Once More, with Feeling
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Inside the Leaders of Tomorrow
NEWSLETTER | VOL. 2 INSIDE THE LEADERS OF TOMORROW MOVING INTO NEW HOMES RESIDENTS WORKING ON REBUILD FIRST BUILDING Wallace has been a resident of Sunnydale his whole life. In order GOING UP to qualify to work for Cahill on Parcel Q, he recently completed an eight-week training class. Welcome to the second move into the new homes. Our multilingual and issue of The Sunnydale multicultural staff are working in partnership Newsletter. So much is with Bay Area Legal Aid and the YMCA to happening on the ground provide one-on-one counseling to households that we barely have room for eviction prevention, so they can retain their to share all the highlights current apartments and qualify for relocation in this issue. On behalf of and later replacement housing. our staff, residents, and partners, we thank you for We are working tirelessly with residents to A LETTER making the redevelopment prepare them to move into their new homes FROM DOUG of Sunnydale a reality. We and renovated apartments within Sunnydale. SHOEMAKER, appreciate your support and Through a partnership with San Francisco’s PRESIDENT couldn’t do it without you. housing agencies, dozens of residents have already moved into new homes around the city, The most tangible sign of progress is including 23 families that chose to move into construction of the first Sunnydale replacement Mercy Housing’s recently completed Natalie 2 homes, which are halfway finished and Gubb Commons near the Salesforce Transbay scheduled to open in fall of 2019. Development Terminal. of the first new homes at Sunnydale is being led by our partners, Related Companies of Last but not least, with funding from our 2017 California. -
Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22). -
Buffy the Vampire Slayer Fights Back Generate Attack, Recruit Points, and Against the Players! the Big Bad, Like Special Abilities
® ™ Overview How to Win Welcome to Legendary ®: Buffy the Players must work together to attack Vampire Slayer! Big Bads like the evil Big Bad successfully four The Master, Angelus, and Glorificus times. If they do this, then the Big command a mob of Demonic Villains, Bad is beaten once and for all, and planning dark Schemes to wreak all the players win the game for the havoc on Sunnydale, home of the forces of good! In addition, defeating Hellmouth. Only you can stop them Villains and rescuing Bystanders by leading Buffy and the rest of the earns each player Victory Points. Scooby gang. After the Big Bad is defeated, the player with the most Victory Points In this game for 1-5 players, each is the best slayer of all and the player starts with their own deck individual winner. of basic cards. At the start of your turn, you play the top card of the Villain Deck for Villains to invade How the Evil the Sunnydale, capture Bystanders, Big Bad Wins and create special events. Then, you Unlike other games, Legendary ®: play Hero cards from your hand to Buffy the Vampire Slayer fights back generate Attack, Recruit Points, and against the players! The Big Bad, like special abilities. You use your Attack The Master or Angelus, isn’t played to defeat Villains. You use Recruit by a player. Instead, the game itself Points to recruit better Heroes for plays the part of the Big Bad. your deck. Throughout the game the Big Whenever your deck runs out of Bad works to accomplish an evil cards, you shuffle your discard pile Scheme. -
Buffy at Play: Tricksters, Deconstruction, and Chaos
BUFFY AT PLAY: TRICKSTERS, DECONSTRUCTION, AND CHAOS AT WORK IN THE WHEDONVERSE by Brita Marie Graham A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English MONTANA STATE UNIVERSTIY Bozeman, Montana April 2007 © COPYRIGHT by Brita Marie Graham 2007 All Rights Reserved ii APPROVAL Of a thesis submitted by Brita Marie Graham This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citations, bibliographic style, and consistency, and is ready for submission to the Division of Graduate Education. Dr. Linda Karell, Committee Chair Approved for the Department of English Dr. Linda Karell, Department Head Approved for the Division of Graduate Education Dr. Carl A. Fox, Vice Provost iii STATEMENT OF PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it availably to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. Brita Marie Graham April 2007 iv ACKNOWLEDGMENTS In gratitude, I wish to acknowledge all of the exceptional faculty members of Montana State University’s English Department, who encouraged me along the way and promoted my desire to pursue a graduate degree. -
Slayage, Numbers 13/14
Giada Da Ros When, Where, and How Much is Buffy a Soap Opera? Translated from the Italian and with the editorial assistance of Rhonda Wilcox. Spike: Passions is on! Timmy's down the bloody well, and if you make me miss it I'll — Giles: Do what? Lick me to death? (Something Blue, 4009) Joyce: I-I love what you've, um... neglected to do with the place. Spike: Just don't break anything. And don't make a lotta noise. Passions is coming on. Joyce: Passions? Oh, do you think Timmy's really dead? Spike: Oh, no, no. She can just sew him back together. He's a doll, for God's sake. Joyce: Ah, what about the wedding? I mean, there's no way they're gonna go through with that. (Checkpoint, 5012) Tabitha (talking to Timmy): When will you get it through your fat head? Charity is the enemy. Buffy the Vampire Slayer is the enemy. The busybodies that call themselves the Others are the enemy! One of these days Buffy and the others will be wiped off the face of the earth, but until that time, we don’t want to make our friend in the basement mad, do we? (Passions) Stephen/Caleb: And your job is? Rafe: Vampire slayer. (Port Charles – Naked Eyes) BUFFY AS A SOAP (1) Very often, Buffy the Vampire Slayer is referred to as a soap opera. There are many occasions when it has been defined as such, or at least linked to the genre of daytime dramas. This perception is shared by at least three types of viewers. -
An Analysis and Expansion of Queerbaiting in Video Games
Wilfrid Laurier University Scholars Commons @ Laurier Cultural Analysis and Social Theory Major Research Papers Cultural Analysis and Social Theory 8-2018 Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games Jessica Kathryn Needham Wilfrid Laurier University Follow this and additional works at: https://scholars.wlu.ca/cast_mrp Part of the Communication Technology and New Media Commons, Gender and Sexuality Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Needham, Jessica Kathryn, "Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games" (2018). Cultural Analysis and Social Theory Major Research Papers. 6. https://scholars.wlu.ca/cast_mrp/6 This Article is brought to you for free and open access by the Cultural Analysis and Social Theory at Scholars Commons @ Laurier. It has been accepted for inclusion in Cultural Analysis and Social Theory Major Research Papers by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. Queering player agency and paratexts: An analysis and expansion of queerbaiting in video games by Jessica Kathryn Needham Honours Rhetoric and Professional Writing, Arts and Business, University of Waterloo, 2016 Major Research Paper Submitted to the M.A. in Cultural Analysis and Social Theory in partial fulfillment of the requirements for Master of Arts Wilfrid Laurier University 2018 © Jessica Kathryn Needham 2018 1 Abstract Queerbaiting refers to the way that consumers are lured in with a queer storyline only to have it taken away, collapse into tragic cliché, or fail to offer affirmative representation. Recent queerbaiting research has focused almost exclusively on television, leaving gaps in the ways queer representation is negotiated in other media forms. -
It Started with a Girl’
‘It started with a girl’ Buffy the Vampire Slayer, Angel en The WB Television Network Auteur Pim Razenberg Opleiding Film- en Televisiewetenschap Universiteit Utrecht Cursus Televisiegenres (2011) It Started With A Girl Buffy the Vampire Slayer, Angel en The WB Inhoud Inleiding ..................................................................................................................................... 3 1. It started with a girl: Het begin van Buffy en Angel ............................................................... 6 2. Vergelijking van Buffy en Angel ............................................................................................ 9 2.1 Concept ............................................................................................................................. 9 2.2 Overeenkomsten ............................................................................................................. 10 2.3 Verschillen in thematiek ................................................................................................. 11 2.4 Filmische verschillen ...................................................................................................... 13 3. Impact van Buffy en Angel op The WB ................................................................................ 16 4. Conclusie .............................................................................................................................. 18 Audiovisuele Media ................................................................................................................ -
A PDF Copy of This Issue of Slayage Is Available Here
Slayage: Number Six Slayage 6 September 2002 [2.2] David Lavery and Rhonda V. Wilcox, Co-Editors Click on a contributor's name in order to learn more about him or her. A PDF copy of this issue (Acrobat Reader required) of Slayage is available here. A PDF copy of the entire volume can be accessed here. J. Gordon Melton (University of California, Santa Barbara), Images from the Hellmouth: Buffy the Vampire Slayer Comic Books 1998-2002 PDF Version (Acrobat Reader Required) Reid B. Locklin (Boston University), Buffy the Vampire Slayer and the Domestic Church: Re-Visioning Family and the Common Good PDF Version (Acrobat Reader Required) Frances Early (Mount St. Vincent University), Staking Her Claim: Buffy the Vampire Slayer as Transgressive Woman Warrior PDF Version (Acrobat Reader Required) David Lavery (Middle Tennessee State University), "Emotional Resonance and Rocket Launchers": Joss Whedon's Commentaries on the Buffy the Vampire Slayer DVDs PDF Version (Acrobat Reader Required) Recommended. Here and in each issue 1 3 of Slayage the editors will recommend 2 [1.2] 4 [1.4] [1.1] [1.3] writing on BtVS available on the Internet. 5 6 [2.2] 7 [2.3] 8 [2.4] [2.1] Robert Hanks, Deconstructing Buffy 11-12 9 10 [3.2] [3.3- [3.1] (from ) 4] Manuel de la Rosa, Buffy the Vampire Slayer, the Girl Power Movement, and 13-14 Heroism 15 [4.3] [4.1- Archives Andy Sawyer, In a Small Town in 2] California . the Subtext is Becoming Text (from ) Anthony Cordesman, Biological Warfare and the "Buffy" Paradigm" Paula Graham, Buffy Wars: The Next file:///C|/Documents%20and%20Settings/David%20Lavery/Lavery%20Documents/SOIJBS/Numbers/slayage6.htm (1 of 2)12/21/2004 4:23:36 AM Slayage, Number 6: Melton J. -
The Role of Disability in Buffy the Vampire Slayer Amanda H
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of New Mexico University of New Mexico UNM Digital Repository Special Education ETDs Education ETDs 7-12-2014 The Role of Disability in Buffy the Vampire Slayer Amanda H. Heggen Follow this and additional works at: https://digitalrepository.unm.edu/educ_spcd_etds Recommended Citation Heggen, Amanda H.. "The Role of Disability in Buffy the Vampire Slayer." (2014). https://digitalrepository.unm.edu/ educ_spcd_etds/16 This Dissertation is brought to you for free and open access by the Education ETDs at UNM Digital Repository. It has been accepted for inclusion in Special Education ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. The Role of Disability in Buffy the Vampire Slayer i Amanda H. Heggen Candidate Special Education Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. Julia Scherba de Valenzuela , Chairperson Dr. Susan Copeland Dr. James Stone Dr. David Witherington The Role of Disability in Buffy the Vampire Slayer ii THE ROLE OF DISABILITY IN BUFFY THE VAMPIRE SLAYER by AMANDA H. HEGGEN B.A. Psychology, Goshen College, 2001 M.A. Special Education, Univeristy of New Mexico, 2006 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Special Education The University of New Mexico Albuquerque, New Mexico May, 2014 The Role of Disability in Buffy the Vampire Slayer iii Acknowledgements The list of people who have contributed to this dissertation in many forms, from much-needed pep talks to intensely brilliant advice on how to present my findings, is epic. -
Slayage, Number 1
J. Lawton Winslade Teen Witches, Wiccans, and “Wanna- Blessed-Be’s”: Pop-Culture Magic in Buffy the Vampire Slayer (1) In an introductory scene of an episode of Buffy the Vampire Slayer, entitled “Hush,” the character of Willow Rosenberg is sitting with a group of young women gathered in what is obviously the lounge of a busy college dorm. She struggles to maintain concentration as one of the women leads the rest in a guided meditation vaguely focusing on feminine energy. The leader then promptly breaks the meditation and begins discussing bake sales and newsletters. This is the Wiccan group of UC-Sunnydale, the fictional college that is the setting for the fourth season of the popular WB show (currently in its fifth season). Though mentioned in previous episodes, this is the only time we see the group and its members. Sunnydale’s young Wiccans toss around all the buzz words associated with the contemporary feminist spirituality movement: empowerment, energy, blessing. Yet when Willow proposes they do actual magical work, like conjuring or casting spells, she is mocked, and accused of both perpetuating negative stereotypes and “sucking energy” from the group. Afterwards, Willow relates her experiences to Buffy. The dialogue ensues: Buffy: So not stellar, huh? Willow: Talk. All talk. Blah Blah Gaia. Blah Blah Moon…menstrual life force power thingy. You know, after a coupla sessions I was hoping we could get into something real but . Buffy: No actual witches in your witch group? Willow: No. Bunch of wanna-blessed-bes. You know, nowadays every girl with a henna tattoo and a spice rack thinks she’s a sister of the Dark Ones. -
Slayage, Numbers 13/14
Lorna Jowett New Men: “Playing the sensitive lad” This essay is Chapter Five from Sex and the Slayer (Wesleyan U P 2004). It is published here with the kind permission of Professor Jowett and Wesleyan. Go here to order the book from Amazon.com. [1] It follows that in trying to destabilize traditional representations of femininity, especially through role reversal, Buffy must offer a concomitant alternative version of masculinity. Producer Fran Rubel Kuzui articulates this when she says, “You can educate your daughters to be Slayers, but you have to educate your sons to be Xanders” (in Golden and Holder 1998: 248). In 1995 Thomas suggested that the British television detective series Inspector Morse demonstrated “the extent to which feminist influences are discernible in this example of quality popular culture, particularly in its representations of masculinity” (1997: 184). Television melodrama and soap in particular have addressed masculinity because they are concerned with family and the domestic, traditionally “feminine” areas (Torres 1993: 288). Saxey notes with some surprise that in Buffy fan fiction “it is the males who are persistently tortured by doubt” and wonders why “slash readers and writers wish to explore the suffering of these often sensitive, non- traditional male figures, while female characters more often enjoy less emotionally painful treatment” (2001: 201), and I would suggest that it is partly because masculinity is being so visibly renegotiated in pop- cultural forms. As noted in the last chapter, “good” new masculinity contrasts with “bad” tough-guy masculinity by being “feminized,” passive, sensitive, weak, and emotional, and this contrast is partly about the separation of gender and behavior in the new men. -
Buffy the Vampire Slayer: Once More, with Feeling Free
FREE BUFFY THE VAMPIRE SLAYER: ONCE MORE, WITH FEELING PDF John Nicholas | 92 pages | 01 Jun 2008 | Cherry Lane Music Company | 9781603780438 | English | United States Once More, with Feeling (Buffy soundtrack) - Wikipedia It's the seventh episode of the sixth season and the one hundred seventh in the series. Series creator Buffy the Vampire Slayer: Once More Whedon wrote, directed and composed the music for this episode in which a mysterious force impels the Scooby Gang with Feeling burst into song. Even Buffy devotees may be hard-pressed to find an episode as off-the-wall as this, as Sunnydale denizens Buffy the Vampire Slayer: Once More players in production numbers in which cast members do their own vocals. Hear Tara sing about her love for Willow! See Xander and Anya perform a duet! Listen to Buffy croon about her lack of life direction! Who's behind the music? Dawn provides the key. Buffy is patrolling in a cemetery at night, but there is something wrong with her and with demons and vampires she meets: they are all singing and dancing. Buffy sings about her life after resurrecting, and the way she feels detached from it. The following morning, the Scoobies reunite at the Magic Box and find out such things have happened to them all. They further learn that it's not just happened to them; all the people in Sunnydale are Buffy the Vampire Slayer: Once More to sing about their inner feelings, as a group nearby performs about cleaning mustard out of a shirt "The Mustard". Willow and Tara leave the discussion to enjoy the day, and Tara sings a love song to Willow about the difference she's made in her life, which leads them to their bedroom "Under Your Spell".