DOCSLIB.ORG

UC Irvine UC Irvine Electronic Theses and Dissertations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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 in the Comics 155 George Bellows: Merging Painting and Cartooning Traditions 162 in the Youthful Body ii Bellows and the College Adolescent 175 CHAPTER 5: THE UNDERGRADUATE: AN AMERICAN PROBLEM 191 College Students as a Modern Crisis: The College Adolescent as a Social Cause 192 Visualizing the Modern College Adolescent in Popular Culture 199 College Humor Magazines – Adolescents Representing Themselves Inventing the College Humor Magazine 208 The College Humor Magazine: A New Medium 215 The College Humor Magazine in the Debate on Manliness 228 The College Humor Magazine as a Counter Cultural Voice 245 CHAPTER 6: NORMAN ROCKWELL: CARTOONIST AND CULTURAL CRITIC 272 American Masculinity in Afloat and Ashore 276 Illustrating Boys and Adolescents for the Saturday Evening Post 291 Exercising, Inverting, and Inventing the American Boy 306 How Rockwell Unraveled Illustration’s Convincing Fictions 318 Boyhood, the Imagination, and Plasmatic Potential 334 Willie Gillis and the Adolescent Spirit in World War II 351 Willie’s Girlfriend, Lady Liberty, and the Homecoming GI 367 CHAPTER 7: EPILOGUE 387 BIBLIOGRAPHY 406 APPENDIX A: IMAGE PERMISSIONS 420 iii LIST OF FIGURES Fig. 1.1 Newspaper advertisement for “The New Boy.” Los Angeles Herald, 29 December 2, 1894. From Chronicling America: Historic American Newspapers, Library of Congress, Image provided by University of California, Riverside, via Wikimedia Commons Fig. 2.1 Frederick Burr Opper. “Puck’s pyrotechnics – 90 Fourth-of-July fireworks free to all.” Puck, July 5, 1882. From Library of Congress. Fig. 2.2 Joseph Keppler. “Puck’s Pallete.” Puck, September 9, 1885. 90 From Library of Congress. Fig. 2.3 Louis Dalrymple. “Out of the Silver Flood!” Puck, September 13, 1893. 90 From Library of Congress. Fig. 2.4 Bernhard Gillam. “Grand Triumph of Brains.” Puck, January 25, 1885. 91 From Library of Congress. Fig. 2.5 Frank Marion Hutchin. “An Old Fable with New Application.” Puck, 91 May 23, 1894. From Library of Congress. Fig. 2.6 Puck, February 5, 1896, p. 3. Courtesy Hathitrust. 91 Original from University of Iowa. Fig. 2.7 “The New York Sunday World,” 1895 . From Library of Congress. 92 Fig. 2.8 “The Sunday World Sept. 27,” 1896. From Library of Congress. 92 Fig. 2.9 “The Sunday World Sept. 13” and “The Sunday World Nov. 15,” 1896. 92 From Library of Congress. Fig. 2.10 The New York Journal, February 17, 1897, p. 2. 93 From Library of Congress. Fig. 2.11 The New York Journal, February 14, 1897, p. 7. 93 From Library of Congress. Fig. 2.12 The New York Journal, February 21, 1897. 93 From Library of Congress. Fig. 2.13 Frank Marion Hutchins, “Puck Christmas number,” Puck, 94 December 5, 1894. From Library of Congress. Fig. 2.14 Archie Gunn and R. F. Outcault “New York Journal’s Colored 94 Comic Supplement,” 1896. From Library of Congress. Fig. 3.1 “Accounting for its smallness,” Judge, May 1894. 127 Courtesy Hathitrust. Original from University of Michigan. Fig. 3.2 “A Matter of Congratulation,” Judge, May 1894. 127 Courtesy Hathitrust. Original from University of Michigan. University Cartoon Research Library. Fig. 3.3 J.S. Pughe, “Bryan’s hobby,” Puck, March 27, 1903. 128 From Library of Congress. Fig. 3.4 “Trimming the Pampered Darling,” Puck, April 7, 1909. 128 From Library of Congress. Fig. 3.5 Judge, May 1894. Courtesy Hathitrust. 128 iv Original from University of Michigan. Fig. 3.6 S. D. Ehrhart, “Concerning race suicide,” Puck, April 1, 1903. 129 From Library of Congress. Fig. 4.1 George Bellows. (American, 1882-1925). Forty-two Kids. 1907. 182 Oil on canvas. 42” x 60 ¼”. Corcoran Collection (Museum Purchase, William A. Clark Fund). 2014.79.2. Image courtesy of the National Gallery of Art, Washington. Fig. 4.2 Winslow Homer (American, 1836-1910). Undertow. 1886. 182 Oil on canvas. 29 3/16” x 47 5/8”. The Clark Institute. 1955.4 Image courtesy of the Clark Institute. Clarkart.edu Fig. 4.3 Thomas Eakins (American, 1844-1916). Arcadia. 1883. Oil on canvas. 183 38 5/8” x 45”. Metropolitan Museum of Art, Bequest of Miss Adelaide Milton de Groot (1876-1967), 1967. 67.187.125. Image courtesy of the Met’s Open Access policy. Fig. 4.4 Thomas Eakins (American, 1844–1916). Swimming. 1885. 184 Oil on canvas. 27 3/8 x 36 3/8 in. Amon Carter Museum of American Art, Fort Worth, Texas. Purchased by the Friends of Art, Fort Worth Art Association, 1925; acquired by the Amon Carter Museum of American Art, 1990, from the Modern Art Museum of Fort Worth through grants and donations from the Amon G. Carter Foundation, the Sid W. Richardson Foundation, the Anne Burnett and Charles Tandy Foundation, Capital Cities/ABC Foundation, Fort Worth Star-Telegram, The R. D. and Joan Dale Hubbard Foundation and the people of Fort Worth 1990.19.1. Image courtesy Amon Carter Museum of Art Fig. 4.5 “Eugen Sandow.” photographed by George Steckel. c. 1894. 185 From Library of Congress Fig. 4.6 Thomas Hovenden (American, born Ireland, 1840-1895). 185 Breaking Home Ties. 1890. Oil on canvas. 52 1/8” x 6’ 1/4”. Philadelphia Museum of Art. Gift of Ellen Harrison McMichael in memory of C. Emory McMichael, 1942. 1942-60-1. Image courtesy the Philadelphia Museum of Art. Fig. 4.7 S. D. Ehrhart, “Which brand?,” Puck, December 31, 1913. 186 From Library of Congress. Fig. 4.8 “Snobbish Society’s Schoolmaster,” Judge, November 8, 1890. 186 From Library of Congress. Fig. 4.9 George Bellows (American, 1882-1925). Boy in a Blue Coat. 1915. 187 Oil on canvas. Unframed: 91.5 x 61 cm (36” x 24”). Cleveland Museum of Art, Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection. 1938.45. Image courtesy of the Cleveland Museum of Art. Fig. 4.10 George Bellows (American, 1882-1925). Splinter Beach. 1916. 187 Lithograph on wove paper. 15” x 19 3/4”. National Gallery of Art. Purchased as the Gift of Max N. Berry. 2014.21.1. v Image courtesy National Gallery of Art, Washington Fig. 4.11 George Bellows (American, 1882-1925). Riverfront. 1923-1924. 188 Lithograph. 14 7/8” x 20 7/8”. Indianapolis Museum of Art. Acquired by exchange. 26.11. Image courtesy Indianapolis Museum of Art Fig. 4.12 George Bellows (American, 1882-1925). Business Men’s Class. 1916. 188 Lithograph. 11 ½” x 17 ¼”. Philadelphia Museum of Art. Purchased with the SmithKline Beckman Corporation Fund, 1958. 1958.150.7. Image courtesy Philadelphia Museum of Art. Fig. 4.13 George Bellows (1882-1925). Shower-Bath. 1917. Lithograph. 189 15 7/8” x 23 7/8”. Amon Carter Museum of American Art, Fort Worth, Texas. 1985.306. Image Courtesy Amon Carter Museum of American Art. Fig. 4.14 George Bellows (1882-1925). Business-men’s Bath. 1923. Lithograph. 189 (39 x 55 cm) 16 7/8” x 11 7/8”. Boston Public Library. Gift; Albert H. Wiggin. Image courtesy Digital Commonwealth: Massachusetts Collections Online. Fig. 4.15 George Bellows (1882-1925). Sweeney, The Idol of the Kids, 190 Had Hit a Home Run. 19th – 20th century. Drawing. 13 1/6” x 17 9/16”. Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop. 1943.568. Fig. 4.16 George Bellows (1882-1925). Initiation in the Frat. 1917. Lithograph. 190 12 5/8” x 10 1/8”. From Library of Congress. Fig. 5.1 “Sliding Down the Banister of Life,” Goodyear Welt Shoe Advertisement, 252 Yale Record 40, no. 1, October 21, 1911 Fig. 5.2 Dalrymple Louis, “The Modern Plague,” Puck, September 22, 1897. 252 From Library of Congress. Fig. 5.3 “Self-Denying,” Judge, September 1894. 253 Courtesy Hathitrust. Original from New York Public Library. Fig. 5.4 “Power of Love,” Judge, September 1894 253 Courtesy Hathitrust. Original from New York Public Library. Fig. 5.5 “The Farmer’s Boy, Aged 7 / The City Boy, Aged 7,” Judge, June 1894 253 Courtesy Hathitrust. Original from New York Public Library. Fig. 5.6 Inset image from “The rail at wealth is not entirely justified,” 254 Puck, July 7, 1897. From Library of Congress. Fig. 5.7 J. J. Gould, “The Modern Maid – as Changeable as the Seasons, 254 Puck, November 23, 1898.
Recommended publications

  • Classic Comics Puzzles

    D2 Antelope Valley Press, Thursday, January 30, 2020 PUZZLES SUDOKU 1-30-20 outlined boxes, called cages, must O Each row and each column must combine using the given operation contain the numbers 1 through 4 (in any order) to produce the target (easy) or 1 through 6 (challenging) numbers in the top-left corners. without repeating. O Freebies: Fill in single-box cages with O The numbers within the heavily the number in the top-left corner. is a registered trademark of ® KenKen KenKen Puzzle LLC. ©2020 Puzzle LLC. All rights reserved. Dist. by Andrews McMeel Syndication. www.kenken.com CANCER (June 21-July 22): Look SAGITTARIUS (Nov. 22-Dec. 21): YOUR HOROSCOPE for the positive in everyone and everything. Set your house in order, and take care of Refuse to let emotional matters get in your relationships that matter to you. How you THURSDAY, JANUARY 30, 2020 way. Concentrate on what you want to tran- treat others will reflect who you are. If Consider your limitations as well as your spire, and do your best. someone treats you poorly, don’t let him or attributes in order to maintain balance. LEO (July 23-Aug. 22): A short trip her get away with their actions. Decline if someone imposes too much will encourage you to pay closer attention CAPRICORN (Dec. 22-Jan. 19): Be and offers too little. Concentrate on what’s to the people around you. A change some- careful how you treat others. Don’t let an important to you, not how to please every- one makes will affect you more than you emotional situation escalate into something one else.
  • Settlers, Africans, and Inter-Personal Violence in Kenya, Ca. 1900-1920S

    Settlers, Africans, and Inter-Personal Violence in Kenya, Ca. 1900-1920S

    International Journai of African Historicai studies Vol. 45, No. 1 (2012) 57 Settlers, Africans, and Inter-Personal Violence in Kenya, ca. 1900-1920s By Brett Shadle Virginia Tech ([email protected]) As Fanon noted, violence was inherent in inter-racial relations in settler colonies, and Ngugi reiterated this point specifically in regard to Kenya.' When attempting to write a cultural history of white settlers, Ngugi found nothing of value. He observed only garish paintings in upscale Nairobi bars featuring scenes of colonial life: scrawny Africans pulling whites in rickshaws, a "long bull-necked, bull-faced settler" holding a sjambock (Afrikaans: whip) and his loyal (and well-fed) dog at his side. It was just such a scene, Ngugi refiected, that summed up white settlement: "The rickshaw. The dog. The sjambock. The ubiquitous underfed, wide-eyed, uniformed native slave."2 In the end, as Ngugi put it, "Reactionary violence to instill fear and silence was the very essence of colonial settler culture."3 As is so often the case, Ngugi cut to the heart of the matter: one cannot envision the settler without the sjambock, or in Kenyan parlance, the kiboko (hippopotamus-hide vvhip).'^ Often settlers considered beatings as part and parcel of life in Africa, almost akin to milking the cows or cleaning the kitchen (if, in fact, Europeans ever performed such menial tasks). In the flrst several decades of colonial Kenya, settlers certainly did not hesitate to discuss their use of the lash. In a letter to the East African Standard in 1927, Frank Watkins bragged that, "I thrash my boys if they deserve it and I will let [African defender and settler critic] Archdeacon Owen or anyone else enquire into my methods of handling and working labour."5The Times of East Africa believed, "Probably there is not ' Franz Fanon, Wretched of the Earth (New York: Grove Weidenfeld, 1963); Ngugi wa Thiong'o, Detained: A Writer's Prison Diary (London: Heinemann, 1981), Chap.
  • Review Essay: Grappling with “Big Painting”: Akela Reason‟S Thomas Eakins and the Uses of History

    Review Essay: Grappling with “Big Painting”: Akela Reason‟S Thomas Eakins and the Uses of History

    Review Essay: Grappling with “Big Painting”: Akela Reason‟s Thomas Eakins and the Uses of History Adrienne Baxter Bell Marymount Manhattan College Thomas Eakins made news in the summer of 2010 when The New York Times ran an article on the restoration of his most famous painting, The Gross Clinic (1875), a work that formed the centerpiece of an exhibition aptly named “An Eakins Masterpiece Restored: Seeing „The Gross Clinic‟ Anew,” at the Philadelphia Museum of Art.1 The exhibition reminded viewers of the complexity and sheer gutsiness of Eakins‟s vision. On an oversized canvas, Eakins constructed a complex scene in an operating theater—the dramatic implications of that location fully intact—at Jefferson Medical College in Philadelphia. We witness the demanding work of the five-member surgical team of Dr. Samuel Gross, all of whom are deeply engaged in the process of removing dead tissue from the thigh bone of an etherized young man on an operating table. Rising above the hunched figures of his assistants, Dr. Gross pauses momentarily to describe an aspect of his work while his students dutifully observe him from their seats in the surrounding bleachers. Spotlights on Gross‟s bloodied, scalpel-wielding right hand and his unnaturally large head, crowned by a halo of wiry grey hair, clarify his mastery of both the vita activa and vita contemplativa. Gross‟s foil is the woman in black at the left, probably the patient‟s sclerotic mother, who recoils in horror from the operation and flings her left arm, with its talon-like fingers, over her violated gaze.
  • Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present

    Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present

    UGC MRP - COMICS BOOKS & GRAPHIC NOVELS Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present UGC MAJOR RESEARCH PROJECT F.NO. 5-131/2014 (HRP) DT.15.08.2015 Principal Investigator: Aneeta Rajendran, Gargi College, University of Delhi UGC MRP INDIAN COMIC BOOKS AND GRAPHIC NOVELS Acknowledgements This work was made possible due to funding from the UGC in the form of a Major Research Project grant. The Principal Investigator would like to acknowledge the contribution of the Project Fellow, Ms. Shreya Sangai, in drafting this report as well as for her hard work on the Project through its tenure. Opportunities for academic discussion made available by colleagues through formal and informal means have been invaluable both within the college, and in the larger space of the University as well as in the form of conferences, symposia and seminars that have invited, heard and published parts of this work. Warmest gratitude is due to the Principal, and to colleagues in both the teaching and non-teaching staff at Gargi College, for their support throughout the tenure of the project: without their continued help, this work could not have materialized. Finally, much gratitude to Mithuraaj for his sustained support, and to all friends and family members who stepped in to help in so many ways. 1 UGC MRP INDIAN COMIC BOOKS AND GRAPHIC NOVELS Project Report Contents EXECUTIVE SUMMARY 3 1. Scope and Objectives 3 2. Summary of Findings 3 2. Outcomes and Objectives Attained 4 3.
  • The Work of Comics Collaborations: Considerations of Multimodal Composition for Writing Scholarship and Pedagogy

    The Work of Comics Collaborations: Considerations of Multimodal Composition for Writing Scholarship and Pedagogy

    Nova Southeastern University NSUWorks CAHSS Faculty Articles Faculty Scholarship Spring 1-2015 The Work of Comics Collaborations: Considerations of Multimodal Composition for Writing Scholarship and Pedagogy Molly J. Scanlon Nova Southeastern University, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/shss_facarticles Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons NSUWorks Citation Scanlon, M. J. (2015). The Work of Comics Collaborations: Considerations of Multimodal Composition for Writing Scholarship and Pedagogy. Composition Studies, 43 (1), 105-130. Retrieved from https://nsuworks.nova.edu/shss_facarticles/517 This Article is brought to you for free and open access by the Faculty Scholarship at NSUWorks. It has been accepted for inclusion in CAHSS Faculty Articles by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Volume 43, Number 1 Volume Spring 2015 composition STUDIES composition studies volume 43 number 1 Composition Studies C/O Parlor Press 3015 Brackenberry Drive Anderson, SC 29621 Rhetoric & Composition PhD Program PROGRAM Pioneering program honoring the rhetorical tradition through scholarly innovation, excellent job placement record, well-endowed library, state-of-the-art New Media Writing Studio, and graduate certificates in new media and women’s studies. TEACHING 1-1 teaching loads, small classes, extensive pedagogy and technology training, and administrative fellowships in writing program administration and new media. FACULTY Nationally recognized teacher-scholars in history of rhetoric, modern rhetoric, women’s rhetoric, digital rhetoric, composition studies, and writing program administration. FUNDING Generous four-year graduate instructorships, competitive stipends, travel support, and several prestigious fellowship opportunities.
  • The Frontier, November 1932

    The Frontier, November 1932

    University of Montana ScholarWorks at University of Montana The Frontier and The Frontier and Midland Literary Magazines, 1920-1939 University of Montana Publications 11-1932 The Frontier, November 1932 Harold G. Merriam Follow this and additional works at: https://scholarworks.umt.edu/frontier Let us know how access to this document benefits ou.y Recommended Citation Merriam, Harold G., "The Frontier, November 1932" (1932). The Frontier and The Frontier and Midland Literary Magazines, 1920-1939. 41. https://scholarworks.umt.edu/frontier/41 This Journal is brought to you for free and open access by the University of Montana Publications at ScholarWorks at University of Montana. It has been accepted for inclusion in The Frontier and The Frontier and Midland Literary Magazines, 1920-1939 by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. V'«l o P i THE1$III! NOVEMBER, 1932 FRONTIER A MAGAZINt Of THf NORTHWfST THE WEST—A LOST CHAPTER c a r e y McW il l ia m s THE SIXES RUNS TO THE SEA Story by HOWARD McKINLEY CORNING SCOUTING WITH THE U. S. ARMY, 1876-77 J. W. REDINGTON THE RESERVATION JOHN M. KLINE Poems by Jason Bolles, Mary B. Clapp, A . E. Clements, Ethel R. Fuller, G. Frank Goodpasture, Raymond Kresensky, Queene B. Lister, Lydia Littell, Catherine Macleod, Charles Olsen, Lawrence Pratt, Lucy Robinson, Claite A . Thom son, Harold Vinal, Elizabeth Waters, W . A. Ward, Gale Wilhelm, Anne Zuker. O T H E R STO R IE S by Brassil Fitzgerald and Harry Huse.
  • Prestige, Professionalism, and the Paradox of Eadweard Muybridge's

    Prestige, Professionalism, and the Paradox of Eadweard Muybridge's

    Prestige, Professionalism, and the Paradox of Eadweard Muybridge’s Animal Locomotion Nudes N 1878, EADWEARD MUYBRIDGE’S serial photographs of trotting and galloping horses stunned artists, scientists, and critics in the United IStates and Europe (fig. 1). Muybridge’s camera revealed equine bodies frozen mid-leap in positions never before detected by the human eye or captured on film. When viewed in quick succession, the serial photo- graphs reanimated motion and the subjects sprang to life. Nine years later, the culmination of Muybridge’s motion studies was published in Philadelphia under the auspices of the University of Pennsylvania. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements, 1872–1885, comprised 781 nineteen-by-twenty-four-inch collotype plates, each of which contained between twelve and thirty-six frames, resulting in a total of approximately twenty thousand images.1 Of the 781 plates, 514 depicted adult men and women in motion; 5 focused on the movement of an adult male hand; 27 captured abnormal male and female movement; 16 represented children; and 219 depicted animals, including horses, birds, and various other wild and domestic animals. Notably, approximately 340 of the series featured fully nude men and women performing daily activities before a gridded backdrop. Populating the first four volumes and part of volume eight of the eleven-volume publication, the male nudes ran, jumped, rowed, and swung bats (fig. 2) while the females swept, served tea, made beds, and danced, among other activities (fig. 3). The author would like to express her gratitude to the Library Company of Philadelphia, The Historical Society of Pennsylvania, the Center for Advanced Study in the Visual Arts, and Northwestern University for their generous support.
  • NP 2013.Docx

    NP 2013.Docx

    LISTE INTERNATIONALE DES NOMS PROTÉGÉS (également disponible sur notre Site Internet : www.IFHAonline.org) INTERNATIONAL LIST OF PROTECTED NAMES (also available on our Web site : www.IFHAonline.org) Fédération Internationale des Autorités Hippiques de Courses au Galop International Federation of Horseracing Authorities 15/04/13 46 place Abel Gance, 92100 Boulogne, France Tel : + 33 1 49 10 20 15 ; Fax : + 33 1 47 61 93 32 E-mail : [email protected] Internet : www.IFHAonline.org La liste des Noms Protégés comprend les noms : The list of Protected Names includes the names of : F Avant 1996, des chevaux qui ont une renommée F Prior 1996, the horses who are internationally internationale, soit comme principaux renowned, either as main stallions and reproducteurs ou comme champions en courses broodmares or as champions in racing (flat or (en plat et en obstacles), jump) F de 1996 à 2004, des gagnants des neuf grandes F from 1996 to 2004, the winners of the nine épreuves internationales suivantes : following international races : Gran Premio Carlos Pellegrini, Grande Premio Brazil (Amérique du Sud/South America) Japan Cup, Melbourne Cup (Asie/Asia) Prix de l’Arc de Triomphe, King George VI and Queen Elizabeth Stakes, Queen Elizabeth II Stakes (Europe/Europa) Breeders’ Cup Classic, Breeders’ Cup Turf (Amérique du Nord/North America) F à partir de 2005, des gagnants des onze grandes F since 2005, the winners of the eleven famous épreuves internationales suivantes : following international races : Gran Premio Carlos Pellegrini, Grande Premio Brazil (Amérique du Sud/South America) Cox Plate (2005), Melbourne Cup (à partir de 2006 / from 2006 onwards), Dubai World Cup, Hong Kong Cup, Japan Cup (Asie/Asia) Prix de l’Arc de Triomphe, King George VI and Queen Elizabeth Stakes, Irish Champion (Europe/Europa) Breeders’ Cup Classic, Breeders’ Cup Turf (Amérique du Nord/North America) F des principaux reproducteurs, inscrits à la F the main stallions and broodmares, registered demande du Comité International des Stud on request of the International Stud Book Books.
  • The Fruits of Empire: Contextualizing Food in Post-Civil War American Art and Culture

    The Fruits of Empire: Contextualizing Food in Post-Civil War American Art and Culture

    University of New Mexico UNM Digital Repository Art & Art History ETDs Electronic Theses and Dissertations 5-1-2015 The rF uits of Empire: Contextualizing Food in Post-Civil War American Art and Culture Shana Klein Follow this and additional works at: https://digitalrepository.unm.edu/arth_etds Recommended Citation Klein, Shana. "The rF uits of Empire: Contextualizing Food in Post-Civil War American Art and Culture." (2015). https://digitalrepository.unm.edu/arth_etds/6 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Art & Art History ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i Shana Klein Candidate Art and Art History Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. Kirsten Buick , Chairperson Dr. Catherine Zuromskis Dr. Kymberly Pinder Dr. Katharina Vester ii The Fruits of Empire: Contextualizing Food in Post-Civil War American Art and Culture by Shana Klein B.A., Art History, Washington University in Saint Louis M.A., Art History, University of New Mexico, Albuquerque Ph.D., Art History, University of New Mexico, Albuquerque DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Art History The University of New Mexico Albuquerque, New Mexico May, 2015 iii ACKNOWLEDGEMENTS I would first like to acknowledge the bottomless amounts of support I received from my advisor, Dr. Kirsten Buick. Dr. Buick gave me the confidence to pursue the subject of food in art, which at first seemed quirky and unusual to many.
  • Surreal Visual Humor and Poster

    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)

    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.
  • When the Superheroes Emerged in the Late 1930S and Early 1940S They

    When the Superheroes Emerged in the Late 1930S and Early 1940S They

    Kameshia Shepherd The Superhero Genre: Exhibitions Which Explore the Identities, Costumes, and Missions of the Superheroes When the superheroes emerged in the late 1930s and early 1940s they had dual identities, sidekicks, powers and abilities, arch-villains, a costume, a moral code, and a top-secret headquarters but a lawsuit in 1940 established identity, power, and mission as the fundamental attributes of the superhero genre. According to Peter Coogan in Superhero: The Secret Origin of a Genre, Judge Learned Hand estab- lished these three elements in a copyright and infringement lawsuit between two comic book companies. In the case of Detective Comics, Inc. v. Bruns Publica- tions, Inc., DC Comics filed a suit which claimed that Bruns Publication’s super- hero Wonder Man was a duplicate of their character Superman. Judge Learned Hand agreed and stated in his ruling that Wonder Man copied Superman’s dual identities, various powers, and pro-social mission. Based on this copyright law- suit, Coogan argued that Judge Hand had unknowingly provided the definitional characteristics of a superhero.1 Coogan took Judge Hand’s interpretation a step further by combing all of the elements of Hand’s verdict to comprise his own definition. Coogan’s superhero is: A heroic character with a selfless, pro-social mission; with superpowers-extraordinary abilities, advanced technology, or highly developed physical, mental, or mystical skills; who has a superhero identity embodied in a codename and iconic costume, which typi- cally expresses his [or her] biography,