Geek and Nerd Masculinity in the Big Bang Theory
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Pointe in Time Above and Beyond Sa
SPONSORSHIP OPPORTUNITIES POINTE IN TIME ABOVE AND BEYOND SATURDAY, NOVEMBER 6, 2021 | 6PM | THE WESTIN PITTSBURGH Pittsburgh Ballet Theatre (PBT)’s highly anticipated, top-rated annual event – Pointe in Time – returns on Saturday, November 6, bringing elegance, artistry and fun back to The Westin Pittsburgh. The evening takes wing with the theme “Above and Beyond,” a nod to PBT’s resiliency and the forward vision of Artistic Director Susan Jaffe, who makes her debut as PBT’s fifth artistic leader. Honorary Chairs Nick and Sandi Nicholas invite you to be transfixed and transformed by the beauty and power of Pittsburgh Ballet Theatre while raising funds for one of the region’s most treasured cultural organizations. “We have been inspired by PBT’s triumph through the pandemic – its amazing Open Air Series at Flagstaff Hill, free virtual performances of Fireside Nutcracker, live performances at Carnegie Museum’s Hall of Sculpture and digital spotlights filmed at WQED. It is our honor to bring Pointe in Time to the next level in support of its innovation and future under new Artistic Director Susan Jaffe!” Nick and Sandi Nicholas 2021 Pointe in Time Honorary Chairs Swissvale native and Emmy Award-nominated actor and comedian Billy Gardell returns to his beloved Pittsburgh to attend Pointe in Time as celebrity guest and host of the live auction, which is sure to reach new heights. Billy Gardell currently stars in the CBS series Bob Hearts Abishola. Gardell starred with Melissa McCarthy in the hit series Mike & Molly as Officer Mike Biggs from 2010-2016. He had a recurring role on Young Sheldon and starred as Col. -
INDICE 1. Introduzione 3 2. Rassegna Della Letteratura 7 3. Metodo 15 4
INDICE 1. Introduzione 3 2. Rassegna della letteratura 7 2.1. Introduzione 7 2.2. Studi linguistici sulla sitcom The Big Bang Theory 7 2.3. Conclusioni 13 3. Metodo 15 3.1. Introduzione 15 3.2. Quesiti della ricerca 15 3.3. Quadro teorico di riferimento 15 3.3.1. Il Principio Cooperativo di Grice 16 3.3.2. La Teoria della Pertinenza di Sperber e Wilson 22 3.3.3. La cortesia 25 3.3.3.1. Il modello di Leech 26 3.3.3.2. Il modello di Brown e Levinson 32 3.3.3.3. Conclusioni 36 3.4. Raccolta, preparazione e analisi dei dati 37 3.4.1. Raccolta dei dati 37 3.4.2. Preparazione dei dati 38 3.4.3. Analisi qualitativa 40 3.4.4 Analisi quantitativa 53 3.5. Conclusioni 53 4. Risultati 55 4.1. Introduzione 55 4.2. Risultati analitici quantitativi e qualitativi della ricerca 55 4.2.1. Risultati della prima stagione 56 4.2.2. Risultati della seconda stagione 62 4.2.3. Risultati della terza stagione 69 4.2.4. Risultati della quarta stagione 75 4.2.5. Risultati della quinta stagione 82 4.2.6. Risultati della sesta stagione 88 4.2.7. Risultati della settima stagione 94 4.2.8. Risultati della ottava stagione 101 4.2.9. Risultati della nona stagione 107 1 4.2.10. Risultati della decima stagione 114 4.3. Risultati quantitativi e qualitativi sintetici della ricerca 120 4.3.1. (In)efficienza comunicativa 120 4.3.1.2. Il Principio Cooperativo di Grice 120 4.3.1.3. -
Bazinga! Uma Análise Neotribal Da Sitcom the Big Bang Theory Arthur
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XVI Congresso de Ciências da Comunicação na Região Sudeste – São Paulo - SP – 12 a 14 de maio de 2011 Bazinga! Uma Análise Neotribal Da Sitcom The Big Bang Theory 1 Arthur Carlos FRANCO OLIVEIRA 2 Mirna TONUS 3 Universidade Federal de Uberlândia, Uberlândia, MG RESUMO O presente artigo tem como objetivo analisar a sitcom The Big Bang Theory sob a ótica da teoria neotribalista proposta por Michel Maffesoli. A partir do método observacional, assistiu-se a todos os episódios das quatro temporadas da sitcom, procurando identificar em seus personagens elementos que os relacionassem a uma neotribo. Assim, foi possível concluir que os sujeitos analisados não atendem a todas as características de uma neotribo. PALAVRAS-CHAVE: sitcom, neotribalismo, televisão, humor. “Bazinga!” – Sheldon Cooper Desde o surgimento da televisão, suas funções têm sido as mais diversas. Informar, emocionar e fazer rir são alguns dos papéis que ela exerce no contexto atual. Suas atrações sempre buscam aumentar a audiência e cativar o público, sendo que, nos últimos anos, a televisão tem mais do que nunca se utilizado do público para fazer sucesso. Séries humorísticas, programas de auditório recheados de casos engraçados e comentários ácidos e inteligentes são alguns artifícios veiculados para divertir o público. E, entre os programas de humor, estão as chamadas sitcoms . O termo, segundo o Dicionário da Língua Portuguesa4, é uma série televisiva que aborda situações do dia–a-dia em tom de comédia. A palavra vem do termo inglês “situation comedy ”, que, literalmente, significa situação de comédia. Desde o seu 1 Trabalho apresentado no DT 4 – Comunicação Audiovisua do XVI Congresso de Ciências da Comunicação na Região Sudeste realizado de 12 a 14 de maio de 2011. -
VIDEO GAME SUBCULTURES Playing at the Periphery of Mainstream Culture Edited by Marco Benoît Carbone & Paolo Ruffino
ISSN 2280-7705 www.gamejournal.it Published by LUDICA Issue 03, 2014 – volume 1: JOURNAL (PEER-REVIEWED) VIDEO GAME SUBCULTURES Playing at the periphery of mainstream culture Edited by Marco Benoît Carbone & Paolo Ruffino GAME JOURNAL – Peer Reviewed Section Issue 03 – 2014 GAME Journal A PROJECT BY SUPERVISING EDITORS Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Leonardo Quaresima (Università di Udine). EDITORS WITH THE PATRONAGE OF Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Dipartimento di Storia, Beni Culturali e Territorio Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano), Marco Teti (Università di Ferrara). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Bologna), Enrico Menduni (Università di -
REDEFINING “NERDINESS”: the Big Bang Theory Reconsidered REDEFINING “NERDINESS”: Many Studies Define “Nerdiness” Differently
ARTICLE Title REDEFINING “NERDINESS”: The Big Bang Theory Reconsidered REDEFINING “NERDINESS”: Many studies define “nerdiness” differently. Some textual cues including explicit and implicit cues. These would define gifted students as “nerds” (O’Connor 293), terms are adopted from Culpeper’s The Language and The Big Bang Theory Reconsidered suggesting that the word is based solely on intelligence. Characterisation: People in Plays and Other Texts, in which he Others may define “nerds” as “physical self-loathing [and explains that these textual cues can help a viewer make having] technological mastery” (Eglash 49), suggesting certain inferences about a specific character (Language that “nerds” have body issues or are somehow more and Characterisation 167). Explicit cues are when charac- BY JACLYN GINGRICH technologically savvy than the average person. Bednarek ters specifically express information about themselves or defines “nerdiness” as displaying the following linguistic others (Language of Characterisation 167). An example framework: “believes in his own intelligence,” “was a child would be when Leonard says, “Yeah, I’m a frickin’ genius” ABSTRACT it is that they are average people socializing with each prodigy,” “struggles with social skills,” “is different,” “is health (“The Middle Earth Paradigm”). Here he is explicitly other and living normal lives. The Big Bang Theory displays This paper analyzes the linguistic characteristics of Leonard obsessed/has food issues,” “has an affinity for and knowl- saying that he believes he has intellectual superiority. the comical reality of what normally happens in these Hofstadter, television character from The Big Bang Theory and edge of computer-related activities,” “does not like change,” Implicit cues are implied. -
Geek Policing: Fake Geek Girls and Contested Attention
International Journal of Communication 9(2015), 2862–2880 1932–8036/20150005 Geek Policing: Fake Geek Girls and Contested Attention JOSEPH REAGLE1 Northeastern University, USA I frame the 2012–2013 discourse about “fake geek girls” using Bourdieu’s theory of fields and capital, complemented by the literature on geeks, authenticity, and boundary policing. This discourse permits me to identify the reciprocal relationship between the policing of identity (e.g., Am I a geek?) and the policing of social boundaries (e.g., Is liking an X-Men movie sufficiently geeky?). Additionally, geekdom is gendered, and the policing of fake geek girls can be understood as a conflict over what is attended to (knowledge or attractiveness), by whom (geekdom or mainstream), and the meaning of received attention (as empowering or objectifying). Finally, despite the emergence of a more progressive and welcoming notion of geeks-who-share, the conversation tended to manifest the values of dominant (androcentric) members. That is, in a discourse started by a woman to encourage other women to be geeky, some of the loudest voices were those judging women’s bodies and brains according to traditionally androcentric and heteronormative values. Consequently, in this boundary and identity policing, women faced significant double binds, and the discourse exemplified a critical boomerang in which a critique by a woman circled back to become a scrutiny of women by men. Keywords: authenticity, boundaries, capital, geek, gender, policing, subculture In March 2012, Tara Tiger Brown (2012), a self-described “tech entrepreneur, educator and opinion writer,” wrote an article entitled “Dear Fake Geek Girls: Please Go Away.” The article prompted much discussion, generating 250 comments below the article itself as well as thousands of comments elsewhere. -
Copyrighted Material
chapter six INTO THE CLASSROOM Pedagogical Approaches to the Rhetoric of Intellectualism and Anti-intellectualism COPYRIGHTED ForMATERIAL the past ten years, to engage my first-year composition students in the important work of thinking and writing critically about the messages concerning education and intellectualism that surround them, I have been introducing them to the prominent voices—both academic and popular— sending these messages. I have also been aiding them in examining the context, rhetorical strategies, and potential consequences of such messages. With the goals of teaching students how to think critically about the rhetoric that surrounds them and also how to effectively and thoughtfully employ rhetorical strategies in their own communication of ideas, the first-year composition course has seemed an appropriate place to encourage students to analyze and respond to this rhetoric. It is important to engage students in a study of the rhetoric of intellectualism and anti-intellectualism in the United States not only because it shapes education reform, public policy, and public ideas about literacy and learning but also because it influences students’ own attitudes, experiences, and actions. In addition, it is important for us to employ a pedagogical approach that encourages and empowers students to become critical, active participants in these academic and public 119 conversations because (as the survey in chapter 1 makes clear) students’ voices are not currently present in these discussions. In this chapter, I discuss two examples of my work engaging undergradu- ates in a critical analysis of the rhetoric of intellectualism and anti-intellectu- alism in the United States. I describe the assignments and discern both what students learned from their work in the class and what rhetoric, composition, and literacy studies scholars can learn from students’ conclusions. -
Television Academy Awards
2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D. -
Socioeconomic Class Representation in Sitcoms Awroa:&~
KEEPING UP WITH THE JONESES: SOCIOECONOMIC CLASS REPRESENTATION IN SITCOMS by ALEXANDRA HICKS 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 June 2014 A• Abstracto( the Thesis of Alexandra Hicks for 1he degree ofBachelor of Arts in the School of Journalism and Communication to be talcen June, 2014 Title: Keeping Up With the Jonescs: Socioeconomic Class Representation in Sitcoms Awroa:&~ This thesis examines the representation of socioeconomic class in situation comedies. Through the influence of the advertising industiy, situation comedies (sitcoms) have developed a pattem throughout history of misrepresenting ~ial class, which is made evident by their portrayals ofdifferent races, genders, and professions. To rectify the IKk ofprevious studies on modem comedies, this study analyzes socioeconomic class representation on sitcoms that have aired in the last JS years by taking a sample ofseven shows and comparing the estimated cost of characters' residences to the amount of money they would likely earn in their given profession. 1be study showed that modem situation comedies misrepresent socioeconomic class by portraying characters living in residences well beyond what they could afford in real life. Accurate demonstration ofsocioeconomic class on television is imperative be<:ause images presented on television genuinely influence viewers• perceptions of reality. Inaccurate portrayals ofclass could cause audiences to develop distorted views ofmember.; of socioeconomic classes and themselves. u Acknowledgements I would like to thank Professor Debra Merskin for inspiring me to examine television in an in-depth and critical manner. -
Structure in Persuasion
English Structure in Persuasion About this Lesson The purpose of this lesson is to compare, analyze, and evaluate the claims, persuasive techniques, and structures of two opinion pieces originally printed in newspapers. Students will read the texts, paragraph by paragraph, and determine the purpose of each paragraph while analyzing and evaluating the effectiveness of the techniques the writers use to defend their claims. Students will also read an additional brief excerpt, identify the claim, and practice writing a concession and counterargument following a model. Passages for LTF® lessons are selected to challenge students while lessons and activities make texts accessible. Guided practice with challenging texts allows students to gain the proficiency necessary to read independently at or above grade level. This lesson is included in Module 10: Analyzing Organization and Syntax. Objectives Students will compare, analyze, and evaluate claims, persuasive techniques, and structures in two TEACHER contrasting texts. evaluate the effectiveness of techniques a writer uses to defend his or her claims. write a concession and counterargument in response to an argument. Level Grades Six through Ten Connection to Common Core Standards for English Language Arts LTF Foundation Lessons are designed to be used across grade levels and therefore are aligned to the CCSS Anchor Standards. Teachers should consult their own grade-level-specific Standards. The activities in this lesson allow teachers to address the following Common Core Standards: Explicitly addressed in this lesson Code Standard Level of Depth of Thinking Knowledge R.1 Read closely to determine what the text says Understand III explicitly and to make logical inferences from it. -
Frons Launches Soap Sensation
et al.: SU Variety II SPECIAL 'GOIN' HOLLYWOOD' EDITION II NEWSPAPER Second Class P.O. Entry Supplement to Syracuse University Magazine CURTIS: IN MINIS Role Credits! "War" Series Is All-Time Screen Dream Syracuse- We couldn't pos sibly get 'em all, but in these 8 By RENEE LEVY series "Winds of War," based on to air in late spring and the entire pages find another 40-plus SU Hollywood- The longest. The Herman Wouk 's epic World War II package will air in Europe next year. alumni getting billboards on most demanding. The hardest. The novels, "War and Remembrance" Curtis, exec producer, director the boulevard. In our research, most expensive. That's the story was shot in 757 locations in 10 and co-scribe of the teleplay, spent we discovered a staggering net behind Dan Curtis 'SO's block countries, using more than 44,000 two years filming and a year and a work of Syracusans in the busi buster miniseries " War and Re actors and extras and nearly 800 half editing "War and Remem ness-producers, directors, membrance," which aired the first sets. The production- the longest brance," a project he originally actors, editors, and more! We 18 of its 30 hours in November on in television history--cost an es considered undoable-particular soon realized that all of them ABC-TV. timated $ 105 million to make. The ly because of the naval battles and would not fit, and to those left A sequel to Curtis's 1983 maxi- concluding 12 hours are expected the depiction of the Holocaust. -
Gabriel Mann
GABRIEL MANN FEATURE FILMS HUMOR ME Danielle Renfrew Behrens, Ruth Pomerance, Emily Blavatnik, Fugitive Films Courtney Potts. Jamie Gordon, prods. Sam Hoffman, dir. TELEVISION SERIES ROSEWOOD Marty Bowen, Wyck Godfrey, Todd Harthan, exec. prods. FBC / 20 th Century Fox TV Todd Harthan, showrunner Score & Theme Richard Shepard, dir. RECTIFY Melissa Bernstein, Ray McKinnon, Mark Johnson, exec. prods. Sundance Channel / Gran Via Productions Ray McKinnon, showrunner Score Keith Gordon, dir. MODERN FAMILY Steven Levitan, Christopher Lloyd, exec. prods. ABC/ 20 th Century Fox Television Jason Winer/Reggie Hudlin, dir. Score ANGEL FROM HELL Tad Quill, exec. prod. CBS / CBS TV Studios Tad Quill, showrunner Score Don Scardino, dir. DR. KEN Jared Stern, John Davis, John Fox, ABC / Sony Pictures TV Mike Sikowitz, exec. prods. Score Mike Sikowitz, showrunner Scott Ellis, dir. SCHOOL OF ROCK Richard Linklater, Scott Rudin, Jim Armogida, Steve Nickelodeon / Paramount TV Armogida, exec. prods. Score THE CROODS Netflix / Dreamworks Animation Score THE KICKS Elizabeth Allen Rosenbaum, prod /dir. Amazon Studios / Picrow Prods Andrew Orenstein, showrunner Score THE MCCARTHYS Will Gluck, Brian Gallivan, Mike Sikowitz, exec. prods. CBS / Sony Pictures TV Mike Sikowitz, showrunner Score Andy Ackerman, dir. MARRY ME David Caspe, Seth Gordon, Jamie Tarses, exec. prod. NBC / Sony Pictures TV David Caspe, showrunners Score Seth Gordon, dir. FRIENDS WITH BETTER LIVES Aaron Kaplan, exec. prod. CBS / 20 th Century Fox Television Dana Klein, David Hemingson, showrunners Score & Theme The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 GABRIEL MANN TROPHY WIFE Lee Eisenberg, Emily Halpern, Sarah Haskins, exec. prods. ABC Lee Eisenberg, Gene Stupnitsky, showrunners Score STAR-CROSSED Josh Appelbaum, Andre Nemec, Scott Rosenberg, Richard CW / CBS Television Studios Shepard, Sean Furst, Bryan Furst, Meredith Averill, Daniel Score Gutman, exec.