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Kelly Mantle
The VARIETY SHOW With Your Host KELLY MANTLE KELLY MANTLE can be seen in the feature film Confessions of a Womanizer, for which they made Oscars history by being the first person ever to be approved and considered by The Academy for both Supporting Actor and Supporting Actress. This makes Kelly the first openly non-binary person to be considered for an Oscar. They are also featured in the movie Middle Man and just wrapped production on the upcoming feature film, God Save The Queens in which Kelly is the lead in. TV: Guest-starred on numerous shows, including Lucifer, Modern Family, Curb Your Enthusiasm, CSI, The New Normal, New Adventures of Old Christine, Judging Amy, Nip/Tuck, Will & Grace, George Lopez. Recurring: NYPD Blue. Featured in LOGO’s comedy special DragTastic NYC, and a very small co-star role on Season Six of RuPaul's Drag Race. Stage: Kelly has starred in more than 50 plays. They wrote and starred in their critically acclaimed solo show,The Confusion of My Illusion, at the Los Angeles LGBT Center. As a singer, songwriter, and musician, Kelly has released four critically acclaimed albums and is currently working on their fourth. Kelly grew up in Oklahoma like their uncle, the late great Mickey Mantle. (Yep...Kelly's a switch-hitter, too.) Kelly received a B.F.A. in Theatre from the University of Oklahoma and is a graduate of Second City in Chicago. https://www.instagram.com/kellymantle • https://www.imdb.com/name/nm0544141/ ALEXANDRA BILLINGS is an actress, teacher, singer, and activist. -
Nothing but Sounds, Ink-Marks”—Is Nothing Hidden? Must Everything Be Transparent?
Final version published in the Yearbook of the Danish Philosophy Association, 2018 “Nothing but sounds, ink-marks”—Is nothing hidden? Must everything be transparent? Paul Standish (UCL Institute of Education) Abstract Is there something that lies beneath the surface of our ordinary ways of speaking? Philosophy sometimes encourages the all-too-human thought that reality lies just outside our ordinary grasp, hidden beneath the surface of our experience and language. The present discussion concentrates initially on a few connected paragraphs of Wittgenstein’s Philosophical Investigations (particularly ##431-435). Wittgenstein leads the reader to the view that meaning is there in the surface of the expression. Yet how adequate is Wittgenstein’s treatment of the sounds and ink-marks, the materiality of the sign? With some reference to Emerson, Stanley Cavell, and Jacques Derrida, my discussion explores how far a more adequate account of the sign can coincide with the claim that nothing is hidden. It exposes phony obsessions with transparency, which in a culture of accountability have had a distorting effect on education and the wider social field. It endorses confidence in the reality of ordinary words. Keywords Language, reality, expression, Wittgenstein, Emerson, Cavell, Derrida I want to pursue the alleged error of thinking that there must be something that lies beneath the surface of our ordinary ways of speaking about our reactions and responses to the world. A popular form of this is found when you are talking to someone and they say in response: “Just wait a minute while I process what you have said.” They are not, as their language more or less makes clear, quite reasonably telling you that they want to think over what you have said: they are informing you of a mental operation, a brain process that needs to be carried out before they can answer.1 There are 1 Such a response is familiar enough. -
Michael Crowley, MS Head/ISB Assistant Director
Twenty Questions to get to know you better: Michael Crowley, MS Head/ISB Assistant Director Mike joined ISB in 1989-90 (taught English and Journalism and since 2001 he has been leading the Middle School). To many alumni and current students, teachers and families, he is known as a wonderful leader, educator and friend! Let’s find out more about him. Nationality: Irish Q1. Where did you grow up? Q6. What makes you laugh? Galway City, in the West of Ireland. Most often, the direct honesty and infectious wit of middle school students. Q2. Where did you live before Brussels? Frasier Crane in any incarnation; most As above, with periodic stays in the recently, Modern Family. majestic Burren, County Clare. Q7. What really gets on your nerves? Q3. What can’t you live without? My Not a lot. I have little time for people family, music, books, an internet who take themselves too seriously, connection, a sense of humour, and a bullies, arrogance, ego maniacs, or steady supply of oxygen. negaholics, but I do not waste energy letting them get on my nerves. What Q4. What is your favorite movie or really gets on my nerves? Caffeine. book of all time? Impossible question! Movie would be Q8. What cartoon character best either One Flew Over the Cuckoo’s Nest describes you? or On The Waterfront. Favourite book is Has got to be Principal Skinner in The Simpsons. even tougher. Favourite writers include Brian Moore, Richard Russo, Larry Q9. Your favorite place in Brussels? McMurtry, Richard Ford, John Updike … Wherever I happen to eat with my but if you forced me to pick one book, it family on a Friday night. -
Gothic Taxonomies: Heredity and Sites of Domestication in Nineteenth-Century British Fiction
GOTHIC TAXONOMIES: HEREDITY AND SITES OF DOMESTICATION IN NINETEENTH-CENTURY BRITISH FICTION By Elizabeth M. Pellerito A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY English 2012 ABSTRACT GOTHIC TAXONOMIES: HEREDITY AND SITES OF DOMESTICATION IN NINETEENTH-CENTURY BRITISH FICTION By Elizabeth M. Pellerito This project reads the ways in which systems of taxonomy and gothic novels, when read together, chart the history of nineteenth-century theories of heredity. By pitting Enlightenment empiricist and rationalist thought against gothic novels, literary critics have posited the two fields as diametrically opposed entities. However, I argue here that the gothic novel translates naturalists’ and taxonomists’ questions about species, applying them to the social, political and biological structure of the human family. The central term of the project, “gothic taxonomy,” refers to the moments in each of these disciplines, and in the exchanges between them, that describe failed systematizations, the simultaneous necessity and impossibility of nineteenth- century attempts to encapsulate the laws of hereditary transmission in a single set of natural laws. By reading taxonomy as a process with social and political consequences, this project provides much-needed nuance to the often reductive critical debates about hereditarians and their foes during the nineteenth century. Revising and complicating these notions forces us to rethink the gothic as a discourse that is merely oppositional in nature, existing only to challenge the narratives of Enlightenment. Reading the gothic as an interpretive model that actively unpacks the inconsistencies of systematization, rather than simply as a reactionary celebration of the irrational or the subconscious, allows us to read it as a discourse with a real contribution of its own to make to scientific debates about the biological and social role of heredity during the period. -
Skullduggery and Seduction Abound in Adult Stop-Motion Animation by GEORGE DICKIE Birthday Clown
INSIDE THIS ISSUE Horoscopes ........................................................... 2 Now Streaming ...................................................... 2 Puzzles ................................................................... 4 TV Schedules ......................................................... 5 Clooney’s high- Gordon Ramsey “The Hunt” Top 10 ................................................................... 6 6 stakes heist 7 gets even wilder 7 comes home Home Video .......................................................... 7 June 6 - June 12, 2020 Hulu’s “Crossing Swords” from the executive producers of “Robot Chicken” Skullduggery and seduction abound in adult stop-motion animation BY GEORGE DICKIE birthday clown. Clearly, landing a position at the “When you get to the stage, you take your Imagine, if you will, a kingdom where corruption, castle and getting out of that household would be experiences as a kid thinking about playing with these libidinousness and avarice are admired, where welcome salvation. toys and then as an animator how can you express cheaters always prosper and the virtuous are laughed Except the royal couple is no better. The king (Luke this in a clear way with purpose? And then as a result at and derided. Evans, “Clash of the Titans”) is a spoiled brat who on camera, you get a performance that hopefully is It is in this medieval world of peg people in won’t do anything for himself while the queen (Alanna communicating simple things like jousting or other “Crossing Swords,” a decidedly adult stop-motion Ubach, “See Dad Run”) will try to bed anything that acting things.” animated comedy from “Robot Chicken” executive moves. Patrick, obviously, has a tough row to hoe. For the voices, Harvatine and Root had actors producers Tom Root and John Harvatine IV that already in mind for some characters but others The series is full of irreverent humor as well as begins streaming Friday June 12, on Hulu, where a required a search. -
Modern Family"
Representation of Gender in "Modern Family" Vuković, Tamara Master's thesis / Diplomski rad 2016 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zadar / Sveučilište u Zadru Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:162:639538 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-26 Repository / Repozitorij: University of Zadar Institutional Repository of evaluation works Sveučilište u Zadru Odjel za anglistiku Diplomski sveučilišni studij engleskog jezika i književnosti; smjer: nastavnički (dvopredmetni) Tamara Vuković Representation of Gender in “Modern Family” Diplomski rad Zadar, 2016. Sveučilište u Zadru Odjel za anglistiku Diplomski sveučilišni studij engleskog jezika i književnosti; smjer: nastavnički (dvopredmetni) Representation of Gender in “Modern Family” Diplomski rad Student/ica: Mentor/ica: Tamara Vuković izv. prof. dr. sc. Senka Božić-Vrbančić Zadar, 2016. Izjava o akademskoj čestitosti Ja, Tamara Vuković, ovime izjavljujem da je moj diplomski rad pod naslovom Representation of Gender in „Modern Family“ rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj -
Modern Family Season 1X01 Page.1 - You Saw That, Right? Everybody Fawning Over Lily, and Then You - His Name Is Dylan
Modern family - We're very different. Jay's from the city. He has a big business. I come from a small village, very poor but very, very beautiful. It's the 1X01 Pilot number-one village in all Colombia for all the... What's the word? - Murders. - Kids! Breakfast! Kids? Phil, would you get them? - Yes, the murders. - Yeah. Just a sec. - Manny, stop him! You can do it! - Kids! - Damn it, Manny! - That is so... - Come on, coach! You got to take that kid out! - Okay. - You want to take him out? How about I take you out? - Kids?! Get down here! - Honey, honey. - Why are you guys yelling at us when we're way upstairs? Just text - Why don't you worry about your son? He spend the first half with me. his hand in his pants! - That's not gonna happen. And you're not wearing that outfit. - I've wanted to tell her off for the last six weeks. I'm Josh. Ryan's dad. - What's wrong with it? - Hi. I'm Gloria Pritchett, Manny's mother. - Honey, do you have anything to say to your daughter about her - And this must be your dad. skirt? - Her dad? That's funny. Actually, no, I'm her husband. Don't be - Sorry. That looks really cute, sweetheart. fooled by the... Give me a second here. - It's way too short. People know you're a girl. You don't need to - Who's a good girl? Who's that? Who's that? prove it. - She's adorable! Hi, precious. -
Courses & Programs
Courses & Programs Accounting Adult Basic Education ACCT&201 ABE 009 Principles of Accounting I • 5.0 Credits LOC Ed Interviewing • 1.0–3.0 Credits Formerly BA 251 The purpose of this course is to improve learner retention, persistence, Fundamentals of accounting as applied to actual business situations. and performance through research-proven goal setting, problem-solving, Introduction to the accounting cycle for service and merchandising firms and evaluation, intervention, and self-awareness strategies. controlling to purchases and sales with business papers, special journals, and subsidiary ledgers. Prerequisite: grade of 2.0 or better in MATH ABE 010 040 or satisfactory placement test score. ABE Level 1 • 1.0–15.0 Credits Math instruction in adding and subtracting of simple whole numbers. ACCT&202 Reading instruction in phonics, language patterns, and using context to Principles of Accounting II • 5.0 Credits understand written material. Writing instruction for basic survival needs Formerly BA 252 and for personal communication. The theory and practice of accounting, including financial statements. Emphasis on partnership and corporate accounting. Prerequisite: ACCT& ABE 020 201 or instructor permission. ABE Level 2 • 1.0–15.0 Credits Math instruction in place value, whole number operations, and problem- ACCT&203 solving. Reading instruction in phonics, language patterns, and using Principles of Accounting III • 5.0 Credits context to understand written material. Writing instruction for basic Formerly BA 253 survival needs and for personal communication. A continuation of ACCT& 202. Introduction of manufacturing and cost accounting. Analysis of financial statements, budgeting, and cost volume ABE 030 analysis. Prerequisite: ACCT& 202. ABE Level 3 • 1.0–15.0 Credits Math instruction in decimals, fractions, and problem-solving. -
TGIF: THANK GOODNESS IT's FAMILY: FAMILY MESSAGES in ABC's 1990S FRIDAY NIGHT LINEUP by Kourtney Hanna Smith a Thesis Submit
TGIF: THANK GOODNESS IT’S FAMILY: FAMILY MESSAGES IN ABC’s 1990S FRIDAY NIGHT LINEUP by Kourtney Hanna Smith A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Mass Communication Middle Tennessee State University December 2015 Dr. Katherine Foss, Chair Dr. Jane Marcellus Dr. Jan Quarles ABSTRACT Early television sitcoms in the 1950s focused on families with traditional nuclear structures and conventional values. Almost four decades later, ABC’s Thank Goodness It’s Funny 1990s lineup featured families whose premise and themes were based on reconfiguring family structure. By studying television families in Full House (1987- 1995), Family Matters (1989-1998), Step-by-Step (1991-1998), Boy Meets World (1993- 2000), and Sister, Sister (1994-1999), we see traditional family values of love, friendship, togetherness, and instilling the importance of hard work and education in children. TGIF’s theme songs reconfigure the American family through song, and emphasize that reconfiguration leads to a better family. This narrative qualitative analysis of the TGIF lineup provided insight into how American sitcoms have evolved in ideologies about the family in-between the traditional early portrayals to today’s postmodern television families. ii TABLE OF CONTENTS Page INTRODUCTION.…………………………………………………………………….. 1 STATEMENT OF PURPOSE AND JUSTIFICATION………………………………. 3 CHAPTER 1: BACKGROUND………………………………………………………...5 Early Television Programming………………………………………………….5 1950s Families and Their Depictions…………………………………………...8 -
Resistance to Hegemonic Masculinity in Modern Family
Journal of Contemporary Rhetoric, Vol. 11, No.1/2, 2021, pp. 36-56. Modern Masculinities: Resistance to Hegemonic Masculinity in Modern Family Jennifer Y. Abbott∗ Cory Geraths+ Since its debut in 2009, the ABC television show Modern Family has captivated audiences and academics alike. The show professes a modern perspective on families, but many scholars have concluded that its male characters uphold problematic, normative expressions of gender. In contrast, we use the concept of hegemonic masculinity to argue that Modern Family resists normative expressions of masculinity by attuning viewers to the socially constructed nature of hegemonic masculinity and by authorizing feminine and flamboyant behaviors as appropriately manly. These coun- terhegemonic strategies work in tandem to scrutinize confining expectations for men and to offer viable alternatives. Taken together, their coexistence mitigates against an oppressive hybrid version of hegemonic masculinity. Conse- quently, our analysis introduces readers to the rhetorical power of hegemonic masculinity and strategies to resist it; considers the efficacy of these strategies while drawing a wide audience; and stresses the importance of diverse gender representation in popular media. Keywords: Modern Family, hegemonic masculinity, resistance, comedy, television, sitcom The ABC television show Modern Family concluded on April 8, 2020, securing its place in history as among the longest running and most successful domestic situation comedies. Beginning with its first season in 2009, and ending with its eleventh and final season in 2020, the series currently stands as the “third longest-running network sitcom in television history.”1 While ratings dipped ∗ Jennifer Y. Abbott (Ph.D., The Pennsylvania State University) is a Professor of Rhetoric at Wabash College and is affiliated with the college’s Gender Studies program. -
Modern Family” Jennifer Villamar*
Journal of Management Science and Business Intelligence, 2020, 5–2 December. 2020, pages 10-14 doi: 10.5281/zenodo.4171593 http://www.ibii-us.org/Journals/JMSBI/ ISBN 2472-9264 (Online), 2472-9256 (Print) Exploring Television Media: A content analysis on Chile and the United States television media and version of “Modern Family” Jennifer Villamar* *Email: [email protected] or [email protected] Received on 06/05/2020; revised on 10/29/2020; published on 10/31/2020 Abstract This paper and abstract will be comprised of the following problem(s) and or topic(s). An analysis of the types of television media systems found in Chile and the United States and how each country’s differentiation in television media and culture is a reflection and adaptation of its television programs. It will be a comparative analysis dealing with Chile and the United States’ different versions and adaptations of the pilot episode for the television show Modern Family. Keywords: Television media, Modern Family, comparative analysis, qualitative content analysis Introduction: Phil and how “he is a cool dad who surfs the web and texts LOL, OMG, and WTF (why the face)” (Levitan et al., 2009). Nevertheless, the family’s views and core values are anything but “modern.” Since its debut in 2009 on ABC, Modern Family has established The essence and philosophy of the show is “built around the idea itself as a household name. The show, “was filmed in Los Angeles by that no problem is too big and it can’t be swept under a hug” that you Levitan Lloyd Productions in association with Twentieth Century Fox should not “be afraid of a hug, but make sure you earn it” (Feiler, 2011). -
Modern Family Season 3 Episode 01
Modern family Season 3 Episode 01 Captain : We're beginning our initial descent into Jackson Hole, Wyoming. Thank you for flying United. Phil : Reckon we'll be landing soon. Claire : Phil, honey, you promised... not till we got there. Phil : This year, we're going to a dude ranch with the whole family. Claire : Mm-hmm. The family. Haley : What if Dylan buys his own ticket? We'll be sleeping in separate cabins. Phil : What if Dylan and I share a horse? Claire : Mm, I hate landing. Dylan : We'll get through this. Gloria : Wow! Oh, my goodness. Jay : What are you doing? Gloria : I want my ears to pop. Manny : Try putting a little Rouge on 'em. Nobody gets me. Mitchell : Wow. Isn't this beautiful, little cowgirl? Cameron : You hate her sparkly outfit, don't you? Mitchell : No, I told you, it's fine. I just didn't like you wearing a matching one. Mitchell : So we haven't told the family yet, but we've decided to adopt a baby boy. Cameron : From America this time. You might say we're "buying domestic." Mitchell : In private... You might say that in private. Cameron : Our adoption attorney told us it would be a good idea to make a photo book to show prospective moms. Mitchell : But he thought that Cam's version was a little too "artsy," so we've decided to take a few rugged shots at the ranch to, you know, balance it out. Cameron : I don't think it need balancing out. Mitchell : Really? Cameron : It's called "Production value." [OPENING CREDITS] Mitchell : Horse.