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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Dino Buzzati Published on Iitaly.Org (
Honoring a 20th Century Renaissance Man: Dino Buzzati Published on iItaly.org (http://www.iitaly.org) Honoring a 20th Century Renaissance Man: Dino Buzzati Natasha Lardera (October 30, 2012) Kairos Italy Theater, Casa Italiana's theater company in residence, and a leading group in the making of bilingual theater in New York City, has undergone the mission to bring Dino Buzzati's work to the United States. It organized a successful evening of literature, theater and cinema @ Casa and introduced theater performances to be held at the Cherry Lane Theater next week (weather permitting). “Each one of us has a favorite Buzzati: the author of The Tartar Steppe, the artist and illustrator or the journalist of Il Corriere della Sera.” With these words Stefano Albertini, Director of NYU's Casa Italiana Zerilli Marimò introduced an exciting evening of literature, theater and cinema to mark the 40th anniversary of the death of Dino Buzzati, a real Renaissance Man from the 20th century. The evening was designed by Kairos Italy Theater, Casa Italiana's theater company in residence, a leading group in the making of bilingual theater in New York City. Its founder and creative director, Laura Caparrotti, used Albertini's words to further explain the Renaissance man concept, explaining Page 1 of 3 Honoring a 20th Century Renaissance Man: Dino Buzzati Published on iItaly.org (http://www.iitaly.org) that Buzzati was a writer whose work was mandatory in high school so kids read his work unwillingly without really appreciating it. Those same kids discovered him later in life when no one was forcing them to read his stuff. -
Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette
Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette Master’s Thesis in The Department of Communication Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Media Studies) at Concordia University Montreal, Quebec, Canada August 2013 © Ryan Cadrette, 2013 iii Abstract Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette The primary purpose of this thesis is to postulate a working method of critical inquiry into the processes of narrative adaptation by examining the consistencies and ruptures of a story as it moves across representational form. In order to accomplish this, I will draw upon the method of structuralist textual analysis employed by Roland Barthes in his essay S/Z to produce a comparative study of three versions of the Orpheus myth from Ovid’s Metamorphoses. By reviewing the five codes of meaning described by Barthes in S/Z through the lens of contemporary adaptation theory, I hope to discern a structural basis for the persistence of adapted narrative. By applying these theories to texts in a variety of different media, I will also assess the limitations of Barthes’ methodology, evaluating its utility as a critical tool for post-literary narrative forms. iv Acknowledgments I would like to thank my advisor, Peter van Wyck, for his reassurance that earlier drafts of this thesis were not necessarily indicative of insanity, and, hopefully, for his forgiveness of my failure to incorporate all of his particularly insightful feedback. I would also like to thank Matt Soar and Darren Wershler for agreeing to actually read the peculiar monstrosity I have assembled here. -
Opera & Ballet 2017
12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
Eurydice Pdf, Epub, Ebook
EURYDICE PDF, EPUB, EBOOK Sarah Ruhl | 74 pages | 30 Dec 2009 | Samuel French Inc | 9780573662447 | English | Hollywood, CA, United States Eurydice PDF Book Views View Edit Edit source History. See more words from the same century Dictionary Entries near Eurydice Eurycea eurycephalic eurycnemic Eurydice euryene Eurygaean eurygamous. He became the patron of a religious movement based on sacred writings said to be his own. Different authors tell different stories as to what led to the fatal encounter. From Hades Wiki. Keep scrolling for more. He was tormented by his memories and no longer possessed the musical talents that he once did. During one of these sessions, he spotted the most beautiful girl he had ever seen. Game content and materials are trademarks and copyrights of their respective publisher and its licensors. Orpheus and Eurydice. One day, Aristaeus saw and pursued Eurydice, who stepped on a viper , was bitten, and died instantly. He charmed Lord Hades with his music and was given leave to bring Eurydice with him back to the surface, on the condition that he not look back at her until he left the Underworld. After their marriage, Eurydice was pursued by Aristaeus ; in her effort to evade him, she stepped on a snake, she was bitten and died. Unsourced material may be challenged and removed. Hey you must be the Hades kid! Chichester: Blackwell Publishing. She bears a special mention here for having almost fled the Underworld, once. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree Traditionally, Orpheus was the son of a Muse probably Calliope, the patron of epic poetry and Oeagrus, a king of Thrace other versions give…. -
Conference Program
Association for the Study of Literature and Environment Eleventh Biennial Conference __________________ University of Idaho Moscow A History of UI The University of Idaho opened its doors on Oct. 3, 1892, when it welcomed about 40 students and one professor, John Edwin Ostrander. On June 11, 1896, the university graduated its first class when four students marched across a stage to receive their diplomas. Two years later, the university awarded its first graduate degree. The hiring in 1908 of the nation's premier landscape architects, Olmsted Brothers of Massachusetts, whose firm's founding father designed New York's Central Park, led to the small-town New England look of the campus. President Theodore Roosevelt was the first U.S. president to visit the campus in 1911. He planted the first tree in Presidential Grove. In 1976 the new ASUI-Kibbie Dome won a national engineering structural achievement award. Its sound structure has withstood roaring cheers of Vandal fans (as well as the groans and occasional wailings of rival teams) ever since. Today, the university is home to nearly 12,000 students and nearly 3,159 faculty and staff. It continues to be a leading place of learning in Idaho and the West, because although it is ever-responsive to the changing needs of its students and society, it never forgets its roots and traditions. Thank You! Many thanks to our hosts at the University of Idaho: We also owe a debt of gratitude to: Chuck Staben, President Reception sponsors Oxford University Press, Milkweed John Wiencek, Provost Editions -
Cartaditalia N°4: Graphic Novel E Fumetto Italiano
IT FR NL GB RIVISTA DI REVUE DE CULTURE TIJDSCHRIFT VOOR JOURNAL OF n. CULTURA ITALIANA ITALIENNE HEDENDAAGSE CONTEMPORARY 4 CONTEMPORANEA CONTEMPORAINE ITALIAANSE CULTUUR ITALIAN CULTURE 2018 Cartaditalia Graphic novel e fumetto italiano Roman graphique et bande dessinée italienne Graphic novel en Italiaanse strip The Graphic Novel and the Italian comic strip Cartaditalia Rivista di cultura italiana contemporanea pubblicata dall’Istituto Italiano di Cultura di Bruxelles Revue de culture italienne contemporaine publiée par l’Istituto Italiano di Cultura de Bruxelles Tijdschrift over hedendaagse Italiaanse cultuur gepubliceerd door het Italiaans Cultureel Instituut Brussel A Journal of Contemporary Italian Culture published by the Italian Cultural Institute of Brussels Cartaditalia_N°4 v5.indd 1 2/09/18 09:22 Cartaditalia IT FR NL GB Rivista di cultura italiana Revue de culture italienne Tijdschrift over hedendaagse A Journal of Contemporary contemporanea contemporaine Italiaanse cultuur Italian Culture pubblicata dall’Istituto Italiano publiée par l’Istituto Italiano gepubliceerd door het Italiaans published by the Italian Cultural di Cultura di Bruxelles di Cultura de Bruxelles Cultureel Instituut Brussel Institute of Brussels Anno X, n° 4 – nuova serie Année X, n° 4 – nouvelle série Jaargang X, nr. 4 – Year X, No. 4 – new series Ottobre 2018 Octobre 2018 nieuwe serie – Oktober 2018 October 2018 Direttore: Paolo Grossi Directeur : Paolo Grossi Directeur: Paolo Grossi Chief Editor: Paolo Grossi Comitato scientiico: Guido Comité scientiique : Guido Wetenschappelijk comité: Guido Scientiic committee: Guido Davico Bonino, Silvia Fabrizio- Davico Bonino, Silvia Fabrizio- Davico Bonino, Silvia Fabrizio- Davico Bonino, Silvia Fabrizio- Costa, Maurizio Ferraris, Luisa Costa, Maurizio Ferraris, Luisa Costa, Maurizio Ferraris, Luisa Costa, Maurizio Ferraris, Luisa Finocchi, Gofredo Foi, Jean A. -
Visual Novels and Comic-Strip Poetry: Dino Buzzati's Poema a Fumetti, Martin Vaughn
Visual Novels and Comic-Strip Poetry: Dino Buzzati’s Poema a fumetti, Martin Vaughn- James’s The Projector, and Avant-Garde Experimentation with Comics in the 1960s and 1970s Julian Peters A Thesis in the Department of Art History Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Art History) Concordia University Montreal, Quebec, Canada ©Julian Peters, 2014 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Julian Peters Entitled: Visual Novels and Comic-Strip Poetry: Dino Buzzati’s Poema a fumetti, Martin Vaughn-James’s The Projector, and Avant-Garde Experimentation with Comics in the 1960s and 1970s and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) 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 _____________________________________ Examiner Dr. Cynthia Hammond _____________________________________ Examiner Dr. Darren Wershler _____________________________________ Supervisor Dr. Johanne Sloan Approved by ______________________________ Dr. Anne Whitelaw Graduate Program Director _____________2014 ______________________________ Catherine Wild Dean of Faculty of Fine Arts iii ABSTRACT Visual Novels and Comic-Strip Poetry: Dino Buzzati’s Poema a fumetti, Martin Vaughn- James’s The Projector, and Avant-Garde Experimentation with Comics in the 1960s -
Black Aliveness, Or a Poetics of Being
BLACK ALIVENESS, OR A POETICS OF BEING KEVIN QUASHIE BLACK ALIVENESS, OR A POETICS OF BEING black outdoors: Innovations in the Poetics of Study A series edited by J. Kameron Car ter and Sarah Jane Cervenak BLACK ALIVENESS, OR A POETICS OF BEING KEVIN QUASHIE Duke University Press Durham and London 2021 © 2021 Duke University Press. All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Designed by Courtney Leigh Richardson Typeset in Portrait and Avenir by Westchester Publishing Ser vices Library of Congress Cataloging- in- Publication Data Names: Quashie, Kevin Everod, author. Title: Black aliveness, or a poetics of being / Kevin Quashie. Other titles: Black outdoors. Description: Durham : Duke University Press, 2021. | Series: Black outdoors: innovations in the poetics of study | Includes bibliographical references and index. Identifiers: LCCN 2020021669 (print) LCCN 2020021670 (ebook) IsbN 9781478011873 (hardcover) IsbN 9781478014010 (paperback) IsbN 9781478021322 (ebook) Subjects: LCSH: Aesthetics, Black. | Blacks—Race identity. | Aesthetics in literature. | Identity (Psychology) in literature. Classification: LCc bH301.b53 Q37 2021 (print) | LCc bH31. b53 (ebook) | ddc 809.1/9896—dc23 lc record available at https://lccn.loc.gov/2020021669 lc ebook record available at https://lccn.loc.gov/2020021670 Cover art: Prayer for Grace, 2020. © Shinique Smith. Courtesy the artist and SAS Studio. CONTENTS Introduction Aliveness 1 1 Aliveness and Relation 15 2 Aliveness and Oneness 31 3 Aliveness and Aesthetics 57 4 Aliveness in Two Essays 83 5 Aliveness and Ethics 107 Conclusion Again, Aliveness 141 Acknowl edgments 155 Notes 157 Bibliography 219 Permissions 227 Index 229 INTRODUCTION ALIVENESS What would it mean to consider black aliveness, especially given how readily— and literally— blackness is indexed to death? To behold such aliveness, we have to imagine a black world . -
E Q U E N T I a L B O U N D a R O E T R Y B E Y O N D S E Q U E N D a R I E S C O M I C S P O E E Q U E N T I a L B O U N D
EQUENTIAL BOUNDAR OETRY BEYOND SEQUE NDARIES COMICS POE EQUENTIAL BOUNDAR OETRY BEYOND SEQUE NDARIES COMICS POE Y OND SEQUENTIALBOU POETRY BEYOND SEQ ARIES COMICS POETR EQUENTIAL BOUNDAR OETRY BEYOND SEQUE NDARIES COMICS POE EQUENTIAL BOUNDAR OETRY BEYOND SEQUE NDARIES COMICS POE PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Bennett First name: Tamryn Other name/s: Maree Abbreviation for degree as given in the University calendar: PhD School: English, Media and Performing Arts Faculty: Arts and Social Sciences Title: Comics Poetry: Beyond Sequential Boundaries Abstract 350 words maximum: (PLEASE TYPE) Since Will Eisner defined comics as ‘sequential art’, critics have continued to employ narrative definitions and linear approaches to the form. As a result, many non-sequential and experimental forms of comics, especially in the field of ‘comics poetry’, have been ignored. Consequently, a new model for comics analysis is needed to encompass and address narrative, non-narrative, multi-linear, abstract and experimental developments within the form. In response to narrative assumptions and the lack of non-linear modes of analysis, my practice-led research proposes ‘segmentivity’ as an alternative model for comics criticism. This concept of ‘segmentivity’ stems from Rachel Blau DuPlessis’ attempt to distinguish the components of poetry from ‘narrativity’ and ‘performativity’. By assessing how poetic segments are employed in a myriad of narrative and non-narrative comics case studies, this model of segmentivity enables comics analysis to advance beyond sequential lexicons and limitations, ensuring the relevance of comics theory to contemporary practice. The critical survey of comics within this study includes examples of ‘comics poetry’ by Dino Buzzati, Kenneth Koch, Alan Moore, Warren Craghead as well as primary interviews with comics poetry practitioners Matt Madden, Bianca Stone, Michael Farrell and Alexander Rothman. -
Baraka, Imamu Amiri, 1934
Baraka, Imamu Amiri, 1934-: [from Transbluesency: The Selected Poems of Amiri Baraka, 1961-1995 (1995)] , Marsilio Publishers Baraka, Imamu Amiri, 1934- [from Transbluesency: The Selected Poems of Amiri Baraka, 1961-1995 (1995)] Related resources: Table of Contents Author Page Order this book from Amazon Volume [Page ] Foreword FOREWORD by Paul Vangelisti [Page XI ] Preface This selection traces the almost forty-year career of a writer who, along with Ezra Pound, may be one of the most significant and least understood American poets of our century. Transbluesency 1 assembles the lifework, from the 1950s to the present, of a truly innovative figure: shaping a body of poetry that is as well a body of knowledge, a passionate, often self-critical reflection on the culture and politics of his time. As he moves from so-called "Beat" to Nationalist to Third World Socialist, Baraka remains difficult to approach, particularly for a literary establishment positioned somewhere between Anglo-American academicism and the Entertainment industry. As the anthologist M.L. Rosenthal wrote, "No American poet since Pound has come closer to making poetry and politics reciprocal forms of action." 2 This came a decade after Rosenthal, in The New Poets: American and British Poetry Since World War II , had praised the early, ostensibly "Beat" poet as possessing "a natural gift for quick, vivid imagery and spontaneous humor." 3 For a critic like Rosenthal, grounded in the Cold War university aestheticism of the fifties, an apolitical bohemianism like the Beats,' keeping rebellion and art distinct from politics, would not necessarily be a threat. And, in the long run, such bohemianism would prove not unfriendly, perhaps even stimulating to the histories of established institutions.