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Pepe the Frog
PEPE THE FROG: A Case Study of the Internet Meme and its Potential Subversive Power to Challenge Cultural Hegemonies by BEN PETTIS A THESIS Presented to the School of Journalism and Communication and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts Spring 2018 An Abstract of the Thesis of Ben Pettis for the degree of Bachelor of Arts in the School of Journalism and Communication to be taken Spring 2018 Title: Pepe the Frog: A Case Study of the Internet Meme and Its Potential Subversive Power to Challenge Cultural Hegemonies Approved: _______________________________________ Dr. Peter Alilunas This thesis examines Internet memes, a unique medium that has the capability to easily and seamlessly transfer ideologies between groups. It argues that these media can potentially enable subcultures to challenge, and possibly overthrow, hegemonic power structures that maintain the dominance of a mainstream culture. I trace the meme from its creation by Matt Furie in 2005 to its appearance in the 2016 US Presidential Election and examine how its meaning has changed throughout its history. I define the difference between a meme instance and the meme as a whole, and conclude that the meaning of the overall meme is formed by the sum of its numerous meme instances. This structure is unique to the medium of Internet memes and is what enables subcultures to use them to easily transfer ideologies in order to challenge the hegemony of dominant cultures. Dick Hebdige provides a model by which a dominant culture can reclaim the images and symbols used by a subculture through the process of commodification. -
Inventaris Immateriele Collectie
versie maart 2021 • aanvullingen graag melden bij coördinator 1 immateriële collectie Archeon de immateriële collectie van Archeon Museumpark Archeon beheert niet alleen een collectie tastbare zaken, zoals gebouwen en de inventaris daarvan, maar ook een immateriële collectie. Deze laatste bestaat uit de vakkennis van archeotolken die een bepaald ambacht beheersen of zich een vaardigheid hebben eigen gemaakt op een wijze die past bij de historische periode waarin zij optreden. Feitelijk gaat het om een verzameling werkwoorden die in praktijk gebracht worden. Bijvoorbeeld ‘Gregoriaans zingen’ of ‘middeleeuws broodbakken’. Hier is de eerste inventarisatie van deze collectie in prehistorie, Romeinse tijd en middeleeuwen vastgelegd. Het is een momentopname. De immateriële collectie rust op de schouders van mensen die gaan en komen. Het streven is om deze collectie te bewaren en onderhouden. De inventarisatie ervan is daarbij een eerste stap. De immateriële collectie is niet altijd volledig zichtbaar. Sommige lemma’s in deze collectie zijn zelfs zeer zelden te zien, of slechts voor een enkeling. Toch zijn ook deze onderwerpen van belang. Voor onderzoekers, of voor speciale projecten kan er, op aanvraag, veel informatie uit te putten zijn. Ook zijn er onderwerpen die juist veel in ons park te zien zijn, omdat daar een educatieve publieksactiviteit op is gebaseerd. De verzameling is gelabeld in nummers die verwijzen naar de locatie waar de onderwerpen thuishoren, en in categorieën: ambacht, krijgskunst, kunstvak, textiele vaardigheid, agrarisch, en huishouden. In de toekomst kan deze immateriële collectie via een gedifferentieerde database ontsloten worden. Via de categorieën kan een bezoeker of onderzoeker dan eenvoudiger vinden wat hij zoekt. Uiteraard worden daarbij nooit zomaar persoonsgegevens openbaar gemaakt; het onderdeel ‘continuïteit’, waarin is vastgelegd welke specialisten beschikken over welke vaardigheid blijft afgeschermd. -
Athenaeus' Reading of the Aulos Revolution ( Deipnosophistae 14.616E–617F)
The Journal of Hellenic Studies http://journals.cambridge.org/JHS Additional services for The Journal of Hellenic Studies: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here New music and its myths: Athenaeus' reading of the Aulos revolution ( Deipnosophistae 14.616e–617f) Pauline A. Leven The Journal of Hellenic Studies / Volume 130 / November 2010, pp 35 - 48 DOI: 10.1017/S0075426910000030, Published online: 19 November 2010 Link to this article: http://journals.cambridge.org/abstract_S0075426910000030 How to cite this article: Pauline A. Leven (2010). New music and its myths: Athenaeus' reading of the Aulos revolution ( Deipnosophistae 14.616e– 617f). The Journal of Hellenic Studies, 130, pp 35-48 doi:10.1017/S0075426910000030 Request Permissions : Click here Downloaded from http://journals.cambridge.org/JHS, IP address: 147.91.1.45 on 23 Sep 2013 Journal of Hellenic Studies 130 (2010) 35−47 DOI: 10.1017/S0075426910000030 NEW MUSIC AND ITS MYTHS: ATHENAEUS’ READING OF THE AULOS REVOLUTION (DEIPNOSOPHISTAE 14.616E−617F) PAULINE A. LEVEN Yale University* Abstract: Scholarship on the late fifth-century BC New Music Revolution has mostly relied on the evidence provided by Athenaeus, the pseudo-Plutarch De musica and a few other late sources. To this date, however, very little has been done to understand Athenaeus’ own role in shaping our understanding of the musical culture of that period. This article argues that the historical context provided by Athenaeus in the section of the Deipnosophistae that cites passages of Melanippides, Telestes and Pratinas on the mythology of the aulos (14.616e−617f) is not a credible reflection of the contemporary aesthetics and strategies of the authors and their works. -
The Official Newsletter of the Jew's Harp Guild
THE OFFICIAL NEWSLETTER OF PLUCK-N-POS T THE JEW’S HARP GUILD 69954 Hidden Valley Lane Cove, OR 97824 USA Volume 13, Issue1 Spring 2009 What’s Inside Jew's Harp ● 2 A Word International from the Executive This issue contains an abundance of news, Director photos and articles contributed by Jew's Harp Guild News enthusiasts from around the world. While ● 3 - 5 Notes many of the words I received got lost in from Italy translation, the music, art, spirit and love of this wonderful instrument, and the folks that ● 6 CD Review hold it dear, did not. Our numbers may be "Underground small relative to other genre but our passion is Sessions" great. ● 7 Guide to As the festival season approaches, I urge you the Guild to play ambassador for our interest; share Denise with others our sites and newsletters, CDs Harrington and YouTube videos... and our passion. ● 7 Bulletin Photo from Spiridon Schischigin - THE I wish to thank Walter Maioli, Spiridon Board & INTERNATIONAL CENTRE AND THE Shishigin, Bernhard Folkestad, Michael KHOMUS (TRUMP) MUSEUM OF THE Pictorial WORLD PEOPLES Painting: see Wright and many others for their con- Archive - http://www.ilkhomus.ru/ tributions to this and other newsletters. Phono Harp Have fun this summer and keep on harpin'. ● 8 New Mark D. Poss - editor / webmaster - The Jew's Harp Guild Tutorials 2009 North American Jew's Harp Festival Norsk Jew’s Harp Festival 2009 July 31 to August 2 will be 18th – 20th Sept. in Gjøvik Friday, Saturday, Sunday http://www.munnharpe.no/ Bay City, Oregon Norsk_Munnharpeforum_eng.html -
Remembering Music in Early Greece
REMEMBERING MUSIC IN EARLY GREECE JOHN C. FRANKLIN This paper contemplates various ways that the ancient Greeks preserved information about their musical past. Emphasis is given to the earlier periods and the transition from oral/aural tradition, when self-reflective professional poetry was the primary means of remembering music, to literacy, when festival inscriptions and written poetry could first capture information in at least roughly datable contexts. But the continuing interplay of the oral/aural and written modes during the Archaic and Classical periods also had an impact on the historical record, which from ca. 400 onwards is represented by historiographical fragments. The sources, methods, and motives of these early treatises are also examined, with special attention to Hellanicus of Lesbos and Glaucus of Rhegion. The essay concludes with a few brief comments on Peripatetic historiography and a selective catalogue of music-historiographical titles from the fifth and fourth centuries. INTRODUCTION Greek authors often refer to earlier music.1 Sometimes these details are of first importance for the modern historiography of ancient 1 Editions and translations of classical authors may be found by consulting the article for each in The Oxford Classical Dictionary3. Journal 1 2 JOHN C. FRANKLIN Greek music. Uniquely valuable, for instance, is Herodotus’ allusion to an Argive musical efflorescence in the late sixth century,2 nowhere else explicitly attested (3.131–2). In other cases we learn less about real musical history than an author’s own biases and predilections. Thus Plato describes Egypt as a never-never- land where no innovation was ever permitted in music; it is hard to know whether Plato fabricated this statement out of nothing to support his conservative and ideal society, or is drawing, towards the same end, upon a more widely held impression—obviously superficial—of a foreign, distant culture (Laws 656e–657f). -
A Symposium for John Perry Barlow
DUKE LAW & TECHNOLOGY REVIEW Volume 18, Special Symposium Issue August 2019 Special Editor: James Boyle THE PAST AND FUTURE OF THE INTERNET: A Symposium for John Perry Barlow Duke University School of Law Duke Law and Technology Review Fall 2019–Spring 2020 Editor-in-Chief YOOJEONG JAYE HAN Managing Editor ROBERT HARTSMITH Chief Executive Editors MICHELLE JACKSON ELENA ‘ELLIE’ SCIALABBA Senior Research Editors JENNA MAZZELLA DALTON POWELL Special Projects Editor JOSEPH CAPUTO Technical Editor JEROME HUGHES Content Editors JOHN BALLETTA ROSHAN PATEL JACOB TAKA WALL ANN DU JASON WASSERMAN Staff Editors ARKADIY ‘DAVID’ ALOYTS ANDREW LINDSAY MOHAMED SATTI JONATHAN B. BASS LINDSAY MARTIN ANTHONY SEVERIN KEVIN CERGOL CHARLES MATULA LUCA TOMASI MICHAEL CHEN DANIEL MUNOZ EMILY TRIBULSKI YUNA CHOI TREVOR NICHOLS CHARLIE TRUSLOW TIM DILL ANDRES PACIUC JOHN W. TURANCHIK PERRY FELDMAN GERARDO PARRAGA MADELEINE WAMSLEY DENISE GO NEHAL PATEL SIQI WANG ZACHARY GRIFFIN MARQUIS J. PULLEN TITUS R. WILLIS CHARLES ‘CHASE’ HAMILTON ANDREA RODRIGUEZ BOUTROS ZIXUAN XIAO DAVID KIM ZAYNAB SALEM CARRIE YANG MAX KING SHAREEF M. SALFITY TOM YU SAMUEL LEWIS TIANYE ZHANG Journals Advisor Faculty Advisor Journals Coordinator JENNIFER BEHRENS JAMES BOYLE KRISTI KUMPOST TABLE OF CONTENTS Authors’ Biographies ................................................................................ i. John Perry Barlow Photograph ............................................................... vi. The Past and Future of the Internet: A Symposium for John Perry Barlow James Boyle -
ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J. -
Memes, Memeiosis, and Memetic Drift: Cheryl’S Chichier She Shed S
2020 МЕДИАЛИНГВИСТИКА Том 7, № 2 ТЕОРЕТИЧЕСКИЕ ОСНОВЫ МЕДИАЛИНГВИСТИКИ UDC 81.27 Memes, memeiosis, and memetic drift: Cheryl’s Chichier She Shed S. Attardo Texas A&M University-Commerce, P.O. Box 3011, Commerce, TX, 75429, USA For citation: Attardo, S. (2020). Memes, memeiosis, and memetic drift: Cheryl’s Chichier She Shed. Media Linguistics, 7 (2), 146–168. https://doi.org/10.21638/spbu22.2020.201 In this paper, a comparison between meme cycles and joke cycles is carried out, using the tools of the General Theory of Verbal Humor and its analysis of joke cycles as consisting of intertex- tual and metatextual variants of the original joke. It is shown that the same tools can be applied to joke cycles and to meme cycles. The methodology is applied to a meme cycle called Cheryl’s She Shed. The analysis shows that the users start from the original video featuring Cheryl’s shed on fire, but soon the process of meme creation (memeiosis) is activated and users start generating all sorts of memes remixing various aspects of the original video and adding other ideas, such as a conspiracy theory about the source of the fire. Eventually, the drift is broad enough that intertextual memes start to appear which require a reference to another text to function, and eventually meta-memes also appear (memes that fail to deliver a meme and are funny because of the violation of expectations). In conclusion, speakers use memes to express their concerns and interests. Meme cycles are very similar to joke cycles, except for the speed of diffusion, a shorter life span, and an increased ease of manipulation of images and text. -
Detective Work: What Did Music Sound Like in Ancient Rome?
Detective Work: What Did Music Sound Like In Ancient Rome? Lesson Overview Detective Work: Lesson: 1. K to 4 grade. What did music sound like Lesson One: The 2. 4 to 6 class periods. in ancient Rome? Telephone game. 3. Author: Melody Lesson Two: Music Then Nishinaga and Now. 4. History, Music and Lesson Three: Musical English. Instruments. Lesson Four: How to Make Sound. Lesson Five: Musical Archaeology. Lesson Six: Musical Performance. Overview This lesson was designed as a continuation of the lesson entitled Continuity of Culture: Romans in Pompeii. http://layersofrome.utep.edu/lesson-plans/20-romans-pompeii In this lesson students will act as musical archaeologists. They will study and analyze remnants of ancient Roman civilization and its music, the instruments used to perform it, the structures such as the Odeon and the music theaters where it was produced, and the mosaics, frescos and sculptures which depict how it was played. In this lesson, by taking a closer look at surviving musical artifacts and art works such as those from Pompeii, students will gain a broad appreciation of music as performed in the past. They will study how the ancient Romans in Pompeii in their production and appreciation of music are similar to people today. By comparing reconstructions of ancient Roman music with their own, students will be able to draw parallels between the two. Ultimately, they will use the remnants and the comparisons to attempt to reconstruct the musical environment of ancient Rome. Introduction The absence of recording technology in the Roman period has left us with a great deal of uncertainty about the sound of Roman music. -
Memes & Digital Culture
BP 3: Project focus on theory of science Memes & Digital Culture Roskilde University Department of Communication and Arts International Bachelor in Humanities Group member: Student number: Exam deadline: Jamila Bendix 65888 17/12/2019 Malte M. Kofoed-Christensen 65852 Aliya Jensen-Darko 65821 Alina-Stefana Pohariu 65856 Giacomo Venturoli 66621 Matilde Tomasini 65827 Genevieve S. Højelsen 65851 Supervisor: Remzi Ates Gürsimsek Institut for Kommunikation og Humanistisk Videnskab Kommunikation 1 Abstract In a time where digital culture is moving faster than the research investigating it, it can be difficult to grasp the events occurring and tracking their lifecycle. The event of ‘Storm Area 51’ has been one of the more recent examples of this. Through memes from said event we will be using a social constructivist perspective to ground our ontological position. This position will also be the grounding point for our theories which include, but not limited to, multimodality and social semiotics. The chosen memes have been analysed using the aforementioned theories. An aspect of memes that are revealed during the analysis, is the fact that they possess underlying themes such as power relations. The conclusion to the analysis reveals that memes are complex signs that cover different aspects of digital culture such as the constant stream and spread of content that either goes on and fade or gets recontextualized in different contexts with new meanings. Keywords: multimodality, social semiotics, memes, digital culture, participatory culture 2 Indholdsfortegnelse -
Musica E Strumenti Musicali Nella Roma Antica: Dalla Ricostruzione Degli Strumenti Alla Ideazione Delle Musiche
W.MUSICA Maioli: E STRUMENTI MUSICALI NELLA ROMA ANTICA: DALL365A RICOSTRUZIONEMusica e strumenti musicali DEGLI nella STRUMENTI Roma antica: dall ALLAa ricostruzione IDEAZIONE degli DELLE MUSICHE. RESOCONTOstrumenti alla ideazione DI UN’ESPERIENZA delle musiche. Resoconto di un’esperienza di Walter Maioli (*) (*) - Coordinatore del Gruppo di Ricerca Musi- cale “Synaulia”. RISCOPERTA E RIVALUTAZIONE DEL PATRIMONIO MUSICALE DELL’ANTICHITA’ Gli storici della musica e i musicologi si sono sempre meravi- gliati del fatto che i popoli antichi come i Mesopotamici, gli Egiziani, i Greci e i Romani, capaci di architetture e tecnologie raffinatissi- me, possedessero degli strumenti musicali a parer loro così pri- mitivi che di conseguenza dovevano produrre una musica pove- ra e limitata. E così ovviamente è anche l‘opinione divulgata e presente nel- l’immaginario della cultura occidentale. Ma se questi strumenti sono stati impiegati per migliaia di anni per ottenere un’elevazione spiri- tuale una ragione profonda deve esserci. Ritengo che non si sia mai preso bene in considerazione l’aspet- Walter Maioli durante la sua relazione al to funzionale della musica, il valore psicoacustico di certi suoni e convegno di Villadose delle loro combinazioni (musica=ciò che appartiene alle muse). Secondo i recenti studi scientifici sulle funzioni dell’ascolto, si ha sempre più la conferma che gli strumenti musicali dell’antichità era- no costruiti, abbinati e impiegati per ottenere effetti neuropsicologici ben precisi. Gli antichi erano coscienti dei diversi poteri dei suoni, capaci di influenzare le emozioni, incitare o addolcire, addirittura “incantare” e la musica poteva educare il comportamento umano ed essere quindi usata come una terapia, come certi suoni degli strumenti musicali impiegati nei culti misterici per favorire il risve- glio e l’elevazione spirituale. -
Life and Death in the Shadow of Vesuvius
Life and death in the shadow of Vesuvius The following Educator’s Guide for A Day in Pompeii was designed to promote personalized learning and reinforce classroom curriculum. The worksheets and classroom activities are appropriate for various grade levels and apply to proficiency standards in social studies, language arts, reading, math, science and the arts. Students are encouraged to use their investigation skills to describe, explain, analyze, summarize, record and evaluate the information presented in the exhibit. The information gathered can then be used as background research for the various Classroom Connections that relate to grade level academic content standards. In order to best suit you and your classroom needs, this Educator’s Guide has been broken up into the following areas: A. Pre-visit Information Background Information i. Vocabulary ii. Volcanism 1. Types of Volcanoes 2. Advantages of Volcanoes iii. Mt. Vesuvius iv. Pompeii Classroom Connections B. Museum Visit Information Exhibit Walk-through Exhibit Student Worksheet C. Post-visit Information Classroom Connections i. Language Arts/Social Studies ii. Science iii. Fine Arts Further Readings Ohio and National Standards PRE-VISIT INFORMATION Vocabulary Archaeologist – A scientist who studies artifacts of the near and distant past in order to develop a picture of how people lived in earlier cultures and societies. These artifacts include physical remains, such as graves, tools and pottery. Artifact – A hand-made object or the remains of an object that is characteristic of an earlier time or culture, such as an object found at an archaeological excavation. Caldera – A cauldron-like depression in the ground created by the collapse of land after a volcanic eruption.