Reflexión Académica En Diseño & Comunicación
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The Popular Culture Studies Journal
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 1 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor Kevin Calcamp Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Wrestling” by Brent Jones © 2018 Courtesy of https://openclipart.org EDITORIAL ADVISORY BOARD ANTHONY ADAH FALON DEIMLER Minnesota State University, Moorhead University of Wisconsin-Madison JESSICA AUSTIN HANNAH DODD Anglia Ruskin University The Ohio State University AARON BARLOW ASHLEY M. DONNELLY New York City College of Technology (CUNY) Ball State University Faculty Editor, Academe, the magazine of the AAUP JOSEF BENSON LEIGH H. EDWARDS University of Wisconsin Parkside Florida State University PAUL BOOTH VICTOR EVANS DePaul University Seattle University GARY BURNS JUSTIN GARCIA Northern Illinois University Millersville University KELLI S. BURNS ALEXANDRA GARNER University of South Florida Bowling Green State University ANNE M. CANAVAN MATTHEW HALE Salt Lake Community College Indiana University, Bloomington ERIN MAE CLARK NICOLE HAMMOND Saint Mary’s University of Minnesota University of California, Santa Cruz BRIAN COGAN ART HERBIG Molloy College Indiana University - Purdue University, Fort Wayne JARED JOHNSON ANDREW F. HERRMANN Thiel College East Tennessee State University JESSE KAVADLO MATTHEW NICOSIA Maryville University of St. -
Dirección Teatral: Esos Demiurgos Invisibles
Universidad de San Andrés Departamento de Ciencias Sociales Maestría en Periodismo Dirección teatral: esos demiurgos invisibles Hacia una mirada introspectiva de tres generaciones diferentes y de los hilos que mueven en la creación de sus puestas en escena en el teatro independiente de la Ciudad de Buenos Aires. Autora: María Sol Oliver DNI: 26571046 Director/Mentor de Tesis: Mag. María Silvana Lotto Co-directora: Lic. Sandra Commisso Buenos Aires, 31 de agosto de 2018 Dirección teatral: esos demiurgos invisibles Hacia una mirada introspectiva de tres generaciones diferentes y de los hilos que mueven en la creación de sus puestas en escena en el teatro independiente de la Ciudad de Buenos Aires. Maestría en Periodismo Magíster en Periodismo María Sol Oliver Directora: Mag. María Silvana Lotto Co-directora: Lic. Sandra Commisso Buenos Aires, 31 de agosto de 2018 Comité de tesis Agradecimientos A mi familia, que siempre me apoyó, especialmente mis padres, Graciela Larrivey y José Raúl Oliver, y mis hermanas: Carolina, Oriana, Irina y María. A mis amigos, principalmente Adrián Pertoldi, Fiorella Palmucci, María del Pilar Melo, Leo Medina, Adrián Uribe, Roxana Cirigliano y a muchos otros que me acompañan y me bajan a tierra. A Silvana Lotto, fundamentalmente por su calidad humana, a Sandra Commisso, por su generosidad y su talento. Todos ellos saben lo importante que fue todo este proceso para mí, y lo valoran. A Renata Marinelli, por estar siempre ahí apoyándonos. A todos y cada una de las personas que entrevisté por abrirme sus pequeños universos y compartirlos conmigo, sin ellos nada de esto hubiese sido posible. -
De Carlos Gorostiza Dirigida Por Él Mismo, En El Teatro La Máscara
El Puente Carlos Gorostiza Sala Villa-Villa- Centro Cultural Recoleta Escenógrafa- Camila- Gastaldi Memoria Descriptiva 2016 Introducción Era el año del estreno, la tarde del miércoles 4 de mayo de 1949. Faltaban tan sólo unos minutos para la primera función de El puente, de Carlos Gorostiza dirigida por él mismo, en el teatro La máscara. La obra fue todo un éxito. Luego fue representada por grupos profesionales y traducida a varios idiomas. El autor también es recordado por piezas teatrales como Los prójimos, de 1966, y El pan de la locura, de 1958. En ellas, como en el resto de sus obras, se ven personajes que representan la clase media de la sociedad (clase media-alta o clase media-baja), en contextos propios del paisaje porteño, lugares cotidianos. Existen excepciones como Los otros papeles y El hombre de la valija negra, que muestran personas en situaciones no tan típicas, y por momentos con algún rasgo fantasioso. Más allá de las variaciones, si hay algo que caracteriza a los personajes de Gorostiza es que cada uno de ellos tiene mucha psicología. Mediante los diálogos se van descubriendo distintas vivencias y vínculos que afectan de distintas formas a cada personaje y todos Carlos Gorostiza estos factores, relacionados con la personalidad de cada rol de la obra de teatro. De esta forma se construye una red de relaciones humanas, que repercute de forma auténtica en cada personaje. Ahora bien, para desmenuzar el resto de las cualidades de la producción de Carlos Gorostiza, tomaremos de punto de partida el elemento, tal vez fue el más influyente, en el cambio del teatro argentino: la incorporación de “los puntos de vista”. -
El Teatro Abierto Argentino: Un Caso De Teatro Popular De Resistencia Cultural
EL TEATRO ABIERTO ARGENTINO: UN CASO DE TEATRO POPULAR DE RESISTENCIA CULTURAL LUIS CHESNEY LAWRENCE Universidad Central de Venezuela En marzo de 1981 la dictadura militar que había asaltado el poder en la Argentina cinco años antes parecía imbatible. Sobre la base de una política de terror como el país no había conocido en su historia, el facismo había logrado desarticular al movimiento obrero, intimidar a la población, acallar a los estudiantes, arrasar con la cultura. Treinta mil desaparecidos, miles de presos políticos, un millón de exiliados. El pueblo se había quedado sin sus lideres - muertos, presos o fuera del país- y toda forma de organización parecía casi imposible. Reinaba la paz de los cementerios (“Qué es Teatro Abierto”, 1984). Con estas palabras como introducción, el movimiento argentino Teatro Abierto presentaba un documento síntesis de sus orígenes, luchas y objetivos ante el Festival de Teatro de La Habana en 1984. También, ellas reflejaban el contexto que permitió su aparición. En efecto, este fue el ambiente político y cultural en el cual surgió Teatro Abierto, como un brote más de resistencia popular, en el campo de la cultura. Fragmentos, número 18, p. 89/98 Florianópolis/ jan - jun/ 2000 89 El diagnóstico efectuado por Julio Mauricio (1974) a mediados de la década del setenta para el teatro argentino señalaba que el ambiente teatral bonaerense se encontraba dominado por un teatro comercial, una audiencia sumamente restringida, junto a un teatro oficial sin proyección alguna. Además, existían grupos formados por cooperativas de actores y algunos sectores fragmentados del teatro independiente, sujetos a “fuertes presiones políticas y económicas”(Ibid., p.13). -
University Micrdnlms International 300 N
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SPRING 1978 103 Theatre in Buenos Aires
SPRING 1978 103 Theatre in Buenos Aires: 1976-1977 CHARLES B. DRISKELL I reached Buenos Aires during the peak of the 1976 theatre season, which was "a year to remember,"1 and departed just as the 1977 season was going with all the stops out. During the year I spent in Argentina, I was fortunate enough to talk with some fifteen playwrights and several critics while being afforded an opportunity to see theatre as it is made in Buenos Aires. My intention here is to record some of my observations (keeping in mind George Schanzer's comments on the 1976 season2) and to address myself, as well, to several Argentine plays I saw while searching for some conclusions based on new perspectives. No longer was the play the sting in 1976, and, in the face of an economic crisis, the euphoria felt in the Buenos Aires theatre was perhaps, in certain respects, unwarranted. The theatre flourished, to some extent, because black lists in tele vision and cinema were in force, few Argentine films were being made, and many actors (Alfredo Alcón, for example) returned to making theatre; and, in part, because cinema choices were not up to par. By exercising an alternative choice, the younger movie audience went looking for good theatre. In what was the best theatre season in a decade for Buenos Aires, in spite of all the "ominous predic tions/'3 roughly one-half of the plays performed were Argentine, but, following the maxim "there's nothing more modern than the classics," a return to these was in evidence, and the elan was based, to a large degree, on foreign texts such as Equus. -
Student Org Campaigning Underway
Basement legend Student discovered Breaking a Sweat director takes P. 3 With Kickboxing his film to the P. 6 ropes P. 3 The Tower www.kean.edu/~thetower Kean University’s stUDENT NEWSPAPER Volume 10 • Issue 5 Mar. 10-Apr. 6, 2010 Student Org Campaigning Underway BY JOSEPH TINGLE Still, many students who aren’t run- ning feel as if they’ve been left out of Some Kean students might be surprised the process. to know that the deadline to apply for can- Ruth, a Kean student who is a junior didacy in this year’s Student Government Business Management major and lives in elections has already passed, and accepted the residence halls, said she had “no idea” candidates have already began preparing that the applications to run for Student for a month of campaigning. Org was already due. While reporters at The Tower learned “I never know elections are happening that as many as two separate “tickets” until someone comes up to me with a lap- planned to run for Student Org positions, top and asks me to vote for them,” Ruth this could not confirmed by the time the said. March issue went to print. And Shena, a sophomore and commuter For students to be eligible to run for student, says she had no idea that Student Student Org, they must meet certain GPA Org and Student Trustee elections were and disciplinary requirements set by the being held, but would have liked to know. Kean University Student Joe Rutch attends Olympic Games in Vancouver. (See page 16) university, and not everyone who says “They didn’t make an effort to tell us, that they are running for office will be per- and that makes me think they don’t really mitted to. -
Roberto Cossa Y El Teatro Dominante (1985-1999) Osvaldo Pellettieri
Teatro: Revista de Estudios Culturales / A Journal of Cultural Studies Volume 16 El Teatro argentino del 2000 Article 3 6-2002 Roberto Cossa y el teatro dominante (1985-1999) Osvaldo Pellettieri Follow this and additional works at: http://digitalcommons.conncoll.edu/teatro Part of the Spanish and Portuguese Language and Literature Commons, and the Theatre and Performance Studies Commons Recommended Citation Pellettieri, Osvaldo. (2002) "Roberto Cossa y el teatro dominante (1985-1999)," Teatro: Revista de Estudios Culturales / A Journal of Cultural Studies: Número 16, pp. 35-48. This Article is brought to you for free and open access by Digital Commons @ Connecticut College. It has been accepted for inclusion in Teatro: Revista de Estudios Culturales / A Journal of Cultural Studies by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Pellettieri: Roberto Cossa y el teatro dominante (1985-1999) ROBERTO COSSA Y EL TEATRO DOMINANTE (1985-1999) Osvaldo PELLETTIERI I Roberto Cossa es el artista individual más importante de la dramaturgia argentina en los últimos cincuenta años, entendiendo el concepto de artista individual como una estructura incluida en el grupo que a su vez también constituye una estructura en la que los individuos representan partes dinámi cas cuya eficacia está condicionada no sólo por sus aptitudes personales (talento, inclina ciones) sino también, hasta cierto punto, por la relación de cada creador con los otros y con el grupo como un todo. (Mukarovsky: 141) Ubicamos de este modo a la obra de Cossa no sólo por sus va lores estéticos y sociales (baste mencionar a La nona, 1977) sino alu diendo, además, a la relación dialéctica entre grupo, artista individual, que da como síntesis el período histórico. -
THE THEATRE of GRISELDA GAMBARO By
BEYOND WORDS: THE THEATRE OF GRISELDA GAMBARO by FRANCINE MARY A'NESS B.A. SHEFFIELD UNIVERSITY, ENGLAND, 1991 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Hispanic and Italian Studies We accept ths thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1994 © Francine Mary A'ness, 1994 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of \4ij,PANlC f Trf\L//\KJ STUDiES The University of British Columbia Vancouver, Canada Date 10 * %. ^Lh . DE-6 (2/88) ABSTRACT Griselda Gambaro is one of Argentina's most well known playwrights, whose dramatic work has made an important contribution to Latin American theatre. While she was a controversial figure of Argentina's avant garde movement of thel960's, her dramatic work has since gained the respect of her contemporaries, the admiration of audiences and the interest of critics both at home and abroad. Her theatre, originally associated with the Theatre of the Absurd, tends to be anti-mimetic and experimental in style, while in thematic content Gambaro remains acutely aware of the changes in her country's recent socio-political climate. -
Docility, Resistance and the Indie Guitarist: a Foucaultian Interpretation of the Guitar- Hero Joshua Hochman
Docility, Resistance and the Indie Guitarist: A Foucaultian Interpretation of the Guitar- Hero by Joshua Hochman A thesis submitted to the Faculty o f Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree o f Masters in Music and Culture Carleton University Ottawa, Ontario ©2013 Josh Hochman Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1 Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94602-2 Our file Notre reference ISBN: 978-0-494-94602-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Electronics Technology Contents
CHAPTER 3 Electronics Technology Contents Page Overview o...... ... ..... o.... e..... o. 67 List of Figures Consumer Electronics . 68 Figure No. Page Semiconductors . 71 1. Simplified Diagram of TV Receiver Transistors . 72 Componentry . 69 Integrated Circuits . 72 2. Comparative Feature Sizes of System Design and the Microprocessor . 73 Microelectronic Devices Such as Microprocessors and Memory . 74 Integrated Circuits . 71 Learning Curves and Yields . 76 3. Controller for a Microwave Oven Based Integrated Circuit Design. 77 on Single-Chip Microcomputer . 75 Manufacturing Integrated Circuits . 78 4. Increases in IC Integration Level . 75 Future Developments . 81 5. Schematic Learning Curve for the Computers ● *,*,,.. ....***.. ● .*.**... 81 Production of an Integrated Circuit or Types of Computers . 82 Other Manufactured Item . 76 Computers as Systems . 83 6. Ranges in Cost and Time for Design and Computer Software . 85 Development of Integrated Circuits . 77 Growth of Computing Power . 87 7. Steps undesigning and Manufacturing an Applications of Computers . 90 Integrated Circuit . 78 8. Step-and-Repeat Process of Summary and Conclusions . 92 Photolithographic Pattern Formation on Appendix 3A-Integrated Silicon Wafer . 79 Circuit Technology . 93 9. Typical Microcomputer Intended for Personal and Small-Business Applications 84 Appendix 3B—Computer Memory . 99 10. Typical Minicomputer Installation Appendix 3C--A Process Including a Pair of Terminals and a Control Example . 102 Printer . 84 11. Data Processing Installation Built Around General-Purpose Mainframe Computer . 84 List of Tables 12. Simplified Block Diagram of a Microprocessor System . 84 Table No. Page 13. Elements of a General-Purpose Digital l. Examples of Solid-State Technologies Computer System . 85 Used in Information Processing . 72 14. -
Radiolab and the Micropolitics of Podcasting
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 8-1-2013 Sound Reason: Radiolab and the Micropolitics of Podcasting Justin M. Eckstein University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Mass Communication Commons Recommended Citation Eckstein, Justin M., "Sound Reason: Radiolab and the Micropolitics of Podcasting" (2013). Electronic Theses and Dissertations. 176. https://digitalcommons.du.edu/etd/176 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. SOUND REASON: RADIOLAB AND THE MICROPOLITICS OF PODCASTING __________ A Dissertation Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Justin M. Eckstein August 2013 Advisor: Darrin K. Hicks, PhD ©Copyright by Justin M. Eckstein 2013 All Rights Reserved Author: Justin M. Eckstein Title: SOUND REASON: RADIOLAB AND THE MICROPOLITICS OF PODCASTING Advisor: Darrin K. Hicks, PhD Degree Date: August 2013 ABSTRACT Over the past 10 years, the practice of podcasting has migrated from the margins of technological conferences to a central role in popular culture. Podcasting is an Internet-based broadcast medium that relies on Real Simple Syndication (RSS) feeds—a peer subscription service—to automatically retrieve and upload content to a portable MP3 player. In light of its growth and popularity, I ask, ―what is the podcast‘s political potential?‖ In this project, I argue that the podcast has the potential to serve as an instrument of liberal and neurological reasoning.