lottalene.com From the album: Losing Time Streets Unconquerable Sun www.facebook. From the album: Victim & Maker From the album: Behind The Scenes 2. Tarja - No Bitter End com/21stCenturyFugitives www.facebook.com/dimhproject www.dejanira.org From the album: The Brightest Void www.tarjaturunen.com 24. Darkness Light - Long Ago 44. Mercutio - Shed Your Skin 63. Sfyrokalymnon - Son of Sin From the album: Living With The Danger From the album: Back To Nowhere From the album: The Sign Of Concrete 3. Grandhour - All In Or Nothing http://darknesslight.de Mercutio.me Creation From the album: Bombs & Bullets www.sfyrokalymnon.com www.grandhourband.com GROUP TWO: 70s RETRO ROCK/ 45. Medusa - Queima PSYCHEDELIC/BLUES/SOUTHERN From the album: Monstrologia (Lado A) 64. Chaosmic - Forever Feast 4.