Christian Responsibility in the US Foster System
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Building Cold War Warriors: Socialization of the Final Cold War Generation
BUILDING COLD WAR WARRIORS: SOCIALIZATION OF THE FINAL COLD WAR GENERATION Steven Robert Bellavia 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 2018 Committee: Andrew M. Schocket, Advisor Karen B. Guzzo Graduate Faculty Representative Benjamin P. Greene Rebecca J. Mancuso © 2018 Steven Robert Bellavia All Rights Reserved iii ABSTRACT Andrew Schocket, Advisor This dissertation examines the experiences of the final Cold War generation. I define this cohort as a subset of Generation X born between 1965 and 1971. The primary focus of this dissertation is to study the ways this cohort interacted with the three messages found embedded within the Cold War us vs. them binary. These messages included an emphasis on American exceptionalism, a manufactured and heightened fear of World War III, as well as the othering of the Soviet Union and its people. I begin the dissertation in the 1970s, - during the period of détente- where I examine the cohort’s experiences in elementary school. There they learned who was important within the American mythos and the rituals associated with being an American. This is followed by an examination of 1976’s bicentennial celebration, which focuses on not only the planning for the celebration but also specific events designed to fulfill the two prime directives of the celebration. As the 1980s came around not only did the Cold War change but also the cohort entered high school. Within this stage of this cohorts education, where I focus on the textbooks used by the cohort and the ways these textbooks reinforced notions of patriotism and being an American citizen. -
Subjectivity in American Popular Metal: Contemporary Gothic, the Body, the Grotesque, and the Child
CORE Metadata, citation and similar papers at core.ac.uk Provided by Glasgow Theses Service Subjectivity In American Popular Metal: Contemporary Gothic, The Body, The Grotesque, and The Child. Sara Ann Thomas MA (Hons) Submitted in fulfilment for the Degree of Doctor of Philosophy Faculty of Arts University of Glasgow January 2009 © Sara Thomas 2009 Abstract This thesis examines the subject in Popular American Metal music and culture during the period 1994-2004, concentrating on key artists of the period: Korn, Slipknot, Marilyn Manson, Nine Inch Nails, Tura Satana and My Ruin. Starting from the premise that the subject is consistently portrayed as being at a time of crisis, the thesis draws on textual analysis as an under appreciated approach to popular music, supplemented by theories of stardom in order to examine subjectivity. The study is situated in the context of the growing area of the contemporary gothic, and produces a model of subjectivity specific to this period: the contemporary gothic subject. This model is then used throughout to explore recurrent themes and richly symbolic elements of the music and culture: the body, pain and violence, the grotesque and the monstrous, and the figure of the child, representing a usage of the contemporary gothic that has not previously been attempted. Attention is also paid throughout to the specific late capitalist American cultural context in which the work of these artists is situated, and gives attention to the contradictions inherent in a musical form which is couched in commodity culture but which is highly invested in notions of the ‘Alternative’. In the first chapter I propose the model of the contemporary gothic subject for application to the work of Popular Metal artists of the period, drawing on established theories of the contemporary gothic and Michel Foucault’s theory of confession. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
Hannah Godwin Dissertation
AMERICAN MODERNISM’S GOTHIC CHILDREN by HANNAH GODWIN A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Hannah Godwin Title: American Modernism’s Gothic Children This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Mark Whalan Chairperson Paul Peppis Core Member Mary Wood Core Member Ernesto Martinez Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Hannah Godwin iii DISSERTATION ABSTRACT Hannah Godwin Doctor of Philosophy Department of English June 2017 Title: American Modernism’s Gothic Children This dissertation delineates a range of literary endeavors engaging the gothic contours of child life in early to mid-twentieth century America. Drawing fresh attention to fictional representations of the child in modernist narratives, I show how writers such as William Faulkner, Djuna Barnes, Jean Toomer, Eudora Welty, and Katherine Anne Porter turned to childhood as a potent site for negotiating cultural anxieties about physical and cultural reproduction. I reveal the implications of modernist technique for the historical formation of American childhood, demonstrating how these texts intervened in national debates about sexuality, race, and futurity. Each dissertation chapter adopts a comparative approach, indicating a shared investment in a specific formulation of the gothic child. Barnes and Faulkner, in creating the child-woman, appraise how the particular influence of psychoanalysis on childhood innocence irrevocably alters the cultural landscape. -
The Wild Child: Children Are Freaks in Antebellum Novels
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2013 The Wild Child: Children are Freaks in Antebellum Novels Heathe Bernadette Heim 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/1711 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 Wild Child: Children are Freaks in Antebellum Novels by Heather Bernadette Heim A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2013 Heim ii Heim © 2013 HEATHER BERNADETTE HEIM All Rights Reserved iii Heim This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy Hildegard Hoeller_______________________ __________ ______________________________________ Date Chair of Examining Committee Mario DiGangi__________________________ ___________ ______________________________________ Date Executive Officer Hildegard Hoeller______________________________ William P. Kelly_______________________________ Marc Dolan___________________________________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Heim Abstract The Wild Child: Children are Freaks in Antebellum Novels by Heather Bernadette Heim Advisor: Professor Hildegard Hoeller This dissertation investigates the spectacle of antebellum freak shows and focuses on how Phineas Taylor Barnum’s influence permeates five antebellum novels. The study concerns itself with wild children staged as freaks in Margaret by Sylvester Judd, City Crimes by George Thompson, The Scarlet Letter by Nathaniel Hawthorne, Uncle Tom’s Cabin by Harriet Beecher Stowe and Our Nig by Harriet Wilson. -
Viral Spiral Also by David Bollier
VIRAL SPIRAL ALSO BY DAVID BOLLIER Brand Name Bullies Silent Theft Aiming Higher Sophisticated Sabotage (with co-authors Thomas O. McGarity and Sidney Shapiro) The Great Hartford Circus Fire (with co-author Henry S. Cohn) Freedom from Harm (with co-author Joan Claybrook) VIRAL SPIRAL How the Commoners Built a Digital Republic of Their Own David Bollier To Norman Lear, dear friend and intrepid explorer of the frontiers of democratic practice © 2008 by David Bollier All rights reserved. No part of this book may be reproduced, in any form, without written permission from the publisher. The author has made an online version of the book available under a Creative Commons Attribution-NonCommercial license. It can be accessed at http://www.viralspiral.cc and http://www.onthecommons.org. Requests for permission to reproduce selections from this book should be mailed to: Permissions Department, The New Press, 38 Greene Street, New York,NY 10013. Published in the United States by The New Press, New York,2008 Distributed by W.W.Norton & Company,Inc., New York ISBN 978-1-59558-396-3 (hc.) CIP data available The New Press was established in 1990 as a not-for-profit alternative to the large, commercial publishing houses currently dominating the book publishing industry. The New Press operates in the public interest rather than for private gain, and is committed to publishing, in innovative ways, works of educational, cultural, and community value that are often deemed insufficiently profitable. www.thenewpress.com A Caravan book. For more information, visit www.caravanbooks.org. Composition by dix! This book was set in Bembo Printed in the United States of America 10987654321 CONTENTS Acknowledgments vii Introduction 1 Part I: Harbingers of the Sharing Economy 21 1. -
A 3Rd Strike No Light a Few Good Men Have I Never a Girl Called Jane
A 3rd Strike No Light A Few Good Men Have I Never A Girl Called Jane He'S Alive A Little Night Music Send In The Clowns A Perfect Circle Imagine A Teens Bouncing Off The Ceiling A Teens Can't Help Falling In Love With You A Teens Floor Filler A Teens Halfway Around The World A1 Caught In The Middle A1 Ready Or Not A1 Summertime Of Our Lives A1 Take On Me A3 Woke Up This Morning Aaliyah Are You That Somebody Aaliyah At Your Best (You Are Love) Aaliyah Come Over Aaliyah Hot Like Fire Aaliyah If Your Girl Only Knew Aaliyah Journey To The Past Aaliyah Miss You Aaliyah More Than A Woman Aaliyah One I Gave My Heart To Aaliyah Rock The Boat Aaliyah Try Again Aaliyah We Need A Resolution Aaliyah & Tank Come Over Abandoned Pools Remedy ABBA Angel Eyes ABBA As Good As New ABBA Chiquita ABBA Dancing Queen ABBA Day Before You Came ABBA Does Your Mother Know ABBA Fernando ABBA Gimmie Gimmie Gimmie ABBA Happy New Year ABBA Hasta Manana ABBA Head Over Heels ABBA Honey Honey ABBA I Do I Do I Do I Do I Do ABBA I Have A Dream ABBA Knowing Me, Knowing You ABBA Lay All Your Love On Me ABBA Mama Mia ABBA Money Money Money ABBA Name Of The Game ABBA One Of Us ABBA Ring Ring ABBA Rock Me ABBA So Long ABBA SOS ABBA Summer Night City ABBA Super Trouper ABBA Take A Chance On Me ABBA Thank You For The Music ABBA Voulezvous ABBA Waterloo ABBA Winner Takes All Abbott, Gregory Shake You Down Abbott, Russ Atmosphere ABC Be Near Me ABC Look Of Love ABC Poison Arrow ABC When Smokey Sings Abdul, Paula Blowing Kisses In The Wind Abdul, Paula Cold Hearted Abdul, Paula Knocked -
The Symbolic Rape of Representation: a Rhetorical Analysis of Black Musical Expression on Billboard's Hot 100 Charts
THE SYMBOLIC RAPE OF REPRESENTATION: A RHETORICAL ANALYSIS OF BLACK MUSICAL EXPRESSION ON BILLBOARD'S HOT 100 CHARTS Richard Sheldon Koonce 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 December 2006 Committee: John Makay, Advisor William Coggin Graduate Faculty Representative Lynda Dee Dixon Radhika Gajjala ii ABSTRACT John J. Makay, Advisor The purpose of this study is to use rhetorical criticism as a means of examining how Blacks are depicted in the lyrics of popular songs, particularly hip-hop music. This study provides a rhetorical analysis of 40 popular songs on Billboard’s Hot 100 Singles Charts from 1999 to 2006. The songs were selected from the Billboard charts, which were accessible to me as a paid subscriber of Napster. The rhetorical analysis of these songs will be bolstered through the use of Black feminist/critical theories. This study will extend previous research regarding the rhetoric of song. It also will identify some of the shared themes in music produced by Blacks, particularly the genre commonly referred to as hip-hop music. This analysis builds upon the idea that the majority of hip-hop music produced and performed by Black recording artists reinforces racial stereotypes, and thus, hegemony. The study supports the concept of which bell hooks (1981) frequently refers to as white supremacist capitalist patriarchy and what Hill-Collins (2000) refers to as the hegemonic domain. The analysis also provides a framework for analyzing the themes of popular songs across genres. The genres ultimately are viewed through the gaze of race and gender because Black male recording artists perform the majority of hip-hop songs. -
Objectivity Lies: the Rhetoric of Anthropology,” in the Rhetoric of the Human Sciences: Language and Argument in Scholarship and Public Affairs, Eds
ABSTRACT HUMANITIES JONAS-FOWLER, JOYCELYN J. B.A. CLARK ATLANTA UNIVERSITY, 1996 M.P.A. TROY STATE UNIVERSITY, 2005 IS THIS BLACK ENOUGH FOR YOU? A COMPARATIVE ANALYSIS OF AFRICAN-AMERICAN FAMILIES PORTRAYED IN BLACK FAMILY TELEVISION COMEDIES BETWEEN 1980 AND 2000 Committee Chair: Charmayne Patterson, Ph.D. Dissertation dated May 2018 Research shows that black people watch more television than any other race of people, and, given that television is the most influential media tool, the content of what may affect an audience’s behavior and beliefs deserves analysis. This study examines the black family, alleged pathology, strengths that are specifically associated with them, its portrayal on television, and how television is used as a tool for socialization and influence. A content analysis of the top thirty black family shows that appeared on major network television between 1980 and 2000 was conducted to determine if the family framed was portrayed realistically. Each show analyzed was found to portray some characteristic of strong black families, attributes some media and social critics had not previously recognized or acknowledged. This study suggests that further research is warranted from black family, cultural, and media scholars, as well as social policy and i program makers, and on how television influences entire cultures to shift socially and economically. ii IS THIS BLACK ENOUGH FOR YOU? A COMPARATIVE ANALYSIS OF AFRICAN-AMERICAN FAMILIES PORTRAYED IN BLACK FAMILY TELEVISION COMEDIES BETWEEN 1980 AND 2000 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY JOYCELYN JONAS-FOWLER DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA MAY 2018 © 2018 JOYCELYN JONAS-FOWLER All Rights Reserved ACKNOWLEDGMENTS I thank God for his favor and blessings and for being a God of thousands of chances. -
Phil Vassar Is As Driven Today As He Was When He First Left His Lynchburg, Virginia Home to Pursue – and Realize – His Dream of Making His Mark in Entertainment
Phil Vassar is as driven today as he was when he first left his Lynchburg, Virginia home to pursue – and realize – his dream of making his mark in entertainment. A career that has seen the release of eight albums, two ASCAP Songwriter of the Year trophies, Billboard Country Songwriter of the Year, countless hits as a singer and songwriter and a mantle full of awards and the launch of his own Rodeowave Entertainment label continues to expand and evolve. As a singer/songwriter, Phil has hit the Top 5 seven times with songs like “Carlene,” “Last Day of My Life” and “American Child” and topped the charts with “In A Real Love” and the perennial favorite “Just Another Day in Paradise.” Known as one of Nashville’s top tunesmiths, his songs other artists have taken to #1 include “My Next Thirty Years” by Tim McGraw, “She’s Right On The Money” by Alan Jackson, and Jo Dee Messina’s “Bye, Bye” and “I’m Alright.” New artist David Nail had a hit with Phil’s “The Sound of a Million Dreams,” which Billboard named the #1 song in their Top 10 Country Songs of 2012. Vassar continues to churn out incisive, soulful lyrics and infectious melodies that capture the heart and soul in the unique and special way that only he can, and his latest single, “Love Is Alive,” is no exception. Written with frequent co-writer, the award-winning Tom Douglas (“The House That Built Me,” “Little Rock,” “I Run To You”), the new release is the foundation for a much-anticipated new album that will hit stores on Rodeowave in mid-2013. -
"If You're Reading This": Patriotic Themes in Country Music Between 2000-2010 Claire S
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2011 From "courtesy of the red, white, and blue" to "if you're reading this": patriotic themes in country music between 2000-2010 Claire S. Carville Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Mass Communication Commons Recommended Citation Carville, Claire S., "From "courtesy of the red, white, and blue" to "if you're reading this": patriotic themes in country music between 2000-2010" (2011). LSU Master's Theses. 3985. https://digitalcommons.lsu.edu/gradschool_theses/3985 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. FROM “COURTESY OF THE RED, WHITE, AND BLUE” TO “IF YOU’RE READING THIS”: PATRIOTIC THEMES IN COUNTRY MUSIC BETWEEN 2000-2010 A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Mass Communication in The Manship School of Mass Communication by Claire Carville B.A., The University of Alabama, 2009 May 2011 ACKNOWLEDGEMENTS I would first like to thank my committee chair, Dr. Lisa Lundy, whose constant guidance, insight, and encouragement was appreciated every step of the writing process of this thesis. Next, thanks to committee member and fellow country music fan, Bob Mann, for being excited about this project from the very beginning. -
The Routledge Companion to Remix Studies
THE ROUTLEDGE COMPANION TO REMIX STUDIES The Routledge Companion to Remix Studies comprises contemporary texts by key authors and artists who are active in the emerging field of remix studies. As an organic interna- tional movement, remix culture originated in the popular music culture of the 1970s, and has since grown into a rich cultural activity encompassing numerous forms of media. The act of recombining pre-existing material brings up pressing questions of authen- ticity, reception, authorship, copyright, and the techno-politics of media activism. This book approaches remix studies from various angles, including sections on history, aes- thetics, ethics, politics, and practice, and presents theoretical chapters alongside case studies of remix projects. The Routledge Companion to Remix Studies is a valuable resource for both researchers and remix practitioners, as well as a teaching tool for instructors using remix practices in the classroom. Eduardo Navas is the author of Remix Theory: The Aesthetics of Sampling (Springer, 2012). He researches and teaches principles of cultural analytics and digital humanities in the School of Visual Arts at The Pennsylvania State University, PA. Navas is a 2010–12 Post- Doctoral Fellow in the Department of Information Science and Media Studies at the University of Bergen, Norway, and received his PhD from the Program of Art and Media History, Theory, and Criticism at the University of California in San Diego. Owen Gallagher received his PhD in Visual Culture from the National College of Art and Design (NCAD) in Dublin. He is the founder of TotalRecut.com, an online com- munity archive of remix videos, and a co-founder of the Remix Theory & Praxis seminar group.