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Japanese Women's Science Fiction: Posthuman Bodies and the Representation of Gender Kazue Harada Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2015 Japanese Women's Science Fiction: Posthuman Bodies and the Representation of Gender Kazue Harada Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the East Asian Languages and Societies Commons Recommended Citation Harada, Kazue, "Japanese Women's Science Fiction: Posthuman Bodies and the Representation of Gender" (2015). Arts & Sciences Electronic Theses and Dissertations. 442. https://openscholarship.wustl.edu/art_sci_etds/442 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of East Asian Languages & Cultures Dissertation Examination Committee: Rebecca Copeland, Chair Nancy Berg Ji-Eun Lee Diane Wei Lewis Marvin Marcus Laura Miller Jamie Newhard Japanese Women’s Science Fiction: Posthuman Bodies and the Representation of Gender by Kazue Harada A dissertation presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 St. Louis, Missouri © 2015, Kazue Harada -
Juvenile Series Fiction Series Title Series Description Age/ Grd
Juvenile Series Fiction Series Title Series Description Age/ Grd. Genre Amy and her brother Dan have chosen to participate in a perilous tresure hunt that was created by their deceased Aunt Grace. They must 39 Clues decipher 39 clues to find the treasure. Grds. 4-6 Mystery Dink, Josh and Ruth Rose are friends. Together they solve mysteries that begin with a letter of the alphabet. The mysteries are simple enough that readers can collect clues and solve them along A-Z Mysteries with the characters. Grds. K-3 Mystery Who is Charlie Small? There are only his journals to describe his adventures. Did this 8-year-old really ride a rhino, defeat a crocodile, and lead the Adventures ofCharlie Small gorillas? Grds. 3-5 Humor/Adv Amber Brown is a third grader when the series begins. Through the series Amber uses humor to face the trials of growing up, her parent's divorce Amber Brown and her mother's remarriage. Grds. 2-4 Humor The stories portray strong young girls and women growing up in the United States during different American Girl time periods. Grds. 2-5 Fam. Life Fans of American Girl Books will enjoy reading about their favorite characters in these mysteries. Factual information relevant to the story is American Girl Mysteries appended. Grds. 2-5 Mystery Mandy's parents are veterinarians and she sometimes helps out at their animal hospital. Mandy and her friends try to help find homes for Animal Ark stray pets. Grds. 3-5 Real Life Marc Brown's Arthur Books continue in this series for the intermediate chapter book reader. -
Goosebumps, YTV, and Canadian Children's Television Pat Bonner A
Reading Against the Goo: Goosebumps, YTV, and Canadian Children’s Television Pat Bonner A Thesis In The Mel Hoppenheim School of Cinema Presented in Partial Fulfilment of the Requirements For the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Quebec, Canada August 2019 ©Pat Bonner, 2019 ii CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Pat Bonner Entitled: Reading Against the Goo: Goosebumps, YTV, and Canadian Children’s Television and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: __________________________________________Chair Catherine Russell, PhD __________________________________________ Examiner (Internal) Marc Steinberg, PhD __________________________________________ Examiner (External) Charles Acland, PhD __________________________________________ Supervisor Joshua Neves, PhD Approved by __________________________________________ Chair of Department or Graduate Program Director __________ 2019 _______________________________________ Dean of Faculty, Dr. Rebecca Duclos iii ABSTRACT This thesis examines the oversight of Canadian children’s television through the Canadian-American co-venture Goosebumps (1995-1998) and the Canadian specialty children’s network YTV. Grounding Goosebumps within the North American post-network television landscape, this thesis argues that the show anticipates hypercommercialism, a term used to define “the way in which advertisers tend to colonize media spaces” (Asquith 2012). This thesis proposes that by detaching YTV and Goosebumps from the threatening connotations of hypercommercialism, scholars can better engage with the show’s reception. It further contends that Goosebumps is imbued with sensorial and perceptual operations which can help children achieve the “mastery of intertextuality” (Kinder 1999). -
Teaching Speculative Fiction in College: a Pedagogy for Making English Studies Relevant
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 8-7-2012 Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant James H. Shimkus Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Shimkus, James H., "Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/95 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TEACHING SPECULATIVE FICTION IN COLLEGE: A PEDAGOGY FOR MAKING ENGLISH STUDIES RELEVANT by JAMES HAMMOND SHIMKUS Under the Direction of Dr. Elizabeth Burmester ABSTRACT Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre. -
Goosebumps Monster Who Has Escaped from Your Manuscript to Roam the Streets of Madison
When it is your turn and the draw pile is out of cards, another player must gather the discarded cards and shuffle them to make a new draw pile. Monster Mayhem Cards The Landmarks on the path are: RL Stine’s House, Madison Police Station, the Graveyard, Play these cards during your turn. the Highschool, and the Amusement Park. When you are on a Landmark, you are safe from Landmarks the effects of Monster Mayhem cards - except Found Your Book! Landmarks are the only R.L. Stine's spaces that 2 or more players can occupy at the same time. NOTE: The End is NOT a Instructions Landmark and 3 of a Kind and Monster Mayhem cards cannot be used to reach it. house Contents: Game Board, 6 Monster Characters, 65 Cards (nine sets of 1-6 and 11 Monster Mayhem Cards) You’re a Goosebumps monster who has escaped from your manuscript to roam the streets of Madison. The only threat to your continued monster mayhem is the magical typewriter of R.L.Stine. So it’s a race across town to shortcut through the Graveyard Object FOUND YOUR BOOK! make sure you capture the typewriter and can never again be trapped between the pages of a book! Pal of the Praying Mantis Hitch a ride in the If you land exactly on the Graveyard Shortcut sign on the path then you may proceed to the top tombstone. Nothings gets in your way when you’re Move ahead 6 and send the lead player back to their previous with the biggest monster on the block. -
Rl-Stine.Pdf
R.L. S&ne, born Robert Lawrence, was born in Columbus Ohio in 1943. He began wri&ng at the early age of nine, upon making a discovery that forever changed his life. It was in the late aernoon that Robert found an old family typewriter in the ac. It was said that he took this old typewriter to his room where he spent hours upon hours typing stories and jokes. His mother was said to have insisted that Robert stop typing and go outside and play. Robert felt going outside was boring and would oFen choose to write instead. His discovery later paid off in life because he never stopped wri&ng. AFer graduang from Ohio State University in 1965, Robert pursued his life’s dream of becoming a writer. He set off to New York where he wrote many books for kids. He created a humor magazine known as, Bananas which he contributed to for ten years. In those &mes he wrote under an alias known as, Jovial Bob S&ne. R.L. S&ne soon married a woman named Jane Waldhorn in 1969. Jane was an editor and writer herself, and she knew Robert’s talent had to be known. It was later that her and her partner formed their own publishing company known as, Parachute Press. This company would later help create all of Robert’s popular book series. In 1986, Robert wrote his first teen horror novel en&tled, Blind Date. It became an instant best seller and piqued his interest to pursue scary novels. -
MARCH 1St 2018
March 1st We love you, Archivist! MARCH 1st 2018 Attention PDF authors and publishers: Da Archive runs on your tolerance. If you want your product removed from this list, just tell us and it will not be included. This is a compilation of pdf share threads since 2015 and the rpg generals threads. Some things are from even earlier, like Lotsastuff’s collection. Thanks Lotsastuff, your pdf was inspirational. And all the Awesome Pioneer Dudes who built the foundations. Many of their names are still in the Big Collections A THOUSAND THANK YOUS to the Anon Brigade, who do all the digging, loading, and posting. Especially those elite commandos, the Nametag Legionaires, who selflessly achieve the improbable. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – The New Big Dog on the Block is Da Curated Archive. It probably has what you are looking for, so you might want to look there first. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – Don't think of this as a library index, think of it as Portobello Road in London, filled with bookstores and little street market booths and you have to talk to each shopkeeper. It has been cleaned up some, labeled poorly, and shuffled about a little to perhaps be more useful. There are links to ~16,000 pdfs. Don't be intimidated, some are duplicates. Go get a coffee and browse. Some links are encoded without a hyperlink to restrict spiderbot activity. You will have to complete the link. Sorry for the inconvenience. Others are encoded but have a working hyperlink underneath. Some are Spoonerisms or even written backwards, Enjoy! ss, @SS or $$ is Send Spaace, m3g@ is Megaa, <d0t> is a period or dot as in dot com, etc. -
Toward a Theory of the Dark Fantastic: the Role of Racial Difference in Young Adult Speculative Fiction and Media
Journal of Language and Literacy Education Vol. 14 Issue 1—Spring 2018 Toward a Theory of the Dark Fantastic: The Role of Racial Difference in Young Adult Speculative Fiction and Media Ebony Elizabeth Thomas Abstract: Humans read and listen to stories not only to be informed but also as a way to enter worlds that are not like our own. Stories provide mirrors, windows, and doors into other existences, both real and imagined. A sense of the infinite possibilities inherent in fairy tales, fantasy, science fiction, comics, and graphic novels draws children, teens, and adults from all backgrounds to speculative fiction – also known as the fantastic. However, when people of color seek passageways into &the fantastic, we often discover that the doors are barred. Even the very act of dreaming of worlds-that-never-were can be challenging when the known world does not provide many liberatory spaces. The dark fantastic cycle posits that the presence of Black characters in mainstream speculative fiction creates a dilemma. The way that this dilemma is most often resolved is by enacting violence against the character, who then haunts the narrative. This is what readers of the fantastic expect, for it mirrors the spectacle of symbolic violence against the Dark Other in our own world. Moving through spectacle, hesitation, violence, and haunting, the dark fantastic cycle is only interrupted through emancipation – transforming objectified Dark Others into agentive Dark Ones. Yet the success of new narratives fromBlack Panther in the Marvel Cinematic universe, the recent Hugo Awards won by N.K. Jemisin and Nnedi Okorafor, and the blossoming of Afrofuturistic and Black fantastic tales prove that all people need new mythologies – new “stories about stories.” In addition to amplifying diverse fantasy, liberating the rest of the fantastic from its fear and loathing of darkness and Dark Others is essential. -
The Haunted Mask
THE HAUNTED MASK Goosebumps - 11 R.L. Stine (An Undead Scan v1.5) 1 1 “What are you going to be for Halloween?” Sabrina Mason asked. She moved her fork around in the bright yellow macaroni on her lunch tray, but didn’t take a bite. Carly Beth Caldwell sighed and shook her head. The overhead light on the lunchroom ceiling made her straight brown hair gleam. “I don’t know. A witch, maybe.” Sabrina’s mouth dropped open. “You? A witch?” “Well, why not?” Carly Beth demanded, staring across the long table at her friend. “I thought you were afraid of witches,” Sabrina replied. She raised a forkful of macaroni to her mouth and started to chew. “This macaroni is made of rubber,” she complained, chewing hard. “Remind me to start packing a lunch.” “I am not afraid of witches!” Carly Beth insisted, her dark eyes flashing angrily. “You just think I’m a big scaredy-cat, don’t you?” Sabrina giggled. “Yes.” She flipped her black ponytail behind her shoulders with a quick toss of her head. “Hey, don’t eat the macaroni. Really, Carly Beth. It’s gross.” She reached across the table to keep Carly Beth from raising her fork. “But I’m starving !” Carly Beth complained. The lunchroom grew crowded and noisy. At the next table, a group of fifth-grade boys were tossing a half-full milk carton back and forth. Carly Beth saw Chuck Greene ball up a bright red fruit rollup and shove the whole sticky thing in his mouth. “Yuck!” She made a disgusted face at him. -
Dragon Con Progress Report 2021 | Published by Dragon Con All Material, Unless Otherwise Noted, Is © 2021 Dragon Con, Inc
WWW.DRAGONCON.ORG INSIDE SEPT. 2 - 6, 2021 • ATLANTA, GEORGIA • WWW.DRAGONCON.ORG Announcements .......................................................................... 2 Guests ................................................................................... 4 Featured Guests .......................................................................... 4 4 FEATURED GUESTS Places to go, things to do, and Attending Pros ......................................................................... 26 people to see! Vendors ....................................................................................... 28 Special 35th Anniversary Insert .......................................... 31 Fan Tracks .................................................................................. 36 Special Events & Contests ............................................... 46 36 FAN TRACKS Art Show ................................................................................... 46 Choose your own adventure with one (or all) of our fan-run tracks. Blood Drive ................................................................................47 Comic & Pop Artist Alley ....................................................... 47 Friday Night Costume Contest ........................................... 48 Hallway Costume Contest .................................................. 48 Puppet Slam ............................................................................ 48 46 SPECIAL EVENTS Moments you won’t want to miss Masquerade Costume Contest ........................................ -
Tolkien Et L'univers De L'heroic Fantasy En
Tolkien et l’univers de l’heroic fantasy en jeu1 Gilles BROUGÈRE (France) Professeur à l’université Paris XIII L’art les émeut, ils ne savent pas comment et l’ivresse les prend. Beaucoup de jeunes Américains ont avec ces histoires un rapport qui m’est étranger. Tolkien2 I. Un jeu « magic » Parmi les jeux de société qui ont connu ces dernières années un grand succès, on trouve un jeu de cartes, Magic, l’assemblée, qui a renouvelé profondément la place de la carte à jouer dans l’univers des enfants et des adolescents. S’appuyant sur de nouveaux principes ludiques, il a très vite fait des émules, telles les cartes Pokémon dont le déferlement a défrayé la chronique. Face à de tels succès, d’autres univers narratifs ont été mis en cartes. Harry Potter s’y est essayé et aujourd’hui la carte est devenue un produit dérivé incontournable pour les séries télévisées ou certains films, un support d’inscription majeur de la culture populaire destinée aux enfants et aux adolescents. À l’heure d’Internet, cela ressemble à une belle revanche pour un produit culturel et symbolique aussi ancien, apparemment éloigné des enjeux de la modernité. Le contraste n’est qu’apparent, car c’est Internet qui offre au joueur l’information dont il a besoin pour maîtriser ces univers exponentiels de cartes qui supposent également un outil informatique pour que le fabricant puisse les concevoir, les produire, les diffuser, les promouvoir. Dénuées de puces, ces cartes n’en sont pas moins des représentants d’une modernité qui, surtout sous ses formes tardives ou post-, prend souvent des airs de vieille chose, se « la joue » traditionnelle. -
Mini-Episode 14: High Fantasy
Not Your Mother’s Library Transcript Mini-Episode 14: High Fantasy (Brief intro music) Rachel: Hello, and welcome to Not Your Mother’s Library, a readers’ advisory podcast from the Oak Creek Public Library. I’m Rachel, and you might be familiar with my voice by now because both Leah and I have been recording a whole bunch of mini-episodes while the library is closed due to the Coronavirus pandemic. Ya know, I played that board game once. “Pandemic,” I mean. I thought it was too complex, but that’s coming from someone who periodically forgets the rules of “Yahtzee.” Anyway, yes, at time of recording Oak Creek Public Library is closed, and staff like myself are offering virtual services in lieu of in- person interactions. Practice social distancing with us, and stay safe out there, everyone. Or, preferably, stay safe in there. Like, indoors. At home. You can catch up on being a couch potato by listening to podcasts, or take us with you while you go for a jog around the neighborhood. New media is versatile like that, and exercise is important. Technically. But, back on track. Leah and I are sharing some of our favorite books, movies, and other schtuff [sic]. Since this episode and the few that follow will be going out in May 2020, I thought I’d go with a new format just for the month. Let’s look into specific genres. This episode, as you can see from the title, we’ll explore high fantasy, and I plan to touch on other genres like horror and comedy and…niche…in future eps.