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MIAMI UNIVERSITY the Graduate School Certificate for Approving The
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Susan Pelle Candidate for the Degree: Doctor of Philosophy _____________________________________ Director Dr. Stefanie Kyle Dunning _____________________________________ Reader Dr. Madelyn M. Detloff _____________________________________ Reader Dr. Kathleen N. Johnson _____________________________________ Graduate School Representative Dr. Emily A. Zakin ABSTRACT (DIS)ARTICULATING BODIES AND GENDERS: PUSSY POLITICS AND PERFORMING VAGINAS by Susan Pelle The vagina has metaphorically and metonymically been the body part that stands in for the category “woman” and it is this emphatic and fabricated link that imposes itself on bodies, psyches, and lives with often horrifying consequences. My goals in exploring performative and performing vaginas are many. I not only lay out how, why, and in what ways the “normal” and “abled” female body established in both dominant and mainstream discourses is, simply put, one with a specific type of vagina, but I also confront the “truth” that vaginas purport to tell about women and femininity. Ultimately, I maintain that representations of vaginas and the debates and discourses that surround them tell us something about our culture’s fears, anxieties, and hopes. Living life as abject can be painful, even unbearable, yet as individuals negotiate this life they can experience pleasure, assert agency, and express ethical and just visions of the world. The artists, writers, and performers explored in this dissertation strategically perform vaginas in multiple and disparate ways. As they trouble, resist, and negotiate “normative” understandings of vaginas, they simultaneously declare that the “problem” is not about bodies at all. The problem is not the vagina. -
View/Method……………………………………………………9
UNIVERSITY OF CINCINNATI Date:___________________July 23, 2007 I, ________________________________________________Julie M. Stewart _________, hereby submit this work as part of the requirements for the degree of: Master of Arts in: Communication It is entitled: The Rhetoric of South Park This work and its defense approved by: Chair: _______________________________Dr. John Lynch _______________________________Dr. Stephen Depoe _______________________________Dr. William Jennings _______________________________ _______________________________ THE RHETORIC OF SOUTH PARK A thesis submitted to the Division of Graduate Studies and Research Of the University of Cincinnati MASTER OF ARTS In the Department of Communication, of the College of Arts and Sciences 2007 by Julie Stewart B.A. Xavier University, 2001 Committee Chair: Dr. John Lynch Abstract This study examines the rhetoric of the cartoon South Park. South Park is a popular culture artifact that deals with numerous contemporary social and political issues. A narrative analysis of nine episodes of the show finds multiple themes. First, South Park is successful in creating a polysemous political message that allows audiences with varying political ideologies to relate to the program. Second, South Park ’s universal appeal is in recurring populist themes that are anti-hypocrisy, anti-elitism, and anti- authority. Third, the narrative functions to develop these themes and characters, setting, and other elements of the plot are representative of different ideologies. Finally, this study concludes -
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
South Park and Absurd Culture War Ideologies, the Art of Stealthy Conservatism Drew W
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2009-01-01 South Park and Absurd Culture War Ideologies, The Art of Stealthy Conservatism Drew W. Dungan University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Mass Communication Commons, and the Political Science Commons Recommended Citation Dungan, Drew W., "South Park and Absurd Culture War Ideologies, The Art of Stealthy Conservatism" (2009). Open Access Theses & Dissertations. 245. https://digitalcommons.utep.edu/open_etd/245 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. South Park and Absurd Culture War Ideologies, The Art of Stealthy Conservatism Drew W. Dungan Department of Communication APPROVED: Richard D. Pineda, Ph.D., Chair Stacey Sowards, Ph.D. Robert L. Gunn, Ph.D. Patricia D. Witherspoon, Ph.D. Dean of the Graduate School Copyright © by Drew W. Dungan 2009 Dedication To all who have been patient and kind, most of all Robert, Thalia, and Jesus, thank you for everything... South Park and Absurd Culture War Ideologies. The Art of Stealthy Conservatism by DREW W. DUNGAN, B.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department of Communication THE UNIVERSITY OF TEXAS AT EL PASO May 2009 Abstract South Park serves as an example of satire and parody lampooning culture war issues in the popular media. -
Ensino & Pesquisa
ENSINO & PESQUISA Revista Multidisciplinar de Licenciatura e Formação Docente DO RISO AO ESCÁRNIO UMA ANÁLISE ANIMADA PARA AS AULAS DE FILOSOFIA Fábio Augusto Gomes1 RESUMO: O presente trabalho, de caráter bibliográfico, tem como objetivo analisar os desenhos animados, Os Simpsons (Matt Groening) e South Park (Tray Parker e Matt Stone) a luz da filosofia, com ênfase para o ensino da disciplina. Durante todo o percurso histórico o riso foi considerado ora demoníaco, ora angelical, ora expressão de alegria e felicidade, ora fruto do desdém por outrem. No teatro grego a comédia tinha como pressuposto demonstrar os excessos do humano, suas vicissitudes e defeitos em contraponto com a tragédia que exaltava o humano e o processo catártico deste para uma vida contemplativa, mais alta honraria para o cidadão. Desta forma o escárnio era uma característica da comédia e das festas dionisíacas. Tomado como diabólico na idade média ressurge na renascença com vigor, a partir de François Rabelais. Os séculos XVII e XVIII exorcizam os entes do mal que o riso trouxe do medievo, ou simplesmente aceitam que o riso, mesmo diabólico, não é tão mal assim; com Moliére o poder ácido do espírito maledicente toma conta de seu tempo caricaturando personagens célebres e utilizando o escárnio como arma política e social; ganha os contornos atuais. Entretanto o poder do riso e do escárnio foi utilizado durante toda a história da filosofia, tendo Nietzsche como exemplo. A ironia socrática, mãe do riso, foi exaltada como método para obtenção de verdades, porém é com Nietzsche, a exaltação do Dionisíaco sobre o Apolíneo, que a derrisão ganha à pertença humana o reino dos instintos, um retorno aos defeitos e vicissitudes da vida e do viver. -
SIMPSONS to SOUTH PARK-FILM 4165 (4 Credits) SPRING 2015 Tuesdays 6:00 P.M.-10:00 P.M
CONTEMPORARY ANIMATION: THE SIMPSONS TO SOUTH PARK-FILM 4165 (4 Credits) SPRING 2015 Tuesdays 6:00 P.M.-10:00 P.M. Social Work 134 Instructor: Steven Pecchia-Bekkum Office Phone: 801-935-9143 E-Mail: [email protected] Office Hours: M-W 3:00 P.M.-5:00 P.M. (FMAB 107C) Course Description: Since it first appeared as a series of short animations on the Tracy Ullman Show (1987), The Simpsons has served as a running commentary on the lives and attitudes of the American people. Its subject matter has touched upon the fabric of American society regarding politics, religion, ethnic identity, disability, sexuality and gender-based issues. Also, this innovative program has delved into the realm of the personal; issues of family, employment, addiction, and death are familiar material found in the program’s narrative. Additionally, The Simpsons has spawned a series of animated programs (South Park, Futurama, Family Guy, Rick and Morty etc.) that have also been instrumental in this reflective look on the world in which we live. The abstraction of animation provides a safe emotional distance from these difficult topics and affords these programs a venue to reflect the true nature of modern American society. Course Objectives: The objective of this course is to provide the intellectual basis for a deeper understanding of The Simpsons, South Park, Futurama, Family Guy, and Rick and Morty within the context of the culture that nurtured these animations. The student will, upon successful completion of this course: (1) recognize cultural references within these animations. (2) correlate narratives to the issues about society that are raised. -
ENDE – Mediale Inszenierungen Von Tod Und Sterben 2008
Repositorium für die Medienwissenschaft Petra Missomelius (Hg.) AugenBlick. Marburger Hefte zur Medienwissenschaft. Heft 43: ENDE – Mediale Inszenierungen von Tod und Sterben 2008 https://doi.org/10.25969/mediarep/2118 Veröffentlichungsversion / published version Teil eines Periodikums / periodical part Empfohlene Zitierung / Suggested Citation: Missomelius, Petra (Hg.): AugenBlick. Marburger Hefte zur Medienwissenschaft. Heft 43: ENDE – Mediale Inszenierungen von Tod und Sterben (2008). DOI: https://doi.org/10.25969/mediarep/2118. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
FEZANA Journal Do Not Necessarily Reflect the Feroza Fitch of Views of FEZANA Or Members of This Publication's Editorial Board
FEZANA FEZANA JOURNAL ZEMESTAN 1379 AY 3748 ZRE VOL. 24, NO. 4 WINTER/DECEMBER 2010 G WINTER/DECEMBER 2010 JOURJO N AL Dae – Behman – Spendarmad 1379 AY (Fasli) G Amordad – Shehrever – Meher 1380 AY (Shenshai) G Shehrever – Meher – Avan 1380 AY (Kadimi) CELEBRATING 1000 YEARS Ferdowsi’s Shahnameh: The Soul of Iran HAPPY NEW YEAR 2011 Also Inside: Earliest surviving manuscripts Sorabji Pochkhanawala: India’s greatest banker Obama questioned by Zoroastrian students U.S. Presidential Executive Mission PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF NORTH AMERICA PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF NORTH AMERICA Vol 24 No 4 Winter / December 2010 Zemestan 1379 AY 3748 ZRE President Bomi V Patel www.fezana.org Editor in Chief: Dolly Dastoor 2 Editorial [email protected] Technical Assistant: Coomi Gazdar Dolly Dastoor Assistant to Editor: Dinyar Patel Consultant Editor: Lylah M. Alphonse, [email protected] 6 Financial Report Graphic & Layout: Shahrokh Khanizadeh, www.khanizadeh.info Cover design: Feroza Fitch, 8 FEZANA UPDATE-World Youth Congress [email protected] Publications Chair: Behram Pastakia Columnists: Hoshang Shroff: [email protected] Shazneen Rabadi Gandhi : [email protected] 12 SHAHNAMEH-the Soul of Iran Yezdi Godiwalla: [email protected] Behram Panthaki::[email protected] Behram Pastakia: [email protected] Mahrukh Motafram: [email protected] 50 IN THE NEWS Copy editors: R Mehta, V Canteenwalla Subscription Managers: Arnavaz Sethna: [email protected]; -
Hiehle, Yml?;Yb
Is South Park Republican? Social and Political Attitudes in South Park Item Type text; Electronic Thesis Authors Hiehle, Yachi Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 02:48:43 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/146213 The University of Arizona Electronic Theses and Dissertations Reproduction and Distribution Rights Form Name (Last, First, Middle) Hiehle, yml?;yb yDegree title (eg BA, BS, BSE, BSB, BFA): Bk Date thesis submitted to Honors College: 5 3 ,1 0 Title of Honors thesis: ~5 SOW PA/IC Rep~vb~:cav\ ? socia I and P~I;~COIAA~de5 ;n Sou* PA& :The University of I hereby grant to the University of Arizona Library the nonexclusi ve Arizona Library Release worldwide right to reproduce and distribure my dissertation or thesis ancl abstract (herein. the "licensedmateriaIsM), in whole or in part, in any and all media of distribution and in my format in existence now or developed in the future. I represent and warrant to the University of Arizona that the licensed materials are my original work, that E am the sole owner of all rights in and to the Iicensed materials, and that none of the licensed materials infringe or violate the rights of others. I fi~rtl~errepresent that I have obtained all necessary rights to pe t-n~it the University of Arizona Library to reproduce and distrtrj bute any nonpublic third party software necessary to access, display, run or print my dissertation or thesis. -
Political Correctness and Politically Correct People: South Park Case Ayla Topuz Savaş, Anadolu Unı̇versı̇ty, Turkey the As
Political Correctness and Politically Correct People: South Park Case Ayla Topuz Savaş, Anadolu Unı̇ versı̇ ty, Turkey The Asian Conference on Media, Communication & Film 2018 Official Conference Proceedings Abstract In this work, the concept of Political Correctness (P.C) and Politically Correct People (P.C.P.) will be evaluated through the case study. As the case study, the animated cartoon named “South Park” was chosen. Even though South Park is a cartoon, it should not be forgotten that it criticises real-world events. In 2015, South Park took political correctness as it’s basis for the 19th season of the show. How do P.C.P communicate in South Park? How do they influence the society in South Park? What is the correlation between P.C. and ads? Answers to these questions will be sought out. Episodes of the show are analyzed qualitatively. Political Correctness is seemingly a quite positive term. But in South Park, P.C.P. restrict the freedom of speech. They also falsely accuse people of being sexist or being racist etc. They have slowly become a social pressure group. While P.C.P. does succeed in protecting the minorities, they also pressurize the majority. Corporations use political correctness to pressurize people into donating to their social cause. Ads are constantly changing forms. They take on multiple forms like news or even humans. South Park claims that advertisements are starting to become dangerous to the consumers. All of the claims mentioned above should be analyzed on real customers and corporations. At the same time, findings obtained from South Park do show that P.C. -
The Theology of South Park As Much As They Hate Each Other, the One Thing That Osama Bin Laden and George W
The Theology of South Park As much as they hate each other, the one thing that Osama bin Laden and George W. Bush have in common is a theological understanding of a world being divided between the forces of good and evil with each believing he is clearly on the side of good. President Bush sees himself as most strongly influenced by Jesus Christ, a compassionate conservative who responds to what he sees as a completely unprovoked attack with a mixture of care packages and bombs. Bin Laden, who considers himself one of the true followers of Mohammed, believes that he is clearly on a mission to cleanse the infidels who have disrespected sacred monuments, supported oppressive governments, and kept his people in extreme poverty. Neither they nor their followers can see any shades of gray. You're either for us or against us; for freedom or tyranny; with the infidels or the pious. And both lay a strong claim of having God's blessings. This, of course, is not a new rhetorical strategy; throughout time, many countries have tried to legitimize their interests by calling forth God as a sponsor. Voltaire calls this practice into question throughout Candide as does Mark Twain in his short story, "The War Prayer." The absurdity of believing too fully in a system that draws clear lines between good and evil was also evident to Eugene Ionesco when, during the second world war, he witnessed the consequences of a blind faith in fascism, a system that fully aligned itself with God's blessing and thus did not allow for uncertainty, shades of gray, or a sense of humor. -
Boondocks Vs. South Park
Satire, Race, and Modern Cartoons: Boondocks vs. South Park Stanford University Communication Department June 4, 2011 Melanie J Murphy Satire is primarily seen in literary form where irony, sarcasm and ridicule are used in order to expose, or denounce vice or folly with the intent of shaming individuals, and society itself, into improvement. In addition to satire as a literary genre, we have seen an increase in the use of satire in American television as well. Popular cartoons such as the Simpsons, Family Guy, South Park, and the Boondocks are known to have created controversy through episodes that feature satire on political, social, and racial issues. While all four of these cartoons have satirical content, the Boondocks and South Park dedicate the majority of their satire each episode toward one main issue. It would be interesting to see if (1) there are racial differences between how whites and blacks view both shows and (2) if the satire featured in these two shows actually exposes society’s foolishness, possibly leading to improvement. It is our hypothesis that through social identification theory, groups will be made through the similarity of race (Tajfel, 1982). This will allow for those who identify with either race, to feel more positively toward the show of their own race. Comedy Central’s South Park is a satirical, animated show, made for mature audiences created by Trey Parker and Matt Stone. Although the show is thought by some to be incredibly offensive, the creators explain that there is an underlying moral lesson. The show follows four characters that live in the fictional predominantly white town of South Park, Colorado.