DOCSLIB.ORG

The Docent Educator Spring 200 Come One, Come All

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Docent Educator Spring 200 Come One, Come All Minds in Motion Vol. 10, No. 3 Spring 2001 THE QUARTERLY JOURNAL FOR DEDICATED EDUCATORS Touring WalMns and the General PuMk Docents Tailor-Made for a Walk-In Audience Touring the Public - - "Come One, Come All" Revamping, Researching, and Reciting Focus Tours A The Impact of Learning Styles Don't Depend on the Kindness of Strangers a 1 minds in motion Touring the Public - - Effective teaching is a casual conversation and weave them Understanding the differences challenge regardless of into your tour introduction. Your in individual learning styles will the circumstances. introduction should explain your assist you when gauging your Working with walk-in institution's mission and let visitors audience's needs. It will help you ^dsitors, however, may be among the know how their expectations relate to pose appropriate questions, take more formidable of educational the collection and touring experience. advantage of various responses, responsibilities. While certain "Welcome to our Historical and provide you with routes toward Cover Photo: assumptions can be made about a Society's Living Coffee Farm, an enfranchising others who learn fourth grade class coming to your historic site that has preserved a way or respond to things differently. Steve Zellman, institution in conjunction with its of life that flourished in the early 20* Remember, as the teacher, it is docent at the social studies curriculum, such century and a form of agriculture your responsibility to enfranchise American Museum presumptions cannot be applied to that continues to have a direct bearing all members of your group and to ofNatural History walk-in visitors. on the character and development accommodate the various ways they in New York City, Walk-in visitors rarely share of our area. Though you will not be acquire, process, and respond to wears a large blue similar backgrounds and characteris- hearing about, or sampling, different new information. badge identifying tics. Often, they do not have the types of coffee, you will be learning What about accessibility; is it him to the public. same reasons for coming to your about the Japanese immigrants who a concern? Have you received He also carries an institution, nor do they share the pioneered these coffee farms, their training in methods for teaching orangeflag on a same hopes and expectations for experience as immigrants to this new and touring people having visual pole which he raises the experience. Playing to the and strange world, and you will see or auditory challenges? If not, whenever he moves diversity of this audience requires how their coffee crop was harvested request such training from those with his weekend knowledge, flexibility, competence, and prepared for market. who supervise public programs at audience through self-confidence, and accommodation. "Have any of you spoken with your institution! Do you know how the museum's very And while these ingredients are family members who immigrated to make your tour accessible for crowded galleries. important in all teaching situations, to the United States from another all age groups? How should you rarely are they needed in such country? Where did they come from, approach touring a group that abundance as when working with and what did they remember most consists of grandparents, single adults, the variety of people who might about their experience?" and youngsters? (Try talking with comprise a walk-in tour group. Adopting a conversational and the adults, but asking your questions interactive tone with your visitors not to the youngsters.) If you have not Getting to Know You only gives them the tour's overview, received training on age-grading your Arrive at your greeting station it will acquaint them with the give- tours and methods for enfranchising early, as the group assembles, and use and-take of an active learning tour — all types of audiences, you have a the time before your tour begins to where questions are asked and ideas right to expect it from the institution engage in an informal conversation and answers are discussed among you serve. with visitors. "Where are you from?" the participants. It is difficult to be an effective "Have you been here before?" teacher if you do not receive extensive "What have you heard about our Knowing How to Deal with training. Though subject matter institution that brought you here Those You are Dealing With content should be considered an today?" These questions, and others Groups, and individuals within essential part of being a good teacher, like them, are useful for gathering groups, differ from one another. it cannot be considered the only part. information about the diverse people While you continue to initiate Equally important are those skills who will be sharing a common your tour, take notice of those who and attributes that make for effective guided experience. seem outgoing as well as those who teaching, such things as educational Take the impressions and seem reticent. Survey the range of techniques, methods of controlling information you gather from this individual learning styles before you. communication, ways of age-grading 2 The Docent Educator Spring 200 Come One, Come All information, the uses of inquiry while the tour is in progress; to learn how they might improve and and questioning strategies, issues of other visitors wiU leave before the gain even greater effectiveness. accessibility, and methods for the tour has ended. Both coming and development and implementation going should not fluster the docent. Knowing Your Limits of lesson plans. This phenomenon should be expected Should you tour the interior of when touring walk-in visitors. a Victorian home, but not the formal Establishing Expectations Nevertheless, it takes great garden behind the house, let visitors Keep in mind that walk-in tours confidence to continue teaching as know. "During our 45-minute tour, are usually provided as a convenience visitors drift away from your tour. we will be covering the interior of to visitors. Unless your institution Don't take their going personally. this 1880's home. From several requires all visitors to move through Everything from an impending rooms on the second floor, you will the site with guides, visitors should doctor's appointment to an expiring get a wonderful view of the garden be informed early on of the itinerary parking meter can be the reason in back; however we will not be able for your tour. And, if a visitor's for breaking away from a tour. to tour it together. Should you wish expectations are not going to be met Likewise, don't be overly flattered to focus on the garden, there is tour during a tour, let him know so that by those who might link up with specifically of the garden that begins he can make a choice about how your tour while it is in progress. at 2:00 p.m." to proceed. Most museum visitors are looking for Knowing your limits does Perhaps, during your informal routes toward greater understanding, not mean being inflexible. Quite conversations with visitors, you and your talk might just be what they naturally, you should be adaptive discover that most of your group want at that moment. AH docents, while touring, responding to visitors' arrived expecting to see an overview regardless of their tour's "body count," interests, questions, and concerns. Continued on of the permanent collection, but one should receive extensive evaluating However, you cannot be all things next page. couple hoped to see a special exhibi- tion. Assuming there is not enough time to accomplish both, you should let the couple know that you will not be taking them into the special exhibition area. "Our tour today wiU survey many of the highlights of our THE QUARTERLY JOURNAL FOR DEDICATED EDUCATORS permanent art collection, which The Docent Educator is a quarterly publication dedicated Publisher/Editor ranges from early Egyptian pieces to improving the performance, status, and satisfaction of Alan Gartenhaus to contemporary works by regional volunteer and staff educators teaching within museums, artists. If you only have time to historic sites, gardens, parks, zoos, libraries, and classrooms. Associate Editor visit our special exhibition of Dutch The publication is available by subscription to individuals, Jackie Littleton landscapes, however, you may wish as well as to groups and institutions. j to head directly for the second floor, minds in motion The Docent Educator w^Xzomts unsolicited articles, where that exhibition is located." The Docent Educator announcements, comments, general correspondence, and Post Office Box 2080 advertising inquiries. The views expressed or implied in this Coming and Going Kamuela, 96743-2080 USA HI publication do not necessarily represent the ofiScial position Unlike students taking a guided \ phone: (808) 885-7728 of the publisher, and efforts are made to present a variety of tour with their class, walk-in visitors fax: 885-8315 (808) viewpoints for the reader's consideration. are under no obligation to remain e-mail: [email protected] with a tour from its beginning until No part of this publication may be reproduced, or used its ending. Some visitors wiU join in any manner, without the written consent of the publisher. ISSN 1084-0443 All rights are reserved. The Docent Educator Spring 2001 1 Continued to all people, and you must know from what areas of the collection are the within, and what areas are beyond, previous your purview. page. Going with the Flow The temptation when touring walk-ins is to provide a set experience, and to expect visitors to adapt to the format, tone, and tenor of the tour that is being offered. That form of "recipe" teaching can work, but it rarely excels. In many ways, a parallel can be drawn between teaching and cooking. While recipes are important guides, the test of a cook is how she handles the situation when all the ingredients are not present, or when there is a need to change or an opportunity to improve.
Load more

Recommended publications
  • Scott Blakeman Mike Capozzola Lisa Geduldig Judy Gold
    Judy Gold Scott Blakeman Mike Capozzola Lisa Geduldig NEW ASIA RESTAURANT • SAN FRANCISCO Partial Proceeds Benefit: The Brown Twins/JFCS Emergency Assistance Fund Bay Area Women‛s & Children‛s Center The Jewish news weekly of Northern California 2pub-BBB_KungPao_Pineapple.pdf 1 11/5/12 2:30 PM Dinner Show Menu • New Asia’s Special Sweet Corn and Minced Vegetable Soup • Lisa G.’s World-Famous Kosher Walnut Prawns • Kung Pao Chicken (Attention: those prone to anaphylactic reactions! This dish contains peanuts.) • Grandma Lillie’s Braised Tofu with Black Mushrooms, Seasonal Greens, and Carrots • Assorted Vegetable Chow Mein, Boca Raton-style • Barbra Streisand’s Famous Sauteed Mixed Vegetable Medley in Garlic Sauce • Arline Geduldig’s World-Renowned Salt & Pepper Fish Fillet C M • Steamed Rice Y • Fortune Cookies CM (with Yiddish fortunes) MY CY Treyf alert: There is no pork on the menu, and one dish has shrimp CMY (because your hostess loves shrimp). K No MSG. The Egg Rolls served at the Cocktail Show are vegetarian. Kung Pao Table Names 1. Alan King 14. Guilt 27. Meshugganah 2. Barbra Streisand 15. Hava Nagilah 28. Milton Berle 3. Borscht Belt 16. Henny Youngman 29. New York Bagel 4. Bubbelah 17. Jackie Mason 30. Nosh 5. Catskills 18. Joan Rivers 31. Rodney Dangerfi eld 6. Chicken Soup 19. Kasha Varnishkas 32. Sammy Davis Jr. RICK MARKOVICH RICK MARKOVICH : O 7. Chopped Liver 20. Kvetch 33. Schmooze 8. Chutzpah 21. Latkes 34. Seinfeld 9. Fanny Brice 22. Lenny Bruce 35. Totie Fields © 2012 SSPI PHOT © 2012 SSPI 10. Farklempt 23. Mah Jongg 36.
    [Show full text]
  • M MANUFACTURERS COUPON
    (Etrattectiott iattrj (Eamjnta Serving Storrs Since 1896 VOL. LXXXI NO. 33 STORRS, CONNECTICUT WEDNESDAY. OCTOBER 26. 1977 Higher ed support increases as per capita spending lags Although Connecticut matched behind other states in per capita Nearby Rhode Island led the the national average for increas- expenditures this year, that is Chronicle's figures for increases ed spending on higher education the total state appropriation ■fcver the past two fiscal years over the past two fiscal years, divided by the number of resi- with a 40 per cent hike, while the state remains near the dents recorded in 1976 census Alaska led per capita expendi- bottom of the 50-state list in how estimates, and in spending per tures at $167.57 and Utah led much money it spends per capita $1,000 of personal income, the expenditures per $1,000 of per- and per $1,000 of personal appropriation divided by state sonal income at $17.83. income to run public colleges personal income estimated by The Universiyt of Connecticut and the University of Connecti- the U.S. Department of Com- is slated to recieve $82 million of cut, a respected higher educa- merce. this year's state appropriations tion weekly reported Tuesday. In per capita expenditures, for the Storrs campuses, From 1975-76 to the present Connecticut ranks 44th, with branches and the University 1977-78 fiscal year the state has $52.77 being spent per person, Health Center in Farmington. increased higher education while in expenditures per $1,000 That figure represents a 17 per spending by about 20 per cent, of personal income, the state cent increase over the past two however, most of the increase ranks 47th of 50.
    [Show full text]
  • Gatherings of the Clan
    May 2010 VOL. 21 #5 $1.50 Boston’s hometown journal of Irish culture. Worldwide at bostonirish.com All contents copyright © 2010 Boston Neighborhood News, Inc. Gatherings of the Clan Participants in the First Annual Benefit Dance for Haiti had a grand time at the Marriott Boston Quincy Hotel on Sun., May 2, where they raised funds for the Friends of Orphans group to share with young victims of the January earthquake. Gala participants, from left: Pat “Doc” Walsh, co-chairman; Sharon Saxelby, president/ CEO, Friends of Orphans; Rev. Philip Cleary, president, Nuestros Pequenos Hermanos International; State Senator Tom Kennedy; Dan McAuliffe, of the committee; state Rep. Linda Dorcena Forry; Della Costello, of the committee, and Winnie Henry, co-chair and event organizer. See Page 11. Photos by Harry Brett. The 2010 Eire Society dinner, at which Boston Irish Reporter Publisher Ed Forry received the society’s Gold Medal Award, was held on Fri., April 30, in the rooftop room at the Parker House. Forry, above right, shared a hearty laugh with dinner emcee Bill Bulger before receiving the award from Society Presi- dent Philip O’Brien, at rear. The honoree’s acceptance speech is on Page 10. More photos, Page 11. ICCNE Scholar O’Leary Eyes The Cardinal, HAILS On the Go Congress The Politician ITS 20TH Page 2 State Sen. Robert The Cultural Centre University of Aber- O’Leary, who repre- Hanneke Cassell: of New England will deen Professor Thomas sents Cape Cod in the celebrate its 20th an- Bartlett has spent the Fiddler with Flair Legislature, is on the niversary with a gala last year as the Burns Page 14 campaign trail these event on its Canton Scholar in Irish studies campus on Saturday at Boston College.
    [Show full text]
  • Comedy: Stand-Up, Lesbian by Tina Gianoulis
    Comedy: Stand-Up, Lesbian by Tina Gianoulis Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com A portrait of comedian Kate Clinton by David Historically, one of the functions of comedy has been to serve as the rebellious voice Rodgers. of oppressed people. Joking about serious and even painful issues can be a palatable Courtesy Beach Front way to critique the social and political norm. Sometimes pushing the limits of taste Bookings. and acceptability to find humor in unlikely sources, the comedian is often the misfit who points out society's foibles from the perspective of the outsider. Minority comedians performing for minority audiences frequently use inside jokes to create solidarity among those outside the mainstream. Even when they perform for mainstream audiences, however, minority comedians can be agents of social change, because part of the magic of comedy is that a good joke forces the audience to identify with the joker. As comedian Lea Delaria remarked, "I'm here to educate those heterosexuals who are lesbian-impaired." Not requiring a playscript or supporting cast, stand-up comedy is based on the relationship of one individual to the audience. Using her viewpoints and vulnerabilities as material, the stand-up comedian can be both an educator and a gadfly--and sometimes the butt of her own jokes. Lesbian stand-up comedy provides an excellent example of how comedy can foster social and political awareness in both minority and mainstream communities. Although stand-up comedy has long been a staple of nightclubs and variety shows, in the 1980s a new comedy explosion began.
    [Show full text]
  • “The Melissa Mccarthy Effect”: Feminism, Body
    The Pennsylvania State University The Graduate School “THE MELISSA MCCARTHY EFFECT”: FEMINISM, BODY REPRESENTATION AND WOMEN-CENTERED COMEDIES A Dissertation in Mass Communications by Catherine Bednarz © 2020 Catherine Bednarz Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2020 ii The dissertation of Catherine Bednarz was reviewed and approved by the following: Matthew P. McAllister Professor of Communications Chair of Graduate Programs Dissertation Adviser Co-Chair of Committee Michelle Rodino-Colocino Associate Professor of Communications Co-Chair of Committee Kevin Hagopian Teaching Professor of Communications Lee Ahern Associate Professor of Communications iii Abstract Immediately following its release in 2011, Bridesmaids was met with enormous critical praise as a woman-centered and feminist comedy. This praise was due to the largely female cast of characters in a major film comedy, a rarity in Hollywood. Women face sexism at every level of Hollywood, especially in comedy, so the success of a woman-led movie within the comedy genre was significant. Reviewers described the triumph of Bridesmaids as a game changer, claiming it would open the door to other woman-fronted comedies. This potential was labeled the “Bridesmaids Effect” (Friendly, 2011) by reviewers. However, while some comediennes may have benefitted from the success, I argue that the influence may be more accurately described as a “Melissa McCarthy” effect. This is particularly significant because though there have been several notable and successful female comedians before Melissa McCarthy, very few would be considered fat and feminist. The presence of fat women is not accurately reflected in mass media (Henerson, 2001).
    [Show full text]
  • Paralyzed Veterans of America 50 Years 1946-1996
    icatin^ „*? 4cm»:^~;a-Si; ^wsvm^.w^=ss' ^^SSf'js^^^^ K:-^??"e7«-~s;».. -^;s=35rwrses"wlamiTw ,'££."-.-"•. Z" iSsi?e;ife?5 '^l'^^telrri,,.. " "rtT"i'' w?sS'ss's'sS ^'SS''''"''"" ISSjs'&sfsS. ssai^'•'UU^^OU^/ 's;!vs^ °1" tfrBa-^, ~"'") ai /M^."I'inft^'l.°teii The Paralyzed Veterans of America * / 5pt»[ I i -y issn * ,,A,i..«aW«»'»?'t<asutt '^^s^^:p^ms^wi":' '".1 •' •.„ ...^ £^sJm»S<t^^lf^'""^^^^ 'S-—-^'"""" of Still Fighting for a Better Tomorrow When World War II ended 50 years ago, some veterans found their homecoming presented almost as many challenges as their time in the military. These veterans, who were paralyzed, came back to a country not prepared to deal with them or their needs. For example, many paralyzed veterans returned home to find they couldn't live in their houses or apartments. The reasons were many— including the fact that there were steps out front, and the homes themselves were not designed for someone in a wheelchair. In addition, they couldn't get around, because public transportation was not accessible to people in wheelchairs. These veterans joined together to form the Paralyzed Veterans of America. During the years that followed, .we have made a real difference in the lives of our members and many others with disabilities. To date we have spent more than $12 million on research related to'spinal-cord injury and disease, been a leader in the coalition on the Americans With Disabilities Act, lobbied to make our country accessible to people with disabilities, and been involved in a wide range of sports and recreational activities for those with disabilities.
    [Show full text]
  • The Fat Female Bodies of Saturday Night Live: Uncovering the Normative Cultural Power of a Countercultural Comedy Institution
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2017 The Fat Female Bodies of Saturday Night Live: Uncovering the Normative Cultural Power of a Countercultural Comedy Institution Katharine Cacace Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1824 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE FAT FEMALE BODIES OF SATURDAY NIGHT LIVE: UNCOVERING THE NORMATIVE CULTURAL POWER OF A COUNTERCULTURAL COMEDY INSTITUTION by KATHARINE CACACE A thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2017 ii © 2017 KATHARINE CACACE All Rights Reserved iii The Fat Female Bodies of Saturday Night Live: Uncovering the Normative Cultural Power of a Countercultural Comedy Institution by Katharine Cacace This manuscript has been read and accepted by the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Professor Carrie Hintz Thesis Advisor Date Professor Elizabeth Macaulay-Lewis Acting Executive Officer, MALS Program THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT The Fat Female Bodies of Saturday Night Live: Uncovering the Normative Cultural Power of a Countercultural Comedy Institution by Katharine Cacace Advisor: Carrie Hintz Despite its reputation as one of the most countercultural and anti-establishment voices in mainstream television comedy, Saturday Night Live helps produce and reproduces cultural norms.
    [Show full text]
  • July 5, 2001 Stuart Tests the Comic Waters in Town by Gerry Desautels
    July 5, 2001 Stuart tests the comic waters in town By Gerry Desautels Provincetown Banner Correspondent Its only natural that Jason Stuart, the first openly gay comedian to headline in Las Vegas, would land a summer gig in Provincetown. A crazy, affable and sensitive New Yorker, now living in Los Angeles, this seasoned comic could very well be on the verge of a fulltime acting career to rival his 20 years of high energy in standup comedy. ‘I saw Siegfried and Roy in Vegas,’ quips Stuart. ‘I spent $150 bucks to see their show and all I saw was these big white tigers and cod pieces … I could walk down Commercial Street and see that for free!’ This image is followed by Stuarts revelation that ‘There are 10 guys in Provincetown, and they have all the jobs. Theyre like Sam Drucker in Petticoat Junction’ (who ran the local general store and held about a dozen other jobs and public service positions). Stuart has wasted no time developing Provincetown standup material around various trials hes faced during his two short weeks in town. He relates incredulously about sharing a ‘$9,000 11-week rental closet with another performer,’ and shares his compulsory experience with registering as a ‘Solicitor’ with Provincetown officials in order to legally distribute show flyers on Commercial Street. The outgoing, flirtatious and borderline crass Stuart admits he had apprehension around the ‘Provincetown tradition’ of hawking flyers by day to attract audiences by night. If my 30 minutes with Stuart on Commercial Street was any indication, he is well over any such anxiety as he shouts out to unsuspecting tourists in Whalers Wharf, ‘Hey you, gay guys, take my flyer.
    [Show full text]
  • It's All for You – Table of Contents
    ABC Television 5 Emil Abdelnour 5 Academy of Motion Picture Arts and Sciences 5 On Acting 9 Actresses Who Have Portrayed Judy Garland or Judy Garland Based Characters 9 Adrian 10 Advertisements 10 Ray Aghayan 11 Agents 11 Harry Akst 13 Edward Albee 13 Shana Alexander 13 Alice Adams 14 a/k/a Judy Garland Park 14 The Allen Brothers 15 Gene Allen 15 Peter Allen 16 Steve Allen 17 Woody Allen 18 June Allyson 18 Carleton Alsop 19 Vernon Alves 20 Ambassador Hotel 20 Americana Hotel 20 American Federation of Labor 20 Amsterdam, Netherlands 20 An Observation of FameäHollywood Style 21 Judith Anderson 21 The Andrews Sisters 21 Andy Hardy Meets Debutante 21 The Andy Williams Show 23 Annie Get Your Gun 23 Another World 25 Harry J. Anslinger 25 Army Archerd 26 Arie Crown Theater, Chicago, Illinois 26 Harold Arlen 26 Arthur 28 ASCAP Tribute to Harold Arlen 28 Betty Asher 28 Fred Astaire 29 Mary Astor 30 The Astrodome, Houston, Texas 31 Atlantic City Convention Hall 31 A Tree Grows in Brooklyn 32 James Aubrey 32 Auction of Judy Garland's Property 33 Auld Lang Syne 34 Pamela Austin 35 Autobiography 35 Autopsy 36 Richard Avedon 36 Awards 36 John Aylesworth 37 Babes in Arms 38 Babes on Broadway 39 Lauren Bacall 41 Back Bay Theater, Boston, Massachusetts 42 Jim Bailey 42 Pearl Bailey 43 Lucille Ball 43 Baltimore Civic Center 44 Tallulah Bankhead 44 Lynn Bari 44 The Barkleys of Broadway 44 Billy Barnes 45 Nancy Barr 46 Ethel Barrymore 46 Barry Norman's Hollywood Greats 47 Richard Barstow 47 Lionel Bart 47 Freddie Bartholomew 48 Count Basie 48 Shirley Bassey 48 Battle Hymn of the Republic 48 L.
    [Show full text]
  • Tsarnaev Guilty on All Counts
    VOL. 119 - NO. 15 BOSTON, MASSACHUSETTS, APRIL 10, 2015 $.35 A COPY No Leinance … Only Justice Tsarnaev Guilty on All Counts by Sal Giarratani On Wednesday afternoon, heinous act of ter- wrenching testi- boat in the backyard of a April 8, 2015, Dzhokhar ror and will always mony of Bill Richard, Watertown home where Tsarnaev was convicted in be a bittersweet day who lost his son Dzhokhar was hid-ing. Ev- the Boston Marathon bomb- in our city. It was on that tragic day. eryone was relieved by his ing trial. Tsarnaev, 21, just an-other Mara- Richard described capture, but our sadness looked on, with arms folded thon Monday on in detail having to continued, as it does today. at his defense table, listen- April 15, 2013 un- make the heart- On this Wednesday, the ing to one guilty verdict til two shrapnel- breaking decision to younger Tsarnaev came in- after another. In the end, he packed pressure leave his mortally creasingly closer to meeting was found guilty on all 30 cookers placed by wounded lit-tle boy his fate. Next week, the jury counts, 17 of which are Dzhokhar and his to help his six-year- will determine the fate of the punishable by the death older brother Tam- old daughter. We also defendant; whether he will penalty. erlan exploded near will remember for- be executed or live out his Many court experts had the finish line ever heroes who ran life behind bars at the ex- predicted a long deliberation, wounding over 260 into the carnage and pense of the people he and but in the end the jury spectators along the first responders his brother wanted to exter- needed a little more than a with three mortally who aided victims.
    [Show full text]
  • Politics, Trangression, and Women's Humor in Contemporary American Television
    "THAT'S WHAT SHE SAID": POLITICS, TRANSGRESSION, AND WOMEN'S HUMOR IN CONTEMPORARY AMERICAN TELEVISION Melinda Maureen Lewis A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2014 Committee: Ellen Berry, Advisor Jacquelyn Cuneen Graduate Faculty Representative Rosalind Sibielski Becca Cragin ii ABSTRACT Ellen Berry, Advisor Since the early 2000s, women affiliated with comedy television have been widely discussed as exceptions within a masculine industrial context, celebrated as brave counterexamples to ideas women lack comedic voices, or derided for not being good enough as comics or feminists. Television has been included in this discussion as a space where women’s representation, in comparison to film, provided more dynamic options for actress. Comedy has been used in these conversations as journalists and bloggers increasingly focus on women’s lack of representation within comedy formats in addition to already lack of diversity on and offscreen. The goal of this research is to analyze women’s comedic work for television. The following is an examination of women’s authorship in comedy television. There have been a handful of women who have acted as headwriters/ showrunners/ producers/ stars in comedy texts within the past ten years. Through analyses of four women in particular: Tina Fey, Amy Poehler, Diablo Cody, and Lena Dunham, this research highlights the ways in which women’s perspectives are incorporated within their texts. Through comedy they provide characters and points of identification that go beyond stereotyping and shed light on the nuanced nature of women’s lived experiences.
    [Show full text]
  • Kiss (Band) - Wikipedia 15/11/17 13.26
    Kiss (band) - Wikipedia 15/11/17 13.26 Kiss (band) Kiss (often stylized as KISS) is an American rock band Kiss formed in New York City in January 1973 by Paul Stanley, Gene Simmons, Peter Criss, and Ace Frehley. Well known for its members' face paint and stage outfits, the group rose to prominence in the mid-to-late 1970s with their elaborate live performances, which featured fire breathing, blood-spitting, smoking guitars, shooting rockets, levitating drum kits, and pyrotechnics. The band has gone through several lineup changes, with Stanley and Simmons the only remaining original members. The original and best-known lineup consisted of Stanley (vocals and rhythm guitar), Simmons (vocals and bass guitar), Frehley (lead guitar and vocals), and Kiss playing at Hellfest 2013, during their Criss (drums and vocals). Monster World Tour. From left to right: Gene Simmons, Paul Stanley, Eric Singer, and Tommy With their make-up and costumes, they took on the personae Thayer of comic book-style characters: The Starchild (Stanley), The Demon (Simmons), The Spaceman or Space Ace (Frehley), Background information and The Catman (Criss). Due to creative differences, both Origin New York City, New York, Criss and Frehley had departed the group by 1982. U.S. In 1983, Kiss began performing without makeup and Genres Hard rock · heavy metal · shock costumes, thinking that it was time to leave the makeup rock · glam metal behind. The band accordingly experienced a minor Years active 1973–present commercial resurgence, and their music videos received Labels Casablanca · Mercury · regular airplay on MTV. Drummer Eric Carr, who had Roadrunner · Kiss · Universal replaced Criss in 1980, died in 1991 of a rare type of heart Music Group cancer and was replaced by Eric Singer.
    [Show full text]