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Surreal Visual Humor and Poster
Fine Arts Status : Review ISSN: 1308 7290 (NWSAFA) Received: January 2016 ID: 2016.11.2.D0176 Accepted: April 2016 Doğan Arslan Istanbul Medeniyet University, [email protected], İstanbul-Turkey http://dx.doi.org/10.12739/NWSA.2016.11.2.D0176 HUMOR AND CRITICISM IN EUROPEAN ART ABSTRACT This article focused on the works of Bosh, Brughel, Archimboldo, Gillray, Grandville, Schön and Kubin, lived during and after the Renaissance, whose works contain humor and criticism. Although these artists lived in from different cultures and societies, their common tendencies were humor and criticism in their works. Due to the conditions of the period where these artists lived in, their artistic technic and style were different from each other, which effected humor and criticism in the works too. Analyzes and comments in this article are expected to provide information regarding the humor and criticism of today’s Europe. This research will indicate solid information regarding humor and tradition of criticism in Europe through comparisons and comments on the works of the artists. It is believed that, this research is considered to be useful for academicians, students, artists and readers who interested in humour and criticism in Europe. Keywords: Humour, Criticism, Bosch, Gillray, Grandville AVRUPA SANATINDA MİZAH VE ELEŞTİRİ ÖZ Bu makale, Avrupa Rönesans sanatı dönemi ve sonrasında yaşamış Bosch, Brueghel, Archimboldo, Gillray, Grandville, Schön ve Kubin gibi önemli sanatçıların çalışmalarında görülen mizah ve eleştiri üzerine kurgulanmıştır. Bahsedilen sanatçılar farklı toplum ve kültürde yaşamış olmasına rağmen, çalışmalarında ortak eğilim mizah ve eleştiriydi. Sanatçıların bulundukları dönemin şartları gereği çalışmalarındaki farklı teknik ve stiller, doğal olarak mizah ve eleştiriyi de etkilemiştir. -
Research.Pdf (1.328Mb)
VISUAL HUMOR: FEMALE PHOTOGRAPHERS AND MODERN AMERICAN WOMANHOOD, 1860- 1915 A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Meghan McClellan Dr. Kristin Schwain, Dissertation Advisor DECEMBER 2017 © Copyright by Meghan McClellan 2017 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled Visual Humor: Female Photographers and the Making of Modern American Womanhood, 1860-1915 presented by Meghan McClellan, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. Dr. Kristin Schwain Dr. James Van Dyke Dr. Michael Yonan Dr. Alex Barker To Marsha Thompson and Maddox Thornton ACKNOWLEDGMENTS The difficulty of writing a dissertation was never far from anyone’s lips in graduate school. We all talked about the blood, sweat, and tears that went into each of our projects. What we also knew was the unrelenting support our loved ones showed us day in and day out. These acknowledgments are for those who made this work possible. This dissertation is a testament to perseverance and dedication. Yet, neither of those were possible without a few truly remarkable individuals. First, thank you to all my committee members: Dr. Alex Barker, Dr. Michael Yonan, and Dr. James Van Dyke. Your input and overall conversations about my project excited and pushed me to the end. Thank you Mary Bixby for giving me the “tough love” I needed to make sure I met my deadlines. -
The Ideological Discourse of the Islamist Humor Magazines in Turkey: the Case of Misvak
THE IDEOLOGICAL DISCOURSE OF THE ISLAMIST HUMOR MAGAZINES IN TURKEY: THE CASE OF MISVAK A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY NAZLI HAZAL TETİK IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN THE DEPARTMENT OF MEDIA AND CULTURAL STUDIES JULY 2020 Approval of the Graduate School of Social Sciences Prof. Dr. Yaşar Kondakçı Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Science. Assoc. Prof. Dr. Barış Çakmur Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Science. Prof. Dr. Necmi Erdoğan Supervisor Examining Committee Members Assist. Prof. Dr. Özgür Avcı (METU, PADM) Prof. Dr. Necmi Erdoğan (METU, PADM) Prof. Dr. Lütfi Doğan Tılıç (Başkent Uni., ILF) PLAGIARISM I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: Nazlı Hazal Tetik Signature: iii ABSTRACT THE IDEOLOGICAL DISCOURSE OF THE ISLAMIST HUMOR MAGAZINES IN TURKEY: THE CASE OF MISVAK Tetik, Nazlı Hazal M.S., Department of Media and Cultural Studies Supervisor: Prof. Dr. Necmi Erdoğan July 2020, 259 pages This thesis focuses on the ideological discourse of Misvak, one of the most popular Islamist humor magazines in Turkey in the 2000s. -
1 for IMMEDIATE RELEASE Contact: Sloane Crosley, Associate Director of Publicity Phone
FOR IMMEDIATE RELEASE Contact: Sloane Crosley, Associate Director of Publicity Phone: 212.572.2016 E-mail: [email protected] VINTAGE BOOKS TO PUBLISH NIGHTLIGHT: A TWILIGHT PARODY AS A VINTAGE ORIGINAL IN TIME FOR THE MAJOR MOTION PICTURE RELEASE OF TWILIGHT SEQUEL” NEW MOON” New York, NY 10/05/09: Vintage Books announces the publication of the first Harvard Lampoon novel parody in exactly 40 years. In 1969, The Harvard Lampoon took affectionate aim at a massive pop culture phenomenon with Bored of the Rings. The paperback original Nightlight, a pitch-perfect spin on the Stephanie Meyers series, will be available on NOVEMBER 3RD. The Twilight movie sequel, “New Moon,” arrives in theaters on November 20th. “Funny” might get you a blog post these days, but it’s the Lampoon-level of satire that makes Nightlight worth every pseudo-bloodsucking, angst-ridden page. Nightlight stakes at the heart of what makes Twilight tick…or, really, cuts to the core of it. As demonstrated by the cover of the book. Or takes a bite out of it, as also demonstrated by the cover of the book. Brooding and hilarious, let Nightlight be your guide through the Twilight fandom that has eclipsed the mind of every teenager you have ever met. About the Plot Pale and klutzy, Belle Goose arrives in Switchblade, Oregon looking for adventure, or at least an undead classmate. She soon discovers Edwart Mullen, a super-hot computer nerd with zero interest in girls. After witnessing a number of strange events–Edwart leaves his Tater Tots™ untouched at lunch! Edwart saves her from a flying snowball!–Belle has a dramatic revelation: Edwart is a vampire. -
Analyzing Dave Barry's Writing His Influences and the Traits He Shares with the Past Century's Newspaper Humorists
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2003 "I am not making this up!": Analyzing Dave Barry's writing his influences and the traits he shares with the past century's newspaper humorists Nathaniel M. Cerf The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Cerf, Nathaniel M., ""I am not making this up!": Analyzing Dave Barry's writing his influences and the traits he shares with the past century's newspaper humorists" (2003). Graduate Student Theses, Dissertations, & Professional Papers. 5089. https://scholarworks.umt.edu/etd/5089 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of Monnttainia Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. !*Please check "Yes" or "No" and provide signature Yes, I grant permission ___ No, I do not grant permission ___ Author's Signature: Date:_ i z / n / w s _____________ / Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. 8/98 “I AM NOT MAKING THIS UP!”: ANALYZING DAVE BARRY’S WRITING, HIS INFLUENCES AND THE TRAITS HE SHARES WITH THE PAST CENTURY’S NEWSPAPER HUMORISTS by Nathaniel M. -
Humour and Laughter in History
Elisabeth Cheauré, Regine Nohejl (eds.) Humour and Laughter in History Historische Lebenswelten in populären Wissenskulturen History in Popular Cultures | Volume 15 Editorial The series Historische Lebenswelten in populären Wissenskulturen | History in Popular Cultures provides analyses of popular representations of history from specific and interdisciplinary perspectives (history, literature and media studies, social anthropology, and sociology). The studies focus on the contents, media, genres, as well as functions of contemporary and past historical cultur- es. The series is edited by Barbara Korte and Sylvia Paletschek (executives), Hans- Joachim Gehrke, Wolfgang Hochbruck, Sven Kommer and Judith Schlehe. Elisabeth Cheauré, Regine Nohejl (eds.) Humour and Laughter in History Transcultural Perspectives Our thanks go to the German Research Foundation (Deutsche Forschungsge- meinschaft) for supporting and funding the project. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-2858-0. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commer- cial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commer- cial use, further permission is required and can be obtained by contacting rights@ transcript-verlag.de Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
A M E R I C a N C H R O N I C L E S the by JOHN WELLS 1960-1964
AMERICAN CHRONICLES THE 1960-1964 byby JOHN JOHN WELLS Table of Contents Introductory Note about the Chronological Structure of American Comic Book Chroncles ........ 4 Note on Comic Book Sales and Circulation Data......................................................... 5 Introduction & Acknowlegments................................. 6 Chapter One: 1960 Pride and Prejudice ................................................................... 8 Chapter Two: 1961 The Shape of Things to Come ..................................................40 Chapter Three: 1962 Gains and Losses .....................................................................74 Chapter Four: 1963 Triumph and Tragedy ...........................................................114 Chapter Five: 1964 Don’t Get Comfortable ..........................................................160 Works Cited ......................................................................214 Index ..................................................................................220 Notes Introductory Note about the Chronological Structure of American Comic Book Chronicles The monthly date that appears on a comic book head as most Direct Market-exclusive publishers cover doesn’t usually indicate the exact month chose not to put cover dates on their comic books the comic book arrived at the newsstand or at the while some put cover dates that matched the comic book store. Since their inception, American issue’s release date. periodical publishers—including but not limited to comic book publishers—postdated -
The First Issue of the New Yorker Appeared on February 21,1925
He had liked working on a publication that was written The first issue of The New for a small, well-defined group of readers—in that case, Yorker appeared on February soldiers—by a similarly small and well-defined group, 21,1925. Afterthe fashion of also soldiers. After the war he wanted to continue in Vanity Fair, which also the same vein; he imagined a magazine, written for a disdained what it called small community, that would present information “hon the “old lady from Du estly” without inflated rhetoric and without paying buque,” or provincial mo homage to conventional pieties. rality, The New Yorker Having tried unsuccessfully to do this with Home announced itself as the Sector, he had wandered from the American Legion voice of the young, the fit, Weekly to the humor magazine Judge. But he remained the urbane, the cognos determined to start something different. Impressed by centi: “It hopes to reflect the repartee of his Algonquin round table compatriots the metropolitan life, to and perspicacious enough to consider exploiting their keep up with events and af wit in his own venture, he found a backer in Raoul fairs of the day, to be gay, hu Fleischmann, one of the occasional Algonquinites who morous, satirical but to be more frequented their card party, the Thanatopsis Poker and than just a jester. It will publish Frank Flanner. Inside Straight Club. Fleischmann’s father had in facts that it will have to go behind the John Monhoff vented the “breadline,” both word and concept, by giv scenes to get, but it will not deal in scandal for the sake ing away each day’s unsold of scandal nor sensation for the sake of sensation. -
UC Irvine UC Irvine Electronic Theses and Dissertations
UC Irvine UC Irvine Electronic Theses and Dissertations Title The Adolescent in American Print and Comics Permalink https://escholarship.org/uc/item/4h64k2t2 Author Mugnolo, Christine Elizabeth Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE The Adolescent in American Print and Comics DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Christine Elizabeth Mugnolo Dissertation Committee: Professor Cécile Whiting, Chair Professor Kristen Hatch Professor Lyle Massey 2021 © 2021 Christine Elizabeth Mugnolo TABLE OF CONTENTS Page LIST OF FIGURES iv ACKNOWLEDGEMENTS x VITA xii ABSTRACT OF THE DISSERTATION xiii CHAPTER 1: INTRODUCTION 1 CHAPTER 2: THE IMMIGRANT JUVENILE AS URBAN AVATAR: 30 SUNDAY COMICS AND THE YELLOW KID The Sunday Supplement vs. the Comic Weekly 32 Bad Boy Comic Strips 50 The Yellow Kid and the Residents of Hogan’s Alley 56 The Return Gaze and a New Form of Political Humor 65 The Yellow Kid as Mask and Mirror 79 CHAPTER 3: THE MIDDLE-CLASS JUVENILE AS CULTURAL IDIOT: BUSTER BROWN 95 Reform in Comics and Buster Brown 96 Buster Brown Breaks the Comic Strip Formula 99 Buster and Middle-Class Child Rearing 109 “Resolved!” 115 Spank as Shock 121 CHAPTER 4: THE ADOLESCENT BODY IN THE AMERICAN IMAGINATION, 130 PAINTING, AND PRINT Formulating the Adolescent as a Visual Type 132 The Adolescent Body and the Masculine Ideal 138 Adolescence -
Barry Trotter Done Gone: the Perils of Publishing Parody,” Which Was Held at the 2002 ALA Annual Conference, in Atlanta, Georgia, on June 17
ISSN 0028-9485 November 2002 Vol. LI No. 6 Following are edited speeches from the program “Barry Trotter Done Gone: The Perils of Publishing Parody,” which was held at the 2002 ALA Annual Conference, in Atlanta, Georgia, on June 17. introductory remarks by Margo Crist Good afternoon, and welcome to our program “Barry Trotter Done Gone: The Perils of Publishing Parody.” I am Margo Crist, chair of the ALA’s Intellectual Freedom Committee. We are pleased to present this program in conjunction with the Association of American Publishers and the American Booksellers Foundation For Free Expression. I’d “Barry Trotter like to take a moment to introduce our co-sponsors. Judith Platt is Director of AAP’s Freedom to Read Program and Chris Finan is President of the American Booksellers done gone”: Foundation for Free Experssion. Our distinguished panel this afternoon is made up of Michael Gerber, Bruce Rich, and Wendy Strothman, who will discuss the art of parody, the legal issues and publishing deci- perils of sions involved in publishing parody, and how the publication—and challenge to—The Wind Done Gone have affected the publishing environment. publishing Michael Gerber, author of Barry Trotter and the Unauthorized Parody, will begin by providing a history and framework for our discussion. Michael is a life-long humorist and has been widely published with commentaries and humor appearing in The New Yorker, parody The Atlantic Monthly, Esquire, The Wall Street Journal, and numerous other publications. He also has written for PBS, NPR and Saturday Night Live. While at Yale University, where he graduated in 1991 in history, Michael resurrected The Yale Record, America’s oldest college humor magazine. -
The Works of Harvey Kurtzman
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Beyond MAD: The Works of Harvey Kurtzman A Thesis Presented by Timothy E. Cole to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History and Criticism Stony Brook University May 2017 Stony Brook University The Graduate School Timothy E. Cole We, the thesis committee for the above candidate for the Master of Arts degree, hereby recommend acceptance of this thesis. Michele H. Bogart -Thesis Advisor Professor, Department of Art History and Criticism Andrew V. Uroskie – Second Reader Director, MA/PhD Program in Art History and Criticism This thesis is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Thesis Beyond MAD: The Works of Harvey Kurtzman by Timothy E. Cole Master of Arts in Art History and Criticism Stony Brook University 2017 Thesis: Harvey Kurtzman was an American cartoonist and editor. He is most famous for writing and editing the parodic comic book MAD from 1952 until 1956 and writing the “Little Annie Fanny” strips for Playboy magazine from 1962 to 1988. Kurtzman is known for his satirical display of popular culture, social critique, and his meticulous work methodologies through satirical engagement. -
Political Humor in the Face of Neoliberal Authoritarianism in Turkey 119
Chapter 4 Political Humor in the Face of N eoliberal Authoritarianism in Turkey1 Sec;il Dagta~ Istanbul and many other cities across Turkey witnessed a widespread insur- gency in the early summer of 2013. Gezi Park, a green area next to Istanbul's central Taksim Square, became the principal site and springboard of this resistance. Following the violent eviction of a sit-in at the park that was being conducted in protest of the park's demolition as part of the government's urban development plan, a heterogeneous crowd with divergent agendas filled the streets to counter the government's neoliberal and increasingly authoritarian policies. Among the protesters were groups with a long history and experience of street resistance, including feminists, anarchists, socialists, workers' unions, environmentalists, and LGBTQ activists, as well as those who found themselves protesting alongside these groups for perhaps the first time: secularists, high school and university students, anti-capitalist Muslims, Turkish "aunties", soccer fans, nationalists, and shanty town dwellers (Arat 2013; Gtircan and Peker 2015; Yortik 2014).2 The absence of a coherent political agenda to animate the uprisings was captured in a young protester's graffiti from the early days of the resistance, which became one of the most popular slogans of the Gezi protests. "Kah- rolsun bagzz ~eyler!" ("Down with some things!") (emphasis added), the graffiti read, misspelling the Turkish word "some" (bazz), and humorously expressing rejection and criticism mixed with confusion and uncertainty, but without articulating a specific target. Some thing was wrong with the way things were, but one needed to go beyond the conventions of language and reason to be able to address it.