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Missouri State University Dean's List Summer 2021 (Sorted by Hometown)
Missouri State University Dean's List Summer 2021 Sorted by State, County, City 00-Unknown County Claire Edelen Holly Harding Phillip Nelson Gaige Riggs Kaelynne Schuneman Brianna Shaver Sharjenna Stump Shelena Talley Julia Vaughn Abqiq Nasser Almarri Alahsa Saeed Almarri APO Caitlin Lee Bangkok Nasha Saowapak Busan Nayeon Son Da Nang Ruby Tran Dalian Yuanyuan Chai Fan Chen Jiaxin Chen Liwen Cui Shibo Dong Handi Feng Mingyuan Hu Danlin Li Zhipeng Li Jingyi Ren Haoyu Wang Heqi Xia Jiayi Xiao Ruoxi Xu Yang Yu Haosen Zhang Xiwen Zhang Lin Zhou Chengcheng Zou Qinghan Zou Eldorado do Sul Sue Ellen Leite Hanoi Duc Le Hung Nguyen Linh Nguyen Hedel Niek Bressers Jeddah Abdul Rahman Zubi Jhapa Barsha Upreti Jiamusi Tingyuan Zhang Jiaxing Yanli Si Jining Yongxing Jiang Jinju Si Seojin Park Kampala Christine Lotigo Simon Lotigo Kavre Mamata K C Liao Yang Xinyuan Zhang Munich Bastian Thormeier Nagpur Yashasvi Moon Paderno Dugnano Mara Presot Pohang Seyeong Wi Puchong Harshytha Gunalan Rangiora Matt Jones Riyadh Ghassan Alrubaian Abdullah Alyousef Shanghai Jia Wang Shenyang Shiya Hu Tashkent Abdiaziz Abdishukurov Vekilbazar etrap Guvanch Garryyev Zhengzhou Kaiyue Wang AL-Jefferson Hueytown Shanice Stover AR-Benton Bentonville Lydia Thomas AR-Faulkner Greenbrier Cassidy Hale AR-Fulton Mammoth Spring Adam Davis AR-Pulaski Maumelle Tyson Suttle AR-Saline Benton Chloe Spann Bryant Chloe Bridges AR-Washington Fayetteville Beau Stuckey Springdale Regina Pichoff AZ-Pinal Eloy Jordan Daly CA-Orange Huntington Beach Paige Dispalatro Yorba Linda Claire Marshall -
A Collection of Texts Celebrating Joss Whedon and His Works Krista Silva University of Puget Sound, [email protected]
Student Research and Creative Works Book Collecting Contest Essays University of Puget Sound Year 2015 The Wonderful World of Whedon: A Collection of Texts Celebrating Joss Whedon and His Works Krista Silva University of Puget Sound, [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/book collecting essays/6 Krista Silva The Wonderful World of Whedon: A Collection of Texts Celebrating Joss Whedon and His Works I am an inhabitant of the Whedonverse. When I say this, I don’t just mean that I am a fan of Joss Whedon. I am sincere. I live and breathe his works, the ever-expanding universe— sometimes funny, sometimes scary, and often heartbreaking—that he has created. A multi- talented writer, director and creator, Joss is responsible for television series such as Buffy the Vampire Slayer , Firefly , Angel , and Dollhouse . In 2012 he collaborated with Drew Goddard, writer for Buffy and Angel , to bring us the satirical horror film The Cabin in the Woods . Most recently he has been integrated into the Marvel cinematic universe as the director of The Avengers franchise, as well as earning a creative credit for Agents of S.H.I.E.L.D. My love for Joss Whedon began in 1998. I was only eleven years old, and through an incredible moment of happenstance, and a bit of boredom, I turned the television channel to the WB and encountered my first episode of Buffy the Vampire Slayer . I was instantly smitten with Buffy Summers. She defied the rules and regulations of my conservative southern upbringing. -
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). -
Pegasus Press Fall & Winter 2020
FALL & WINTER 2020 MSU CVM ANESTHESIA AND SMALL ANIMAL SURGERY SERVICES DELIVER STATE-OF-THE ART, SPECIALTY CARE FOR COMPANION ANIMALS THROUGHOUT THE REGION EARNING RESPECT BY EXCEEDING EXPECTATIONS and (5) continue building a robust research program to beneft the veterinary profession, our state, our nation, and our students. After working to balance goals from the strategic plan with resources and our plans to implement a visionary curriculum, we sought and received approval from COE to increase the DVM class size this June from 95 to 112, which can be accommodated Pegasus Press is published twice a year by the Mississippi State University College of Veterinary Medicine. through the two classrooms added in the 2015 building A digital version of this publication is available online at vetmed.msstate.edu/alumni-friends. project. In addition, in the Wise Center proper, the frst-year multidisciplinary laboratory (MDL) has been remodeled, and the second-year MDL is being remodeled to expand space. DR. KENT H. HOBLET DR. CARLA HUSTON Our curriculum plan includes keeping all present core clinical DEAN DIRECTOR rotations and continuing to provide clinical instruction for all ENHANCED CLINICAL EDUCATION common domestic species for all students. We will also maintain DR. RON MCLAUGHLIN approximately one-half of the fourth year for externships, ASSOCIATE DEAN DR. ALLISON GARDNER although we are moving to more four-week (as opposed to ADMINISTRATION DIRECTOR six-week) rotations. Plans are to add a combined food animal/ VETERINARY MEDICAL TECHNOLOGY PROGRAM equine emergency/after-hours rotation in the hospital and DR. DAVID SMITH a core specialty block to include cardiology, ophthalmology, INTERIM ASSOCIATE DEAN JIMMY KIGHT and dermatology. -
Joséphine Magnard Tim Burton's Charlie and the Chocolate Factory
Joséphine Magnard Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion ---------------------------------------------------------------------------------------------------------------------------------------------- MAGNARD Joséphine. Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion, sous la direction de Mehdi Achouche. - Lyon : Université Jean Moulin (Lyon 3), 2018. Mémoire soutenu le 18/06/2019. ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Master 2 Recherche Etudes Anglophones Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion A dissertation presented by Joséphine Magnard Year 2017-2018 Under the supervision of Mehdi Achouche, Senior Lecturer ABSTRACT The aim of this Master’s dissertation is to study to what extent Tim Burton plays with the codes of the fairy tale genre in his adaptation of Roald Dahl’s children’s book Charlie and the Chocolate Factory (1964). To that purpose, the characteristics of the fairy tale genre will be treated with a specific focus on morality. The analysis of specific themes that are part and parcel of the genre such as childhood, family and home will show that Tim Burton’s take on the tale challenges the fairy tale codes, providing its viewers with a more Tim Burtonesque, subversive approach where things are not as definable as they might seem. -
'Bite Me': Buffy and the Penetration of the Gendered Warrior-Hero
Continuum: Journal of Media & Cultural Studies, Vol. 16, No. 2, 2002 ‘Bite Me’: Buffy and the penetration of the gendered warrior-hero SARA BUTTSWORTH, University of Western Australia Introduction Can the ultimate girl be the ultimate warrior? If warrior identity is simultaneously a quintessentially masculine identi er, and one of the core expressions of ‘innate’ masculinity, then the biggest transgression of warrior iconography posed by Buffy the Vampire Slayer is Buffy’s gender. Buffy is both like and not like ‘other girls’. The social conventions of mainstream femininity, which have so often been used to argue that women cannot be warriors, are often precisely what make Buffy such an effective soldier in her speculative world. The blurred boundaries that are possible in speculative texts open up space necessary to examine the arguments and gendered ideologies which govern what is, and what is not, possible in the ‘real’ world. Such texts can often make explicit what is implied in more ‘realistic’ representations, and can either destabilize or reinforce gendered cultural conventions.1 Established as the ‘chosen one’ in the 1992 lm, and then in the television series which debuted mid-season in 1997, Buffy has slashed her way not only through the ctional constraints placed upon her predecessors in vampire carnage, but through the conventions governing gendered constructions of the warrior.2 Warrior tradition con- structs a coherent masculinity, including impenetrable male bodies, as the key to warrior identity, and renders ‘slay-gal’3 not only paradoxical but, arguably, impossible. It is this (im)possibility, and the ways in which Buffy the Vampire Slayer fractures and reinvents the gendered identity of the warrior-hero, which are explored in this article. -
Slayage, Number 3: Clark and Miller
Daniel A. Clark & P. Andrew Miller Buffy, the Scooby Gang, and Monstrous Authority: BtVS and the Subversion of Authority (1) Buffy the Vampire Slayer, like much of the fare on the WB network (the show's home for the first five seasons), is marketed to and most popular among younger viewers. Like Dawson's Creek, Charmed, Roswell, and Popular, it depicts a young attractive cast struggling with the issues that typically face young adult characters on television, if not young adults in real life. A recent promotional spot on the WB for these shows features the stars laughing, dancing, and partying. The spot ends with the phrase “The night is young” on the screen. Current promotional spots feature the same imagery with a hip-hop version of The Who's "My Generation" on the soundtrack. They are young and hip and appeal to a young audience that uses television as one of the cultural texts that informs their interpretive communities. There are a number of elements of BtVS that have potential significance for an audience, but the ones on which we choose to focus are the issues of authority and power in the show. Issues of power and authority provide the show with most of its plot lines as well as thematic context. (2) Authority is viewed primarily through the eyes of the show's teen protagonists and so takes on the guise of traditional figures from the spheres in which the characters travel: school authority embodied by administrators, teachers, professors, and coaches; social authority embodied by parents; and civic authority embodied by local and federal officials and police. -
El Llegat Dels Germans Grimm En El Segle Xxi: Del Paper a La Pantalla Emili Samper Prunera Universitat Rovira I Virgili [email protected]
El llegat dels germans Grimm en el segle xxi: del paper a la pantalla Emili Samper Prunera Universitat Rovira i Virgili [email protected] Resum Les rondalles que els germans Grimm van recollir als Kinder- und Hausmärchen han traspassat la frontera del paper amb nombroses adaptacions literàries, cinema- togràfiques o televisives. La pel·lícula The brothers Grimm (2005), de Terry Gilli- am, i la primera temporada de la sèrie Grimm (2011-2012), de la cadena NBC, són dos mostres recents d’obres audiovisuals que han agafat les rondalles dels Grimm com a base per elaborar la seva ficció. En aquest article s’analitza el tractament de les rondalles que apareixen en totes dues obres (tenint en compte un precedent de 1962, The wonderful world of the Brothers Grimm), així com el rol que adopten els mateixos germans Grimm, que passen de creadors a convertir-se ells mateixos en personatges de ficció. Es recorre, d’aquesta manera, el camí invers al que han realitzat els responsables d’aquestes adaptacions: de la pantalla (gran o petita) es torna al paper, mostrant quines són les rondalles dels Grimm que s’han adaptat i de quina manera s’ha dut a terme aquesta adaptació. Paraules clau Grimm, Kinder- und Hausmärchen, The brothers Grimm, Terry Gilliam, rondalla Summary The tales that the Grimm brothers collected in their Kinder- und Hausmärchen have gone beyond the confines of paper with numerous literary, cinematographic and TV adaptations. The film The Brothers Grimm (2005), by Terry Gilliam, and the first season of the series Grimm (2011–2012), produced by the NBC network, are two recent examples of audiovisual productions that have taken the Grimm brothers’ tales as a base on which to create their fiction. -
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. -
The Cost of Butterfly Kisses
50ftqueenie made a request that really tickled my muse. So, rather than spoil you by telling you what she requested, I just present her story... Spike/Xander (pre-slash) Warnings: A bit of blackmail and manipulation Rating: Teen Episode Spoilers: Once More with Feeling 187,000 words Summary: Xander's been a bad boy, and Spike is about to figure out how to make the most of it. The Cost of Butterfly Kisses by Litgal Part One "Right then, you get all your singing out, then?" Spike asked. He lit a cigarette and looked around the Magic Box. Slayer wasn't around. It was just the sad little puppy-boy behind the counter. "What do you want, Spike?" Xander demanded, bristling with anger. Well, if Spike had to wait around for the slayer, he might as well entertain himself. If he was being honest with himself, he wanted to make a little trouble. If it weren't for the chip, he'd likely go out and gut some bloke and do something creative with the intestines. Days like this made him miss Drusilla. "Just thought I'd check in and see if ya were stupid enough to summon any more demons lately," Spike commented as he leaned against the counter. Xander flinched back from the question, but then, he should. It was bloody stupid. Harris had been around long enough to keep his mitts off magical amulets, and making a wish was even more idiotic than usual. Surprisingly, Xander didn't blow. "Go away, Spike," he said, his voice quiet, even if it was trembling with emotion. -
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 ................................................................................................................