The University of Chicago the Search for a View of The
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Who's Afraid of the Brothers Grimm?: Socialization and Politization Through Fairy Tales
Who's Afraid of the Brothers Grimm?: Socialization and Politization through Fairy Tales Jack Zipes The Lion and the Unicorn, Volume 3, Number 2, Winter 1979-80, pp. 4-41 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/uni.0.0373 For additional information about this article https://muse.jhu.edu/article/247386 Access provided by University of Mary Washington & (Viva) (19 Sep 2017 17:43 GMT) Who's Afraid of the Brothers Grimm? Socialization and Politization through Fairy Tales Jack Zipes Over 170 years ago the Brothers Grimm began collecting original folk tales in Germany and stylized them into potent literary fairy tales. Since then these tales have exercised a pro- found influence on children and adults alike throughout the western world. Indeed, whatever form fairy tales in general have taken since the original publication of the Grimms' nar- ratives in 1812, the Brothers Grimm have been continually looking over our shoulders and making their presence felt. For most people this has not been so disturbing. However, during the last 15 years there has been a growing radical trend to over- throw the Grimms' benevolent rule in fairy-tale land by writers who believe that the Grimms' stories contribute to the creation of a false consciousness and reinforce an authoritarian sociali- zation process. This trend has appropriately been set by writers in the very homeland of the Grimms where literary revolutions have always been more common than real political ones.1 West German writers2 and critics have come to -
Ellis and the Grimms; German Nationalism; Folk Tradition; Oral and Written Culture
Sessions 1-4: Ellis and the Grimms; German nationalism; folk tradition; oral and written culture. A good place to start is to consider what we generally mean by “Fairy Tales”. A typical formulation might contain some or all of the following properties: “old; magical; peopled by types rather than heavily individuated characters; formulaic; oral; for children”. We then read Ellis, chapters 1-3, and found that the Grimms’ work took place in a context of growing German nationalism, with an intense focus on German language and culture. The collection was envisaged by the Grimms as a serious work of philology, an attempt to reform and re-build German Literature then awakening from a lengthy period of relative eclipse, to challenge French linguistic and cultural dominance. From there we passed to the concept of oral tradition, the doctrine of “survivals”, and of the cultural shortcomings of Modernity—the central idea here being that a separate and distinctive strand of culture, later called “folklore”, was preserved in oral tradition by the common people, and that although sustained by living memories, some of its contents were extremely ancient. One key earlier text here was James Macpherson in the elaborate scholarly apparatus to his sensationally-successful edition of the Poems of Ossian (1765) which had made the argument for the coherence of oral tradition and its ability to transmit cultural materials in a stable form over long periods of time, so that most contemporaries considered that contact with orality guaranteed, ipso facto, contact with high antiquity. We needed to remind ourselves about such matters, because in the university reforms of the later nineteenth century folklore arrived too late on the scene to establish itself as a central academic discipline, so that there are only a handful of departments in America today. -
© 2010 Julia Silvia Feldhaus ALL RIGHTS RESERVED
© 2010 Julia Silvia Feldhaus ALL RIGHTS RESERVED Between Commodification and Emancipation: Image Formation of the New Woman through the Illustrated Magazine of the Weimar Republic By Julia Silvia Feldhaus A dissertation submitted to the Graduate School – New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in German Written under the direction of Martha B. Helfer And Michael G. Levine And approved by ____________________________ _____________________________ _____________________________ _____________________________ New Brunswick, New Jersey October 2010 ABSTRACT OF THE DISSERTATION Between Commodification and Emancipation: Image Formation of the New Woman through the Illustrated Magazine of the Weimar Republic By JULIA SILVIA FELDHAUS Dissertation Directors: Martha B. Helfer Michael G. Levine This dissertation investigates the conflict between the powerful emancipatory image of the New Woman as represented in the illustrated magazines of the Weimar Republic and the translation of this image into a lifestyle acted out by women during this era. I argue that while female journalists promote the image of the New Woman in illustrated magazines as a liberating opening onto self-determination and self- management, this very image is simultaneously and paradoxically oppressive. For women to shake off the inheritance of a patriarchal past, they must learn to adjust to a new identity, one that is still to a large extent influenced by and in the service of men. The ideal beauty image designed by female journalists as a framework for emancipation in actuality turned into an oppressive normalization in professional and social markets in which traditional rules no longer obtained. -
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
Russell Simmons Russell Simmons Has Been the Leader in Bringing The
Russell Simmons Russell Simmons has been the leader in bringing the powerful influence of hip-hop culture to every facet of business and media since its inception in the late 1970s through current day, in which its integration into mainstream American Culture means an entirely new, post-racial, progressive America. Simmons' businesses have always been rooted in giving a powerful voice to emerging creative and social movements, and integrating them into the American psyche. His business successes have spanned music, film, television, fashion, the jewelry industry, video games, online and financial services; his activism has encompassed all of the areas touched by his businesses, including poverty, education and ignorance. From producing and/or managing such early hip-hop artists as Kurtis Blow, Run DMC, Will Smith and the Beastie Boys to signing seminal luminaries like Jay Z, LL Cool J and Ludacris to his iconic record label, Def Jam Recordings, Simmons’ groundbreaking vision and the cultural revolution became the international phenomenon now known as hip-hop. Following his departure from Def Jam, in 1999, Russell created a fashion empire in Phat Farm, which begat Baby Phat and Run Athletics, and put the definitive stake in the ground for urban streetwear, to which others followed including: Roc-A-Wear, Sean John, Derion, Enyce, Ecko and many others. His film and television production company with partner Stan Lathan, Simmons Lathan Media Group, created the wildly successful HBO series, “Def Comedy Jam “ (8 million DVDS sold), “Russell Simmons Presents Def Poetry,” and “HBO Presents Brave New Voices,” the Hollywood box office success “The Nutty Professor,” the Tony Award-winning stage production “Russell Simmons Presents Def Poetry Jam on Broadway,” the international hit on MTV “Run’s House,” and most recently the successful first season of “Running Russell Simmons.” In 2003, Simmons co-founded Unirush Financial Services with consumer debt investor David Rosenberg. -
The Orality of Old Frisian Law Texts
The Orality of Old Frisian Law Texts Rolf H. Bremmer Jr INTRODUCTION From about the turn of the thirteenth century, judging by the evidence available to us, the Frisians started to commit the rules and customs that regulated their social life to writing.1 In this respect, they were no different from many other groups in Western Europe. Inspired by the renewed and systematized study of Roman and Canon Law in the twelfth century and encouraged by the quickly expanding papal administration, legal texts, especially those of a secular nature, found their way onto parchment.2 It has generally been assumed in Frisian studies that these law texts already had an extensive history of oral delivery behind them before they were finally recorded by scribes. In itself, as shall be seen, this assumption is very plau- sible, but can the same be said for the reasons that were adduced to lend credence to it? Support for the oral origin of Frisian law was grounded in two argu- ments. The first was the term for one of the most important players in the game of law: the asega, literally ‘law-sayer’.3 Jacob Grimm, and other nine- teenth-century legal historians in his footsteps, recognized the Icelandic lo3gso3gumaðr ‘law-say-man’ in this Frisian legal official. Consequently, the asega was attributed the same role as his alleged Icelandic counterpart: he was the man who had memorized the laws and it was his duty to recite the law at certain communal gatherings, perhaps, just like his Icelandic coun- terpart, in a triennial cycle.4 There were many such meeting places in the various Frisian lands, but we know of only one supraregional assembly location, an elevation in the landscape not far from Aurich (today in Ost- friesland, Niedersachsen), called Upstallesbam [The tree of Upstal].5 For Thomas Markey, to give an example, the conclusion was obvious: ‘Upstals- 1 Parts of this paper were read at the 48th International Congress on Medieval Studies, Kalamazoo, MI, May 2013. -
Finding Aid to the Historymakers ® Video Oral History with Darryl "DMC" Mcdaniels
Finding Aid to The HistoryMakers ® Video Oral History with Darryl "DMC" McDaniels Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: DMC (Musician) Title: The HistoryMakers® Video Oral History Interview with Darryl "DMC" McDaniels, Dates: August 26, 2016 Bulk Dates: 2016 Physical 5 uncompressed MOV digital video files (2:35:49). Description: Abstract: Hip hop artist Darryl "DMC" McDaniels (1964 - ) was a founding member of the hip hop group Run DMC. McDaniels was interviewed by The HistoryMakers® on August 26, 2016, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2016_018 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Hip hop artist Darryl “DMC” McDaniels was born on May 31, 1964 in Harlem, New York. He graduated from Rice High School in Manhattan in 1982, and enrolled at St. John’s University in Queens, New York, but did not graduate. In 1982, McDaniels formed Run DMC with group mates Joseph “Rev Run” Simmons and Jason “Jam Master Jay” Mizell. In 1984, Run DMC signed to Profile Records under the management of Russell Simmons, and released their first album, Run DMC. That same year, the group’s music video “Rock Box” became first rap music video played on MTV. In 1985, Run DMC released the King of Rock album. They became only the second rap group to appear on American Bandstand, performing the hit “Jam Master Jammin.” In 1986, Run DMC released the critically acclaimed Raising Hell album, which was their top selling album, reaching certified triple platinum status. -
The Inheritance
The Inheritance EDWARD (TED) TODD, 2012 The Inheritance This is Autobiofiction .............................................................................................................. 4 BookEsalen 1. Institute The Father of Human .................................................................................................... Relations, California 1979 ............................................... 17 5 Near the Don River, Russia 1945 ................................................................................... 17 Russians ................................................................................................................................22 The Journey 1957 .................................................................................................................. 35 Uncle Carlos, Argentina 1958 ........................................................................................... 59 Antonio Garibaldi, Buenos Aires, a few months later ............................................. 67 BookOscar 2.1976 The ............................................................................................................................... Son’s Story ........................................................................................... 8270 Budapest 1980 ....................................................................................................................... 88 INTERLUDE:The other Grandma Is Life Really is crazy? a Jewish .................................................................................... -
Fairy Tales and Political Socialization
FAIRY TALES AND POLITICAL SOCIALIZATION by Mehrdad Faiz Samadzadeh A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Curriculum, Teaching & Leadership University of Toronto Ontario Institute for Studies in Education © Copyright by Mehrdad Faiz Samadzadeh 2018 FAIRY TALES AND POLITICAL SOCIALIZATION Mehrdad Faiz Samadzadeh Doctor of Philosophy Department of Curriculum, Teaching & Leadership Ontario Institute for Studies in Education University of Toronto 2018 Abstract The concept of childhood is one of the many facets of modernity that entered Western consciousness in the seventeenth century. It emanated from the historical mutations of the post-Renaissance era that set in motion what Norbert Elias calls the civilizing process, one that spawned a repressive mode of socialization in tandem with the cultural and ideological hegemony of the new power elite. Accordingly, childhood became a metaphor for oppression targeting not only children, but also women, the underclass, the social outcast, and the colonized as they all were deemed “incompletely human”. From mid-nineteenth century on, however, childhood began to evince a liberating potential in tandem with the changing direction of modern Western civilization. This ushered in an alternative concept of childhood inspired by the shared characteristics between the medieval and modern child that finds expression in the works of distinguished literary figures of the Victorian era. What followed was an entire movement towards the recognition of children’s rights and status that set the context for the growing interest in childhood as a subject of historical inquiry in the twentieth century. This conceptual vicissitude of childhood is central to the present thesis which I pursue in relation to the literary genre of fairy tale. -
Gender, Class and Ethnicity in the Disney Princesses Series – Kirsten Malfroid 1
Universiteit Gent Faculteit Letteren en Wijsbegeerte Gender, Class, and Ethnicity in the Disney Princesses Series Kirsten Malfroid Promotor: Masterproef ingediend met het oog op het behalen van de graad van Dr. Katrien De Moor Master in de Vergelijkende Moderne Letterkunde Academiejaar 2008 - 2009 ii ACKNOWLEDGEMENTS Real heroes and heroines stay in anonymity, but I would still like to extend some words of thankfulness to my family and friends, who “simply” were there with ceaseless support. I would also like to thank the Walt Disney Company, for releasing the movies that became my current material for analysis; my parents, for once taking me to the theater to see them; and Prof. dr. Àngels Carabí Ribera, who teaches at the University of Barcelona, for introducing me to “a whole new world” of gender studies to analyze them. In addition, Sebastian Loll deserves special mention for pointing to Donald Duck‟s collision with fascism, while Kasper Malfroid has spared me the desperation of trying to subdue Microsoft Office. But most of all, I am indebted to my promoter, dr. Katrien De Moor, who guided me with excellent advice and encouraging words until the end. Ghent, augustus 2009 iii TABLE OF CONTENTS Acknowledgements ...................................................................................................... ii Table of Contents ........................................................................................................ iii I. Introduction ......................................................................................................... -
More Than a Minor Inconvenience: the Case for Heightened Protection for Children Appearing on Reality Television, 32 Hastings Comm
Hastings Communications and Entertainment Law Journal Volume 32 | Number 3 Article 5 1-1-2010 More than a Minor Inconvenience: The aC se for Heightened Protection for Children Appearing on Reality Television Katherine Neifeld Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Katherine Neifeld, More than a Minor Inconvenience: The Case for Heightened Protection for Children Appearing on Reality Television, 32 Hastings Comm. & Ent. L.J. 447 (2010). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol32/iss3/5 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. More Than a Minor Inconvenience: The Case for Heightened Protection for Children Appearing on Reality Television by KATHERINE NEIFELD I. How May the Role of a Minor on Reality Television Be Defined In Its Current Incarnation? ................................. ..................... .......... 448......448 A. Is a Minor Appearing on Reality Television "Working"? ........................................................ 448 B. The Necessary Creation of a New Legal Category Properly Defining -
El Videoclip Como Paradigma De La Música Contemporánea, De 1970 a 2015
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD I TESIS DOCTORAL El videoclip como paradigma de la música contemporánea, de 1970 a 2015 MEMORIA PARA OPTAR AL GRADO DE DOCTORA PRESENTADA POR Lara García Soto DIRECTOR Francisco Reyes Sánchez Madrid, 2017 © Lara García Soto, 2016 Universidad Complutense de Madrid Facultad de CC. de la Información Comunicación Audiovisual y Publicidad I El videoclip como paradigma de la música contemporánea, de 1970 a 2015 Tesis doctoral presentada por: Lara García Soto. Tesis doctoral dirigida por: Francisco Reyes Sánchez. Madrid, 2015 El ejemplo, la fuerza y el esfuerzo, mis padres. La paciencia y apoyo, Adrián. La música, baile y mi inspiración, Michael Jackson. Gracias. ÍNDICE 1. Introducción y Objeto de estudio……………………………………1 2. Objetivos……………………………………………………………….6 3. Metodología………………………………………............................10 4. Orígenes……………………………………………………………….13 4.1. Cine sonoro y experiencias artísticas………………………13 4.2. Cine Musical…………………………………………………..18 4.3. Soundies y Scopitones……………………………………….25 4.4. La llegada de las películas rock, grabaciones de conciertos. Décadas de los 50 y 60……………………………………………29 4.5. El videoarte……………………………….............................38 4.6. La televisión y los programas musicales………………......41 4.6.1. La MTV………………………………………………...........48 4.6.2. Programas musicales en España………………………...57 4.6.3. Los canales temáticos de música y videoclips………….65 5. Historia de la música y relación con los videoclips……………….68 5.1. Los años 70…………………………………………………..69 5.2. Los años 80…………………………………………………..76 5.2.1. La televisión y los videoclips. Desarrollo del rap…..80 5.2.2. El primer muro. El PMRC…………………………….86 5.2.3. Continúa la evolución: música, tecnología y moda..89 5.2.4.