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Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
Better Tapit
Barn 3 Hip No. Consigned by Claiborne Farm, Agent 1 Abrupt First Samurai . Giant’s Causeway Lea . {Freddie Frisson {Greenery . Galileo Abrupt . {High Savannah (GB) Bay colt; Political Force . Unbridled’s Song foaled 2017 {Ire . {Glitter Woman (2009) {Clash . Arch {Hit By LEA (2009), $2,362,398, Donn H. [G1]-ntr, Hal’s Hope S. [G3] twice, Com- monwealth Turf S. [G3], 2nd Woodbine Mile S. [G1], Breeders’ Cup Dirt Mile [G1], etc. His first foals are 3-year-olds of 2020. Sire of 16 wnrs, $932,816, including Muskoka Gold ($155,587, Cup and Saucer S., 2nd Grey S. [G3], etc.), Vast (to 3, 2020, $120,150, Hollywood Wildcat S.). 1st dam Ire, by Political Force. 4 wins at 3 and 4, $202,639, 2nd Mariah’s Storm S. (AP, $13,186), Meafara S. (AP, $13,014), 3rd Arlington Oaks [G3] (AP, $16,170), Mardi Gras H. (FG, $7,500), Happy Ticket S. (FG, $6,000). Sister to Flashy Campaign. Dam of 2 other foals of racing age-- Enrage (f. by Algorithms). Winner at 2, $64,086, 2nd Gin Talking S. (LRL, $20,000). Wrath (c. by Flatter). Winner at 3 and 4, 2020, $50,812. 2nd dam CLASH, by Arch. 2 wins, $86,771. Dam of 6 foals to race, 5 winners, incl.-- FASHION FAUX PAS (f. by Flatter). 3 wins at 2 and 3, 2019, $177,817, Sandpiper S. (TAM, $30,000), Light Hearted S. (DEL, $30,000), 2nd Delaware Oaks [G3] (DEL, $55,000), Mizdirection S. (AQU, $20,000), 3rd Hilltop S. (PIM, $10,000). Ire (f. -
Icons of Survival: Metahumanism As Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture
Lioi, Anthony. "Icons of Survival: Metahumanism as Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture. London: Bloomsbury Academic, 2016. 169–196. Environmental Cultures. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781474219730.ch-007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 20:32 UTC. Copyright © Anthony Lioi 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Icons of Survival: Metahumanism as Planetary Defense In which I argue that superhero comics, the most maligned of nerd genres, theorize the transformation of ethics and politics necessary to the project of planetary defense. The figure of the “metahuman,” the human with superpowers and purpose, embodies the transfigured nerd whose defects—intellect, swarm-behavior, abnormality, flux, and love of machines—become virtues of survival in the twenty-first century. The conflict among capitalism, fascism, and communism, which drove the Cold War and its immediate aftermath, also drove the Golden and Silver Ages of Comics. In the era of planetary emergency, these forces reconfigure themselves as different versions of world-destruction. The metahuman also signifies going “beyond” these economic and political systems into orders that preserve democracy without destroying the biosphere. Therefore, the styles of metahuman figuration represent an appeal to tradition and a technique of transformation. I call these strategies the iconic style and metamorphic style. The iconic style, more typical of DC Comics, makes the hero an icon of virtue, and metahuman powers manifest as visible signs: the “S” of Superman, the tiara and golden lasso of Wonder Woman. -
Southwestern Youth Music Festival • Flute Qualified List (Revised 11/2016) 1
Southwestern Youth Music Festival • Flute Qualified List (revised 11/2016) 1. STUDY includes TOTAL TIME PLAYING THE FLUTE - private lessons, school lessons, class lessons, band, orchestra and group study. 2. Choose one (1) selection from proper category. 3. NO PHOTOCOPIED MUSIC MAY BE USED FOR ANY PURPOSE DURING THE FESTIVAL. THIS INCLUDES AND MUSIC USED BY THE ACCOMPANIST OR GIVEN TO THE JUDGES. 4. Edition is optional. Articulation and ornamentation for Baroque music may be at the discretion of the teacher. Please mark in judge’s copy. 5. No repeats except for DaCapos, except as indicated below. 6. MEMORIZATION IS REQUIRED FOR ALL CATEGORIES AND ALL INSTRUMENTS, EXCEPT IN DUO AND ENSEMBLE CATEGORIES. 7. No First Place winner may re-enter the same category the following year. 8. A student may enter a Qualified Category plus Baroque and American but they may not enter Open. Category One Age 11 and under with less than 2 years of study. Burlesque Mozart p. 3, Belwin Master Solos, Flute Easy Vol 1 Song of Hoe arr. Snell p. 6, Belwin Mast Sol., Flu EZ Vol. 1, ed. Snell Bouree Telemann p. 10, Belwin Mast Sol., Flu EZ Vol. 1, ed. Snell Petite Gavotte Handel Voxman Rubank Two Russian Songs (play both) Miaskovsky Rubank Spanish Folk Song Guenther Flute Solos, Level 2, Belwin Le Campanile Bozza “Four Easy Pieces,” Leduc Intermezzo Relmes Billaudot (Presser, Bryn Mawr, PA) Poem Petite Lewellen Belwin March (p. 28) Handel Mel Bay’s Classical Rep for Flute Vol. 1 Suzuki, Book 1, #15, Minuet in G (Allegretto) Bach (play repeats) Category Two Age 11 with more than 2 years of study. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
How Superman Developed Into a Jesus Figure
HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. -
On the Laws and Practice of Horse Racing
^^^g£SS/^^ GIFT OF FAIRMAN ROGERS. University of Pennsylvania Annenherg Rare Book and Manuscript Library ROUS ON RACING. Digitized by the Internet Archive in 2009 with funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/onlawspracticeOOrous ON THE LAWS AND PRACTICE HORSE RACING, ETC. ETC. THE HON^T^^^ ADMIRAL ROUS. LONDON: A. H. BAILY & Co., EOYAL EXCHANGE BUILDINGS, COENHILL. 1866. LONDON : PRINTED BY W. CLOWES AND SONS, STAMFORD STREET, AND CHAKING CROSS. CONTENTS. Preface xi CHAPTER I. On the State of the English Turf in 1865 , . 1 CHAPTER II. On the State of the La^^ . 9 CHAPTER III. On the Rules of Racing 17 CHAPTER IV. On Starting—Riding Races—Jockeys .... 24 CHAPTER V. On the Rules of Betting 30 CHAPTER VI. On the Sale and Purchase of Horses .... 44 On the Office and Legal Responsibility of Stewards . 49 Clerk of the Course 54 Judge 56 Starter 57 On the Management of a Stud 59 vi Contents. KACma CASES. PAGE Horses of a Minor Age qualified to enter for Plates and Stakes 65 Jockey changed in a Race ...... 65 Both Jockeys falling abreast Winning Post . 66 A Horse arriving too late for the First Heat allowed to qualify 67 Both Horses thrown—Illegal Judgment ... 67 Distinction between Plate and Sweepstakes ... 68 Difference between Nomination of a Half-bred and Thorough-bred 69 Whether a Horse winning a Sweepstakes, 23 gs. each, three subscribers, could run for a Plate for Horses which never won 50^. ..... 70 Distance measured after a Race found short . 70 Whether a Compromise was forfeited by the Horse omitting to walk over 71 Whether the Winner distancing the Field is entitled to Second Money 71 A Horse objected to as a Maiden for receiving Second Money 72 Rassela's Case—Wrong Decision ... -
The Collegium Musiculn the Madrigal Singers
, The School ofMusic presents the 20th program of the 1989·90 season C'b Iqi' 1l--1 The Collegium Musiculn Margriet Tindemans, Director Music 'By Hildegard of Bingen The Madrigal Singers Joan Catoni Conlon, Director 16t1i - 2atn Century Motet Masterpieces 2, 1989,8:00 PM /' [~~mber I ·DGGem~r 3. 1989, 3.66 PM Brechemin Auditorium L --I _. d '1& In a vision of true faith Ursula loved the Son of God. But she was mocked Program by the people. Then she received a sign and everybody realized that she was the truely wise one. But the devil came over them and made them strike down those noble women. And all the Elements heard the great cry: O. The Collegium Musicum the red blood ofthe innocent lamb ... Music By Hildegard of Bingen (1098 -1179) c~G\clLA REX NOSTER Instrumental Symphonia o PLANGENS VOX o VIRTUS SAPIENTIE Instrumental Symphonia o VIVENS FONS o VIRTUS SAPIENTIE ........................Antiphone for Divine Wisdom REX NOSTER ........................... Responsory for the Holy Innocents oeMrgy ofwisdom! You circled circling. encompassing all in one path th8l possesses life. Ofyour three wings one soars in heaven. OM sweeps Our King is swift to receive the Blood ofInnocents. Hence the angels sing and resound in praiseS. But even the clouds are grieving over the same the earth and the thirdflies all around us. blood. o PLANGENS VOX .................................. from "Onto Virtutum This song is from the morality play "Onto Virtutum". The Virtues lament KYRIE ELEISON the loss of the soul that has given in to the temptations of the devil. Instrumental Symphonia o VIVENS FONS ................................... -
Hyper-Hurdy-Gurdy
Kurs: DA1005 Självständigt arbete, komposition, 30 hp 2015 Konstnärlig masterexamen i musik, 120 hp Institutionen för komposition, dirigering och musikteori Handledare: Anna Einarsson Luca Turchet Hyper-Hurdy-Gurdy Skriftlig reflektion inom självständigt, konstnärligt arbete Det självständiga, konstnärliga arbetet finns dokumenterat på DVD: “The_integrated_consciousness” och pdf: “The_integrated_consciousness.pdf” i Acknowledgments With this thesis I’d like to use the occasion to give my well owed thanks to all people who contributed to my education during these two wonderful years at the KMH Royal College of Music of Stockholm. First of all, I would like to take the opportunity to offer deep thanks to my supervisor Prof. Bill Brunson whose wonderful lessons I will never forget, for the kind support, the probing questions, and the helpfulness shown in many occasions. Secondly, I express my gratitude to professors Lars Ekström, Christofer Elgh, and Karin Rehnqvist who, in their composition lessons, were able to instill in me a love for the subjects they taught me. I am also grateful to all the staff of KMH which I interacted with, in particular the professors of the Departments of Composition, Conducting and Music Theory as well as of Folk Music. I also want to express my gratitude to Saverio Santoni whose advises about orchestration I have treasured a lot, as well as to Anna Einarsson for the precious comments about this thesis. I wish to thank the musicians of the KammarensembleN and the director Niklas Tamm who have been the first to perform in concert my composition “The Integrated Consciousness”. Last but not least, I would like to thank all the students I met at the KMH Royal College of Music of Stockholm, a list that would be much too long to include here, for providing a stimulating and fun environment in which to learn and grow. -
List of Members
Delegation to the Parliamentary Assembly of the Union for the Mediterranean Members David Maria SASSOLI Chair Group of the Progressive Alliance of Socialists and Democrats in the European Parliament Italy Partito Democratico Asim ADEMOV Member Group of the European People's Party (Christian Democrats) Bulgaria Citizens for European Development of Bulgaria Alex AGIUS SALIBA Member Group of the Progressive Alliance of Socialists and Democrats in the European Parliament Malta Partit Laburista François ALFONSI Member Group of the Greens/European Free Alliance France Régions et Peuples Solidaires Malik AZMANI Member Renew Europe Group Netherlands Volkspartij voor Vrijheid en Democratie Nicolas BAY Member Identity and Democracy Group France Rassemblement national Tiziana BEGHIN Member Non-attached Members Italy Movimento 5 Stelle François-Xavier BELLAMY Member Group of the European People's Party (Christian Democrats) France Les Républicains Sergio BERLATO Member European Conservatives and Reformists Group Italy Fratelli d'Italia Manuel BOMPARD Member The Left group in the European Parliament - GUE/NGL France La France Insoumise 24/09/2021 1 Sylvie BRUNET Member Renew Europe Group France Mouvement Démocrate Jorge BUXADÉ VILLALBA Member European Conservatives and Reformists Group Spain VOX Catherine CHABAUD Member Renew Europe Group France Mouvement Démocrate Nathalie COLIN-OESTERLÉ Member Group of the European People's Party (Christian Democrats) France Les centristes Gilbert COLLARD Member Identity and Democracy Group France Rassemblement national -
Transnational Punk: the Growing Push for Global Change Through a Music-Based Subculture Alexander Lalama Claremont Graduate University, [email protected]
LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University Volume 3 | Issue 1 Article 9 2013 Transnational Punk: The Growing Push for Global Change Through a Music-Based Subculture Alexander Lalama Claremont Graduate University, [email protected] Follow this and additional works at: http://scholarship.claremont.edu/lux Part of the Other Arts and Humanities Commons Recommended Citation Lalama, Alexander (2013) "Transnational Punk: The Growing Push for Global Change Through a Music-Based Subculture," LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University: Vol. 3: Iss. 1, Article 9. Available at: http://scholarship.claremont.edu/lux/vol3/iss1/9 Lalama: Transnational Punk Lalama 1 Transnational Punk: The Growing Push for Global Change Through a Music-Based Subculture Alexander Lalama, M.A. Claremont Graduate University School of Arts and Humanities Department of English Abstract Little media attention has been devoted to the burgeoning punk scene that has raised alarm abroad in areas such as Banda Aceh, Indonesia and Moscow, Russia. While the punk subculture has been analyzed in-depth by such notable theorists as Dick Hebdige and Stuart Hall, their work has been limited to examining the rise and apparent decline of the subculture in England, rendering any further investigations into punk as looking back at a nostalgic novelty of post- World War II British milieu. Furthermore, the commodification of punk music and style has relegated punk to the realm of an alternative culture in Britain and locally in the U.S. In these current international incarnations, however, a social space for this alternative culture is threatened by severe punishment including what Indonesian police officials have label “moral rehabilitation” and, in the case of Russian punks, imprisonment.