Pastiche and Parody As a Post- Modernist Form of Cultural Identity
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Update on the City of Richmond Public Art Program Participation In
GP - 29 GP - 30 GP - 31 GP - 32 Attachment 1 Olas de Viento (Wind Waves) Yvonne Domenge (Mexico) Garry Point Park 2772874 GP - 33 Attachment 2 Artist: Sui Jianguo (China) Many of Sui’s early works reflect his personal experiences and explore, to a lesser or greater extent, his anxieties and feelings of imprisonment. He began his ‘Mao Suit’ series in 1997. This series can however be regarded as the conclusion of an important stage in his self-exploration. He draws on the powerful image of the Mao suit, not as an element of revolutionary attire but as a symbol of restriction and limitation. Sui suggests that none of the Chinese has truly taken off their Mao suits even though the revolutionary era is over. Sometimes Sui makes the Mao suits resemble Buddhas and at other times he turns them into hard shells. Recently, Sui has made fairly humorous, soft and almost transparent Mao suits. The Mao suit is perhaps coming to represent to the artist an object of fun. Over all, Sui's work has well represented the views and expressions of his generation, the generation that survived Mao's Cultural Revolution. http://www.artzinechina.com/display.php?a=89 Title: MaoJacket Curator: ShengTianZheng Dimensions Can be made in various sizes, depending on site. Weight tbd Material Retail(replacement)value Installationsite&Requirements Can be installed indoors and outdoors. Must be installed on an even surface. Partnership The Biennale will pay for artist’s accommodation, flight, engineering certificate, shipping costs, cataloguing, marketing and promoting the work and the community that it will be located in, and will oversee the installation The City of Richmond will oversee the site preparation and site approvals. -
Consumption, Pastiche and Identity in Postmodern Visual Culture
CONSUMPTION, PASTICHE AND IDENTITY IN POSTMODERN VISUAL CULTURE by Marianna Jadwiga Winczewski Submitted in partial fulfilment for the degree of Magister Artium in Information Design FACULTY OF HUMANITIES UNIVERSITY OF PRETORIA OCTOBER 2008 Supervisor: Prof E Dreyer © University of Pretoria I declare that the writing and technical production of Pastiche, Consumption and Identity in Postmodern Visual Culture is entirely my own work. All sources that I have used or quoted have been indicated and acknowledged by means of complete references. This document is the copyrighted property of the University of Pretoria, and may not be reproduced or copied in any form. Should this research or sections thereof be quoted or referred to in any way, this must be acknowledged in full. Signature __________________________________ Date _______ ii UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES DEPARTMENT OF VISUAL ARTS I (full names) Marianna Jadwiga Winczewski Student number 20148242 Subject of the work Pastiche, Consumption and Identity in Postmodern Visual Culture Declaration 1. I understand what plagiarism entails and am aware of the University’s policy in this regard. 2. I declare that this mini-dissertation is my own, original work. Where someone else’s work was used (whether from a printed source, the internet or any other source) due acknowledgement was given and reference was made according to departmental requirements. 3. I did not make use of another student’s previous work and submitted it as my own. 4. I did not allow and will not allow anyone to copy my work with the intention of presenting it as his or her own work. -
Defining and Avoiding Plagiarism: the WPA Statement on Best Practices Council of Writing Program Administrators ( January 2003
Defining and Avoiding Plagiarism: The WPA Statement on Best Practices Council of Writing Program Administrators (http://www.wpacouncil.org), January 2003. Plagiarism has always concerned teachers and administrators, who want students’ work to represent their own efforts and to reflect the outcomes of their learning. However, with the advent of the Internet and easy access to almost limitless written material on every conceivable topic, suspicion of student plagiarism has begun to affect teachers at all levels, at times diverting them from the work of developing students’ writing, reading, and critical thinking abilities. This statement responds to the growing educational concerns about plagiarism in four ways: by defining plagiarism; by suggesting some of the causes of plagiarism; by proposing a set of responsibilities (for students, teachers, and administrators) to address the problem of plagiarism; and by recommending a set of practices for teaching and learning that can significantly reduce the likelihood of plagiarism. The statement is intended to provide helpful suggestions and clarifications so that instructors, administrators, and students can work together more effectively in support of excellence in teaching and learning. What Is Plagiarism? In instructional settings, plagiarism is a multifaceted and ethically complex problem. However, if any definition of plagiarism is to be helpful to administrators, faculty, and students, it needs to be as simple and direct as possible within the context for which it is intended. Definition: In an instructional setting, plagiarism occurs when a writer deliberately uses someone else’s language, ideas, or other original (not common-knowledge) material without acknowledging its source. This definition applies to texts published in print or on-line, to manuscripts, and to the work of other student writers. -
The Songs of the Beggar's Opera
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1966 The onS gs of The Beggar's Opera Carolyn Anfinson Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Anfinson, Carolyn, "The onS gs of The Beggar's Opera" (1966). Masters Theses. 4265. https://thekeep.eiu.edu/theses/4265 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institutionts library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because Date Author THE SONGS OF THE BEGGAR'S OPERA (TITLE) BY Carolyn Anfinson THESIS SUBMIITTD IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF M.S. -
CHAN 3036 BOOK COVER.Qxd 22/8/07 2:50 Pm Page 1
CHAN 3036 BOOK COVER.qxd 22/8/07 2:50 pm Page 1 CHAN 3036(2) CHANDOS O PERA I N ENGLISH Il Trovatore David Parry PETE MOOES FOUNDATION CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 2 Giuseppe Verdi (1813–1901) Il trovatore (The Troubadour) Opera in four parts AKG Text by Salvatore Cammarano, from the drama El trovador by Antonio Garcia Gutiérrez English translation by Tom Hammond Count di Luna, a young nobleman of Aragon ....................................................................Alan Opie baritone Ferrando, captain of the Count’s guard ..................................................................................Clive Bayley bass Doña Leonora, lady-in-waiting to the Princess of Aragon ..............................................Sharon Sweet soprano Inez, confidante of Leonora ........................................................................................Helen Williams soprano Azucena, a gipsy woman from Biscay ....................................................................Anne Mason mezzo-soprano Manrico (The Troubadour), supposed son of Azucena, a rebel under Prince Urgel ........Dennis O’Neill tenor Ruiz, a soldier in Manrico’s service ..................................................................................Marc Le Brocq tenor A Gipsy, a Messenger, Servants and Retainers of the Count, Followers of Manrico, Soldiers, Gipsies, Nuns, Guards Geoffrey Mitchell Choir London Philharmonic Orchestra Nicholas Kok and Gareth Hancock assistant conductors David Parry Further appearances in Opera in English Dennis O’Neill: -
LIT 3003: the Forms of Narrative - Narrating the Ineffable Section 025F
LIT 3003: The Forms of Narrative - Narrating the Ineffable Section 025F Instructor:Cristina Ruiz-Poveda Email:[email protected] Meetings:MTWRF Period 5 (2-3:15pm) at TUR 2350 Office hours:MW 3:15-4 pm, and by appointment at TUR 4415 "Whereof one cannot speak, thereof one must be silent." From Ludwig Wittgenstein’sTractatus The Tao that can be spoken is not the eternal Tao The name that can be named is not the eternal name From Lao Tzu’sTao Те С hing Course description: Storytelling is such an inherent part of human experience that we often overlook how narratives, even those which may be foundational to our world views, are articulated. This course serves as an introduction to narrative forms, as well as a critical exploration of the potentialnarratology of —the theory of narrative—to analyze stories of ineffable experiences. How do narratives convey elusive existential and spiritual concepts? Are there shared formal and procedural traits of such narratives? In this class, we will learn the foundations of narratology, so as critically analyze how different narrative media (literature, visual culture, film, etc.) represent intense but seemingly incommunicable human experiences. These stories will serve as a vehicle to explore the limits of storytelling and to analyze narrative strategies at those limits. Students will also experiment with different forms of narrative through creative activities. Please note: this is not a course in religion or religious art history. This course is a survey of narratology: it offers theoretical tools to analytically understand narrativesabout profound existential concerns and transcendental experiences. Course goals and outcomes:by the end of the semester you should be able to.. -
Pastiche in Paul Auster's the New York Trilogy
qw Advances in Language and Literary Studies ISSN: 2203-4714 Vol. 7 No. 5; October 2016 Australian International Academic Centre, Australia Flourishing Creativity & Literacy Pastiche in Paul Auster’s The New York Trilogy Maedeh Zare’e (Corresponding author) Islamic Azad University, Tehran Central Branch, Iran E-mail: [email protected] Razieh Eslamieh Islamic Azad University, Parand Branch, Iran Doi:10.7575/aiac.alls.v.7n.5p.197 Received: 17/06/2016 URL: http://dx.doi.org/10.7575/aiac.alls.v.7n.5p.197 Accepted: 28/08/2016 Abstract This article is a Jamesonian study of Auster’s The New York Trilogy in which one of Fredric Jameson’s notions of postmodernism, pastiche, has been applied on three stories of the novel. This novel is one of Auster’s outstanding postmodern works to which Jameson’s theories of postmodernism, in particular, pastiche can be applicable. Pastiche has been defined by Fredric Jameson as an imitation of a strange style and contrasted to the concept of postmodern parody. This article indicates that theory of pastiche can be applied on both the form and content of three stories of the above mentioned novel. Keywords: Pastiche, Parody, Depthlessness, Historicity 1. Introduction Paul Benjamin Auster (1947) is one of the most influential American postmodern authors, whose works mostly mix realism, experimentation, sociology, absurdism, existentialism and crime fiction. Pastiche, intertextuality, aesthetic dignity and Auster’s own appearance in his works, such as City of Glass (1985), are also some of the features of his works. The search for identity and self-discovery can be found in his works such as The New York Trilogy (2015)1, Moon Palace (1989), The Music of Chance (1990), The Book of Illusions (2002), and The Brooklyn Follies (2005). -
Pping Surviving Remnants of Classical Chinese Civilization to Create Experimental Artworks
Chinese Sculptors' Exploration of Ancient Traditions Sparks Artistic Rebirth BEIJING — A generation after Chairman Mao Zedong set out to destroy China’s millennia-old artistic and religious traditions — in part by razing temples, closing art schools and sending artists and Buddhist priests to re- education camps — a new wave of sculptors here has begun tapping surviving remnants of classical Chinese civilization to create experimental artworks. In Sui Jianguo's "Discobolus" the classical Greek statue dons a Mao suit. The process of exploring ancient beliefs and art, they say, is aimed not only at resurrecting pieces of China’s past but also at helping spark a widening cultural renaissance. Tang Yuhan, born in 1985, nearly a decade after Mao’s passing marked the close of the Cultural Revolution, said that she and other young artists have started sifting through the centuries to transmute some aspects of classical culture into “art for the new generation.” In an upcoming exhibition of her works at Gallery Yang in eastern Beijing, Ms. Tang will transform the space through precisely placed works like “Flowing Water,” where sunlit raindrops seem to defy gravity to fall on the ceiling, and “Heaven and Earth,” an otherworldly solar system where blue planets and orange asteroids orbit an invisible sun. Her goal is to create a space that is in perfect balance according to the 2,500-year-old principles of the I Ching, or the Book of Changes, which provides guidance on how to navigate a cosmic web of links between heaven, earth and humanity. “We can use the I Ching and the related concepts of feng shui not only to divine the future but also to change our individual destiny, and that is my aim with these works,” said Ms. -
Rethinking Pauline Hopkins
Rethinking Pauline Hopkins: Plagiarism, Appropriation, and African American Cultural Production Downloaded from https://academic.oup.com/alh/article/30/4/e3/5099108 by guest on 29 September 2021 Introduction, pp. e4–e8 By Richard Yarborough The Practice of Plagiarism in a Changing Context pp. e9–e13 By JoAnn Pavletich Black Livingstone: Pauline Hopkins, Of One Blood, and the Archives of Colonialism, pp. e14–e20 By Ira Dworkin Appropriating Tropes of Womanhood and Literary Passing in Pauline Hopkins’s Hagar’s Daughter, pp. e21–e27 By Lauren Dembowitz Introduction Richard Yarborough* Downloaded from https://academic.oup.com/alh/article/30/4/e3/5099108 by guest on 29 September 2021 I recall first encountering Pauline Hopkins in graduate school in the mid-1970s. Conducting research on her work entailed tolerat- ing the eyestrain brought on by microfilm and barely legible photo- copies of the Colored American Magazine. I also vividly remember the appearance of the 1978 reprint edition of her novel Contending Forces (1900) in Southern Illinois University Press’s Lost American Fiction series. I experienced both gratification at the long-overdue attention the novel was garnering and also no little distress upon reading Gwendolyn Brooks’s afterword to the text. While acknowl- edging our “inevitable indebtedness” to Hopkins, Brooks renders this brutal judgment: “Often doth the brainwashed slave revere the modes and idolatries of the master. And Pauline Hopkins consis- tently proves herself a continuing slave, despite little bursts of righ- teous heat, throughout Contending Forces” (409, 404–405). This view of the novel as a limited, compromised achievement reflects the all-too-common lack at the time of a nuanced, informed engage- ment with much post-Reconstruction African American literature broadly and with that produced by African American women in particular. -
Música Dispersa Apropiación, Influencias, Robos Y Remix En La Era De
Música dispersa Apropiación, influencias, robos y remix en la era de la escucha digital Rubén López Cano Editorial: Musikeon Books (Barcelona) Año de publicación. 2018 ISBN: 978-84-945117-1-4 Palabras clave: Identidad y modos de existencia de las piezas musicales. Apropiación. Reciclaje musical. Intertextualidad. Préstamos e influencia. Reutilización. Plagio. Música grabada. Autenticidad y discursos de legitimación. Covers y versiones. Remix. Sampleo. Mashup. Memes musicales. Escucha digital. Pacto perceptual. Contenido 1. Introito: de la epifanía al trabajo colaborativo 2. Ser, parecer, aparecer, acceder y conocer la música 2.1. ¿Dónde están las sinfonías cuando no suenan? 2.2. Una obra y muchos seres 2.3. El rock y sus dilemas existenciales 2.4. El jazz: ¿obras o eventos? 2.5. Límites de la ontología musical 3. Fragmentación y dispersión de la unidad musical: Apropiaciones, influencias, préstamos, intertextualidad y reciclaje. 3.1. ¿De quién es la canción? Apropiaciones 3.2. Lo intertextual: una "obra" es un momento de la red 3.3. Reciclaje: del préstamo a la influencia 3.4. Intertextualidad en la música popular urbana 3.5. Intertextualidad en la música de arte occidental 3.6. Rangos de procesos y funciones intertextuales 3.7. Citas 3.8. Reutilización 3.9. Citas expandidas 3.10. Capital musical, idiolectos, campos semióticos 3.11. Intertexto vocal como diccionario 3.12. Intertexto vocal y paseos inferenciales 3.13. Crossover y referencias enmudecidas 3.14. Modelización y alusión 3.15. Inserción por ensamblaje. Quodlibet, Popurrí, Pasticcio, Patchwork, Collage 3.16. Intervención en una pieza preexistente: revisiones, versiones, contrafacta, paráfrasis e intervenciones conceptuales 3.17. -
Double-Edged Imitation
Double-Edged Imitation Theories and Practices of Pastiche in Literature Sanna Nyqvist University of Helsinki 2010 © Sanna Nyqvist 2010 ISBN 978-952-92-6970-9 Nord Print Oy Helsinki 2010 Acknowledgements Among the great pleasures of bringing a project like this to com- pletion is the opportunity to declare my gratitude to the many people who have made it possible and, moreover, enjoyable and instructive. My supervisor, Professor H.K. Riikonen has accorded me generous academic freedom, as well as unfailing support when- ever I have needed it. His belief in the merits of this book has been a source of inspiration and motivation. Professor Steven Connor and Professor Suzanne Keen were as thorough and care- ful pre-examiners as I could wish for and I am very grateful for their suggestions and advice. I have been privileged to conduct my work for four years in the Finnish Graduate School of Literary Studies under the direc- torship of Professor Bo Pettersson. He and the Graduate School’s Post-Doctoral Researcher Harri Veivo not only offered insightful and careful comments on my papers, but equally importantly cre- ated a friendly and encouraging atmosphere in the Graduate School seminars. I thank my fellow post-graduate students – Dr. Juuso Aarnio, Dr. Ulrika Gustafsson, Dr. Mari Hatavara, Dr. Saija Isomaa, Mikko Kallionsivu, Toni Lahtinen, Hanna Meretoja, Dr. Outi Oja, Dr. Merja Polvinen, Dr. Riikka Rossi, Dr. Hanna Ruutu, Juho-Antti Tuhkanen and Jussi Willman – for their feed- back and collegial support. The rush to meet the seminar deadline was always amply compensated by the discussions in the seminar itself, and afterwards over a glass of wine. -
Sui Jianguo the Sleep of Reason
Sui Jianguo The Sleep of Reason Jeff Kelley Oakland, California, December 2004 Sui Jianguo is one of China’s most significant artists. A sculptor, he has become internationally recognized for works that challenge the ideological assumptions and historical origins of Chinese Socialist Realism, the style in which he was trained. His challenge has not been unique: an entire generation of Chinese artists, beginning in the mid-1980s, defined itself in opposition to the idea of an “official” art, an opposition resulting in one of the most urgent and compelling art scenes of the past twenty years – the Chinese avant-garde. Unlike many of his contemporaries, however, Sui did not adopt an attitude of feigned, ironic detachment (often referred to in the 1990s as “cynical pop”) from all things official. Rather, he has chosen to remain inside the academy, as it were, producing sculptures that are like ghosts (and demons) in the abandoned temples of Socialist Realism. Working in bronze, steel, fiberglass, and plastic, and on a scale that ranges from key chains to monuments, Sui has created a suite of iconic forms – such as free-standing, but hollow (and headless), “Mao jackets,” a chorus line of ancient Greco-Roman statues outfitted in Communist Party attire (“Mao suits”), and a swarm of “made-in-China” dinosaurs, some tiny, other mammoth – that bear witness to the once-revolutionary fervor that animated the otherwise rigid academic formulae of official Chinese art. Sui’s sculptures also bear witness to China’s current revolution: its unparalleled transition from a closed society driven by political ideology to a society newly awakening to a potent combination of nationalism and capital.