A Damsel in Distress by P.G. Wodehouse
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Woman As a Category / New Woman Hybridity
COPAS—Current Objectives of Postgraduate American Studies 17.1 (2016) The Heroine and the Meme: Participating in Feminist Discourses Online Svenja Hohenstein ABSTRACT: This article examines the relationship between feminist participatory culture and online activism. I argue that Internet users participate in feminist discourses online by creating memes that present popular fictional female heroes such as Katniss Everdeen (The Hunger Games), Buffy Summers (Buffy the Vampire Slayer), or the Disney Princess Merida (Brave). Emphasizing specific characteristics and plot points of the respective stories, memes project, spread, and celebrate feminist ideas such as female empowerment, agency, and equality. KEYWORDS: Memes, Female Heroes, Online Feminism, Participatory Culture, Katniss Everdeen, Buffy Summers Introduction: Feminisms and Digital Culture Online activists and bloggers use media like memes to transform popular culture into a tool for social change. The result? Young people online are transformed from passive pop culture consumers to engagers and makers. (Martin and Valenti 13) In this article, I take up Courtney Martin and Vanessa Valenti’s claim that producing and sharing Internet memes can be a tool for social change because it enables users to critically participate in social and cultural discourses online. I concentrate on one specific popular culture phenomenon and observe how it is transported online and transformed into memes that contribute to feminist discourses. I focus on fictional female heroes who occupy leading roles in movies and TV-shows and analyze their representation in different types of memes. Katniss Everdeen from the highly successful Hunger Games trilogy can probably be regarded as the best-known representative of this type of character, but she is only one amongst many. -
Archetypes in Literature
Archetypes in Literature Situational, Character and Symbolic What is an archetype? • An archetype is a term used to describe universal symbols that evoke deep and sometimes unconscious responses in a reader • In literature, characters, images, and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes. Situational Archetype • Situations that occur over and over in different versions of the story. • For example, in versions of Cinderella, a young girl seeks freedom from her current situation. She undergoes some kind of transformation and is better off at the end of the story. Situational- The Quest • Describes the search for someone or something, which when found and brought back will restore balance to the society. Situational- The Task • The task is the superhuman feat must be accomplished in order to fulfill the ultimate goal. Situational- The Journey • The hero is sent in search for some truth of information necessary to restore life, justice, and/or harmony to the kingdom. • The journey includes a series of trials the hero will face along the way. Situational- The Initiation • The initiation refers to the moment, usually psychological, in which the hero comes into maturity. • The hero gains a new awareness into the nature of problems and understands his/ her responsibility for trying to solve the issue. Situational- The Fall • This archetype describes a descent in action from a higher to a lower position in life. • This fall is often accompanied by expulsion from a kind of paradise as a penalty for breaking the rules. Situational- Death and Rebirth • This is the most common of situational archetypes. -
Damsel in Distress Or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2020-12-09 Damsel in Distress or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency Rylee Carling Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Education Commons BYU ScholarsArchive Citation Carling, Rylee, "Damsel in Distress or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency" (2020). Theses and Dissertations. 8758. https://scholarsarchive.byu.edu/etd/8758 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Damsel in Distress or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency Rylee Carling A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Paul Ricks, Chair Terrell Young Dawan Coombs Stefinee Pinnegar Department of Teacher Education Brigham Young University Copyright © 2020 Rylee Carling All Rights Reserved ABSTRACT Damsel in Distress or Princess in Power? Traditional Masculinity and Femininity in Young Adult Novelizations of Cinderella and the Effects on Agency Rylee Carling Department of Teacher Education, BYU Master of Arts Retellings of classic fairy tales have become increasingly popular in the past decade, but little research has been done on the novelizations written for a young adult (YA) audience. -
Horror Art Exhibit Reflects Past Social Views and Idealisms Ash Comire
Horror art exhibit reflects past social views and idealisms Ash Comire Grotesque creatures. Over-sexualixed women. Fear. A collection of authentic, iconic horror and science fiction all depicting these concepts were the main attraction of Kirk Hammett’s appropriately titled “It’s Alive” at the Columbia Museum of Art. Yes, the Kirk Hammett of influential rock band Metallica had provided the artwork for this exhibit. His collection of horror movie memorabilia takes those who pay the $10 admission back in time to the era of the Great Depression, when horror was not meant to disturb and vomit- induce like today’s measly cash grabs. A plethora of vivid hand-drawn masterpieces meant to intrigue the audiences of the 1930s and 1940s brought a brightness and action to the grim, beastly antagonists of each iconic film, characterizing them in such a way that the movie itself does not even need to be seen. Haunting reds and greys for the infamous Frankenstein invoked enough fear to remind me of when I was six-years-old, hiding my face in my dad’s shoulder at the sight of monsters on film. It was a trip down memory lane for the horror movie fanatic in me contrasted with gorgeous and vintage art that pleased my hipster aesthetic. I made sure to stop at every poster, smiling as names like Karloff and Fonda appeared on posters of movies I grew up watching with my dad and my brother. The older posters of the collection, those whose cast almost always included Karloff, had very distinct, artistic lines, flowing effortlessly to create a colorful rendering of the film’s main social commentary, while the newer ones experimented with photo editing, showcasing the shifting form of art within the theatrical world. -
The Damsel in Distress
THE DAMSEL IN DISTRESS: RESCUING WOMEN FROM AMERICAN MYTHOLOGY By MICHAEL A. SOLIS A capstone submitted to the Graduate School-Camden Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Liberal Studies Writing under the direction of Dr. Lantzas And approved by _____________________________ Dr. Lantzas Camden, New Jersey December 2016 CAPSTONE ABSTRACT The Damsel in Distress: Rescuing Women from American Mythology By MICHAEL A. SOLIS Capstone Director: Dr. Lantzas Mythology is arguably the most powerful source of influencing and shaping society’s gender roles and beliefs; additionally, mythology provides an accurate reflection of society’s gender roles, general attitudes, fears, and preoccupations. Young boys and girls learn how to negotiate a complex world of possibilities, as well as manage gender expectations through observing gods, superheroes, and other notable characters found in mythological stories. American mythology, to include comic books, the superheroes upon which the literature is based, and the associated cartoons, motion pictures, merchandize, and fashion, contributes to an historical foundation of misogynistic entertainment and serves as didactic material for children and adults. The misogynistic nuances of the comic book storyline are not overt attempts at relegating women; instead, the influence is much more subtle and older than American mythology; rather, this debilitating feature is embedded in our psyche. Although the first comic book was printed in ii 1938, American mythology is largely influenced by Greek mythology, a major influence on western civilization. Overt and subtle misogynistic nuances have always existed in the patriarchal narrative of mythology, American, Greek, and beyond. -
JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. -
Holy Fools, Secular Saints, and Illiterate Saviors in American Literature and Popular Culture
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 5 (2003) Issue 3 Article 4 Holy Fools, Secular Saints, and Illiterate Saviors in American Literature and Popular Culture Dana Heller Old Dominion University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Heller, Dana. "Holy Fools, Secular Saints, and Illiterate Saviors in American Literature and Popular Culture." CLCWeb: Comparative Literature and Culture 5.3 (2003): <https://doi.org/10.7771/1481-4374.1193> This text has been double-blind peer reviewed by 2+1 experts in the field. -
ABSTRACT the Women of Supernatural: More Than
ABSTRACT The Women of Supernatural: More than Stereotypes Miranda B. Leddy, M.A. Mentor: Mia Moody-Ramirez, Ph.D. This critical discourse analysis of the American horror television show, Supernatural, uses a gender perspective to assess the stereotypes and female characters in the popular series. As part of this study 34 episodes of Supernatural and 19 female characters were analyzed. Findings indicate that while the target audience for Supernatural is women, the show tends to portray them in traditional, feminine, and horror genre stereotypes. The purpose of this thesis is twofold: 1) to provide a description of the types of female characters prevalent in the early seasons of Supernatural including mother-figures, victims, and monsters, and 2) to describe the changes that take place in the later seasons when the female characters no longer fit into feminine or horror stereotypes. Findings indicate that female characters of Supernatural have evolved throughout the seasons of the show and are more than just background characters in need of rescue. These findings are important because they illustrate that representations of women in television are not always based on stereotypes, and that the horror genre is evolving and beginning to depict strong female characters that are brave, intellectual leaders instead of victims being rescued by men. The female audience will be exposed to a more accurate portrayal of women to which they can relate and be inspired. Copyright © 2014 by Miranda B. Leddy All rights reserved TABLE OF CONTENTS Tables -
AP Literature and Composition Mrs
AP Literature and Composition Mrs. Oualline 2012-13 Introduction Welcome to AP Literature and Composition. This is a college-level course with college-level expectations. At the end of the next school year, you will take the AP Literature exam to earn college credits. The AP Program is rigorous and demands your dedication and determination. You will be challenged to move beyond the basics of high school English and embrace a higher level of reading, writing, and critical thinking. You will be required to refine your study practices, manage your time effectively, and work responsibly. What is AP Literature and Composition? The Advanced Placement (AP) Program provides an opportunity for high school students to pursue and receive credit for college-level course work completed at the secondary school level. The AP Program, sponsored by the College Board, is based on the premise that college-level material can be taught successfully to able and well-prepared high school students. Like other College Board programs, the AP Program is worldwide in scope; its policies are determined by representatives of College Board member institutions and agencies throughout the country…and are implemented by the College Board. The examinations are open to any candidate who wishes to participate. The AP exams are required of any student who participates in an AP class as of 2006-2007. “The AP English Literature and Composition course is designed to engage students in the careful reading and critical analysis of imaginative literature. Through the close reading of selected texts, students can deepen their understanding of the ways writers use language to provide both meaning and pleasure for their readers. -
Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films. -
Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff. -
Frozen in Time: How Disney Gender-Stereotypes Its Most Powerful Princess
social sciences $€ £ ¥ Essay Frozen in Time: How Disney Gender-Stereotypes Its Most Powerful Princess Madeline Streiff 1 and Lauren Dundes 2,* 1 Hastings College of the Law, University of California, 200 McAllister St, San Francisco, CA 94102, USA; [email protected] 2 Department of Sociology, McDaniel College, 2 College Hill, Westminster, MD 21157, USA * Correspondence: [email protected]; Tel.: +1-410-857-2534 Academic Editors: Michele Adams and Martin J. Bull Received: 10 September 2016; Accepted: 24 March 2017; Published: 26 March 2017 Abstract: Disney’s animated feature Frozen (2013) received acclaim for presenting a powerful heroine, Elsa, who is independent of men. Elsa’s avoidance of male suitors, however, could be a result of her protective father’s admonition not to “let them in” in order for her to be a “good girl.” In addition, Elsa’s power threatens emasculation of any potential suitor suggesting that power and romance are mutually exclusive. While some might consider a princess’s focus on power to be refreshing, it is significant that the audience does not see a woman attaining a balance between exercising authority and a relationship. Instead, power is a substitute for romance. Furthermore, despite Elsa’s seemingly triumphant liberation celebrated in Let It Go, selfless love rather than independence is the key to others’ approval of her as queen. Regardless of the need for novel female characters, Elsa is just a variation on the archetypal power-hungry female villain whose lust for power replaces lust for any person, and who threatens the patriarchal status quo. The only twist is that she finds redemption through gender-stereotypical compassion.