Pontificia Universidad Católica Del Ecuador
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
12 Hours Opens Under Blue Skies and Yellow Flags
C M Y K INSPIRING Instead of loading up on candy, fill your kids’ baskets EASTER with gifts that inspire creativity and learning B1 Devils knock off county EWS UN s rivals back to back A9 NHighlands County’s Hometown Newspaper-S Since 1927 75¢ Cammie Lester to headline benefit Plan for spray field for Champion for Children A5 at AP airport raises a bit of a stink A3 www.newssun.com Sunday, March 16, 2014 Health A PERFECT DAY Dept. in LP to FOR A RACE be open To offer services every other Friday starting March 28 BY PHIL ATTINGER Staff Writer SEBRING — After meet- ing with school and coun- ty elected officials Thurs- day, Florida Department of Health staff said the Lake Placid office at 106 N, Main Ave. will be reopen- ing, but with a reduced schedule. Tom Moran, depart- ment spokesman, said in a Katara Simmons/News-Sun press release that the Flor- The Mobil 1 62nd Annual 12 Hours of Sebring gets off to a flawless start Saturday morning at Sebring International Raceway. ida Department of Health in Highlands County is continuing services at the Lake Placid office ev- 12 Hours opens under blue ery other Friday starting March 28. “The Department con- skies and yellow flags tinues to work closely with local partners to ensure BY BARRY FOSTER Final results online at Gurney Bend area of the health services are avail- News-Sun Correspondent www.newssun.com 3.74-mile course. Emergen- able to the people of High- cy workers had a tough time lands County. -
Glee: Uma Transmedia Storytelling E a Construção De Identidades Plurais
UNIVERSIDADE FEDERAL DA BAHIA INSTITUTO DE HUMANIDADES, ARTES E CIÊNCIAS PROGRAMA MULTIDISCIPLINAR DE PÓS-GRADUAÇÃO EM CULTURA E SOCIEDADE ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Salvador 2012 ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Dissertação apresentada ao Programa Multidisciplinar de Pós-graduação, Universidade Federal da Bahia, como requisito parcial para obtenção do título de mestre em Cultura e Sociedade, área de concentração: Cultura e Identidade. Orientador: Prof. Dr. Djalma Thürler Salvador 2012 Sistema de Bibliotecas - UFBA Lima, Roberto Carlos Santana. Glee : uma Transmedia storytelling e a construção de identidades plurais / Roberto Carlos Santana Lima. - 2013. 107 f. Inclui anexos. Orientador: Prof. Dr. Djalma Thürler. Dissertação (mestrado) - Universidade Federal da Bahia, Faculdade de Comunicação, Salvador, 2012. 1. Glee (Programa de televisão). 2. Televisão - Seriados - Estados Unidos. 3. Pluralismo cultural. 4. Identidade social. 5. Identidade de gênero. I. Thürler, Djalma. II. Universidade Federal da Bahia. Faculdade de Comunicação. III. Título. CDD - 791.4572 CDU - 791.233 TERMO DE APROVAÇÃO ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Dissertação aprovada como requisito parcial para obtenção do grau de Mestre em Cultura e Sociedade, Universidade Federal da Bahia, pela seguinte banca examinadora: Djalma Thürler – Orientador ------------------------------------------------------------- -
As Heard on TV
Hugvísindasvið As Heard on TV A Study of Common Breaches of Prescriptive Grammar Rules on American Television Ritgerð til BA-prófs í Ensku Ragna Þorsteinsdóttir Janúar 2013 2 Háskóli Íslands Hugvísindasvið Enska As Heard on TV A Study of Common Breaches of Prescriptive Grammar Rules on American Television Ritgerð til BA-prófs í Ensku Ragna Þorsteinsdóttir Kt.: 080288-3369 Leiðbeinandi: Pétur Knútsson Janúar 2013 3 Abstract In this paper I research four grammar variables by watching three seasons of American television programs, aired during the winter of 2010-2011: How I Met Your Mother, Glee, and Grey’s Anatomy. For background on the history of prescriptive grammar, I discuss the grammarian Robert Lowth and his views on the English language in the 18th century in relation to the status of the language today. Some of the rules he described have become obsolete or were even considered more of a stylistic choice during the writing and editing of his book, A Short Introduction to English Grammar, so reviewing and revising prescriptive grammar is something that should be done regularly. The goal of this paper is to discover the status of the variables ―to lay‖ versus ―to lie,‖ ―who‖ versus ―whom,‖ ―X and I‖ versus ―X and me,‖ and ―may‖ versus ―might‖ in contemporary popular media, and thereby discern the validity of the prescriptive rules in everyday language. Every instance of each variable in the three programs was documented and attempted to be determined as correct or incorrect based on various rules. Based on the numbers gathered, the usage of three of the variables still conforms to prescriptive rules for the most part, while the word ―whom‖ has almost entirely yielded to ―who‖ when the objective is called for. -
The Glee News
Inside:The Times of Glee Fox to end ‘Glee’? Kurt Hummel recieves great reviews on his The co-creator of Fox’s great acting, sining, and “Glee” has revealed dancing in his debut “Funny Girl” star Rachel Berry is photographed on the streets of New York plans to end the series, role of “Peter Pan”. walking five dogs. She will soon drop the news about her dog adoption Us Weekly reports. Ryan event. Murphy told reporters Wednesday in L.A. that the musical series will New meaning to “dog eats end its run next year after six seasons. The end of the show ap- dog” business pears to be linked to the Rising actors Berry and Hummel host Brod- death of Cory Monteith, one of its stars. Chris Colfer expands way themed dog show In the streets of New York, happy to be giving back. “After the emotional his talent from simple the three-legged dog to the Rachel uncertainly leads mother and her son. The three friends share a memorial episode for an actor and musician a dozen dogs on leads group hug, happily. Monteith and his char- to a screenplay wiriter through the street. Blaine Sam suggests to Mercedes acter Finn Hudson aired and Artie have positioned that they give McCo- “Old Dog New Tricks” is as well. last week, Murphy said themselves among some naughey to someone at the written by Chris Colfer, who it’s been very difficult to event, but Mercedes tells lunching papparazi, and claims his “two favorite move on with the show,” him to not bother - they’re loudly announce her arriv- cording things in life are animals the story reports. -
Network TEN – RADIO SCRIPT
Network TEN – RADIO SCRIPT PROGRAMME GLEE CAST RADIO VERSIONS / DUR ALL VERSIONS. 30-45s PRODUCER ANDREW GARRICK: 0416 026 408 SUE SYLVESTER SOURCE AUDIO JANE LYNCH AUDIO TEN'S GLEE PROMO TAKE 1. [BEEP] OKAY SUE… ENG SUE WAIT A MOMENT…SNIFFS THE AIR. I CAN SMELL SYLVESTER SOMETHING IN HERE. AUDIO UMMM ENG SUE HAVE YOU HAD A GEEK HERE IN THE BOOTH? SYLVESTER AUDIO UMM, YEAH ENG SUE OKAY, LET ME STOP YOU THERE, BUTTON PUSHER. I SYLVESTER DON'T DO THIS. I DON'T GET IN CRAMPED SPACES WHERE PEOPLE WHO ARE BELOW ME HAVE BEEN. I DON'T SIT IN PHONE BOXES WITH MY GARDNER JORGE AND I DON'T DO THIS. AUDIO AHHH..OKAY. ENG SUE YOU DO IT. I WILL NOT BE A PART OF THIS…DISRESPECT. SYLVESTER AUDI HIT NEW SERIOUS GLEE. TONIGHT, ON TEN. ENGINEER SUE SERIOUSGLEE SYLVESTER Network TEN – RADIO SCRIPT FINN HUDSON SOURCE AUDIO CORY MONTEITH FEMALE TEN'S GLEE PROMO TAKE 1. [BEEP] AUDIO ENG FINN OKAY. THANKS. HI AUSTRALIA, IT'S FINN HUSON HERE, HUDSON FROM TEN'S NEW SHOW GLEE. FEMALE IT'S REALLY GREAT, AND I CAN ONLY TELL YOU THAT IT'S FINN COOL TO BE A GLEEK. I'M A GLEEK, YOU SHOULD BE TOO. HUDSON FEMALE OKAY, THAT'S PRETTY GOOD FINN. CAN YOU MAYBE DO IT AUDIO WITH YOUR SHIRT OFF? ENG FINN WHAT? HUDSON FEMALE NOTHING. AUDIO ENG FINN OKAY… HUDSON FEMALE MAYBE JUST THE LAST LINE AUDIO ENG FINN OKAY. UMM. GLEE – 730 TONIGHT, ON TEN. SERIOUSGLEE HUDSON FINN OKAY. -
14. Swan Song
LISA K. PERDIGAO 14. SWAN SONG The Art of Letting Go in Glee In its five seasons, the storylines of Glee celebrate triumph over adversity. Characters combat what they perceive to be their limitations, discovering their voices and senses of self in New Directions. Tina Cohen-Chang overcomes her shyness, Kurt Hummel embraces his individuality and sexuality, Finn Hudson discovers that his talents extend beyond the football field, Rachel Berry finds commonality with a group instead of remaining a solo artist, Mike Chang is finally allowed to sing, and Artie Abrams is able to transcend his physical disabilities through his performances.1 But perhaps where Glee most explicitly represents the theme of triumph over adversity is in the series’ evasion of death. The threat of death appears in the series, oftentimes in the form of the all too real threats present in a high school setting: car accidents (texting while driving), school shootings, bullying, and suicide. As Artie is able to escape his wheelchair to dance in an elaborate sequence, if only in a dream, the characters are able to avoid the reality of death and part of the adolescent experience and maturation into adulthood. As Trites (2000) states, “For many adolescents, trying to understand death is as much of a rite of passage as experiencing sexuality is” (p. 117). However, Glee is forced to alter its plot in season five. The season begins with a real-life crisis for the series; actor Cory Monteith’s death is a devastating loss for the actors, writers, and producers as well as the series itself. -
Edited Interview with Tommy Smith in the Lord Edward Restaurant (2017 /2007)
Edited Interview with Tommy Smith in the Lord Edward Restaurant (2017 /2007) Mairtin Mac Con Iomaire (MM) Tommy Smith (TS) 1. MM: Where and when were you born Tommy? 2. TS: 30th May 1946 in Ship Street, Dublin. Just down the road (laugh). 3. MM: And how many in the family? 4. TS: Five, three brothers and a sister? 5. MM: And what did your father do? 6. TS: He was a coach painter in Archers in Sandwich Street. 7. MM: And your mother was probably a mother was she (laugh). 8. TS: She was mother yeah. She died when I was nine. 9. MM: Right and where did you come in the family? 10. TS: I was the first, I was the eldest. 11. MM: Oh you were the eldest so that put a lot of pressure on you then? 12. TS: Kind of, at the time, but my grandmother reared me then you see. She took half of us on and my other grandmother took the other half on so that's how we were reared. 13. MM: And did you stay in Ship Street? 14. TS: No we were moved down to Ushers Island before my mam died. She had my brother Patrick in the house in Ushers Island, 24 Ushers Island and two years later she died. She never recovered from having Patrick. It was a bad birth. So that's how she died. 15. MM: How did you get started in the catering then? 16. TS: I used to always work from the time I was ten as a messenger boy in Hayes Cunningham Robinsons in Rathmines. -
Safira Titania Aurora Az-Zahra Sdh
DigitalDigital RepositoryRepository UniversitasUniversitas JemberJember DISCOURSE ANALYSIS OF AGREEMENT AND DISAGREEMENT SPEECH ACT IN THE “GLEE” TV SERIES THESIS Compiled by: Safira Titania Aurora Az-Zahra 140210401032 ENGLISH EDUCATION PROGRAM LANGUAGE AND ARTS DEPARTMENT FACULTY OF TEACHER TRAINING AND EDUCATION JEMBER UNIVERSITY 2019 DigitalDigital RepositoryRepository UniversitasUniversitas JemberJember DISCOURSE ANALYSIS OF AGREEMENT AND DISAGREEMENT SPEECH ACT IN THE “GLEE” TV SERIES THESIS Composed to Fulfill One of the Requirements to Obtain the Degree of S1 at the English Education Program, Language and Arts Department, The Faculty of Teacher Training and Education, Jember University Compiled by: Safira Titania Aurora Az-Zahra 140210401032 ENGLISH EDUCATION PROGRAM LANGUAGE AND ARTS DEPARTMENT FACULTY OF TEACHER TRAINING AND EDUCATION JEMBER UNIVERSITY 2019 i DigitalDigital RepositoryRepository UniversitasUniversitas JemberJember MOTTO “Learning another language is not only learning different words for the same things, but learning another way to think about things.” – Flora Lewis ii DigitalDigital RepositoryRepository UniversitasUniversitas JemberJember DEDICATION This thesis is dedicated to the following people: 1. My beloved mum, who supported me all this time. 2. My beloved dad, who gave me a push not to give up. 3. My beloved sister, who always encouraged me to finish this thesis. Words fail to express how much I appreciate their endless love and patience. iii DigitalDigital RepositoryRepository UniversitasUniversitas JemberJember STATEMENT OF THESIS AUTHENCITY I certify that this thesis is an original and authentic piece of work by me. Hence, all materials incorporated from secondary sources have been fully acknowledged and referenced. I certify that the content of the thesis is the result of work which has been carried out since the official commencement date of the approved thesis title. -
Kurt Hummel's Language Features in Glee Television
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI KURT HUMMEL’S LANGUAGE FEATURES IN GLEE TELEVISION SERIES SEASON 1: A SOCIOLINGUISTIC ANALYSIS A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Yustina Rostyaningtyas Student Number: 131214113 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2017 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI “There is no substitute for hard work.” Thomas A. Edison This thesis is dedicated to: Antonius Wiryono, Yuliana Saryati, and myself iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Rostyaningtyas, Yustina. 2017. Kurt Hummel’s Language Features in Glee Television Series Season 1: A Sociolinguistic Analysis. Yogyakarta: English Language Education Study Program, Sanata Dharma University. The use of language by individuals is influenced by many factors. Gender is one factor that influences the use of language. In this research, gender is seen to be different from sex. It is seen as a social construction rather than as a fixed category. As a result, women and men do not stick to one language style but change it based on their social context. Therefore, the researcher was interested in analyzing the women’s language used by a feminine man named Kurt Hummel in Glee Television Series Season 1. In conducting the research, a research question was formulated: What women’s language features does Kurt Hummel use in his speech in Glee Television Series Season 1? The research was qualitative research in which discourse analysis was employed to analyze the data. -
RADICAL LOVE in a TIME of Heteronormativity: Radical Love in a Time of Heteronormativity: Glee, Gaga and Getting Better
international journal of critical pedagogy RADICAL LOVE IN A TIME OF HETERONORMATIVITY: Radical Love in a time of Heteronormativity: Glee, Gaga and Getting Better Erin Brownlee DEll SaBrina BoyEr Abstract Media coverage of LGBT teen bullying and suicides portrays a national crisis. If students “read the world” (Freire, 1998, p. 76) around them, they understand a world that often does not bother to recognize their humanity, and worse, vilifies them. Freire imagines a different way, one where “progressive education. must never eradicate the learner’s sense of pride and self worth” (Freire, 2004, p. 8). At the essence of many of Freire’s writings was the idea of our collective humanity in the classroom and as we re-imagined the world together. It is here where radical love becomes a powerful force within education. In the absence of meaningful and “safe” learning spaces for queer students, we maintain that alternate curricula, those within the realm of popular culture offer possibilities of resistance to these dangerous climates. As Giroux and Simon (1988) write, “popular culture is appropriated by students and helps authorize their voices and experiences while pedagogy authorizes the voices of the adult world, the world of teachers and administrators” (p. 11). The intersection of the student and adult worlds offers a pop culture pedagogy, a tool for alternative learning and a site of resistance. This intersection reveals a significant impact on societal views, ultimately leading to advocacy and action. While there are many examples of these sites of resistance, for the purposes of this piece, we focus on three: the television series, Glee, the music and advocacy work of Lady Gaga, and the It Gets Better project. -
"Glee: Silly Love Songs (#2.12)" (2011) Santana Lopez: Please. I've Had Mono So Many Times It Turned Into Stereo
"Glee: Silly Love Songs (#2.12)" (2011) Santana Lopez: Please. I've had mono so many times it turned into stereo. Santana Lopez: I've kissed Finn, and can I just say: NOT worth a buck. I would, however, pay $100 to jiggle one of his man boobs. Santana Lopez: Finn only wears that gassy infant look when he feels guilty about something. Santana Lopez: I'll just marry an NFL player. They're super reliable. Santana Lopez: I just try to be really, really honest with people when I think that they suck. Santana Lopez: That's how we do it in Lima Heights. "Glee: Sectionals (#1.13)" (2009) Mercedes Jones: I thought you and Puck were dating? Santana Lopez: Sex is not dating. Brittany: Yeah, if it was, Santana and I would be dating. Santana Lopez: Look, we may still be Cheerios, but neither of us ever gave Sue the set list. Brittany: Well... I did. But I didn't know what she was gonna do with it. Santana Lopez: Okay, look... believe what you want, but no one's forcing me to be here. And if you tell anyone this, I'll deny it - but I like being in Glee Club. It's the best part of my day, okay? I wasn't gonna go and mess it up. Rachel Berry: I believe you. Santana Lopez: Sex is not dating. Brittany: If it was, Santana and I would be dating. Santana Lopez: Sex is not dating. Brittany Pierce: If it were, Santana and I would be dating. -
Glee, Flash Mobs, and the Creation of Heightened Realities
Mississippi State University Scholars Junction University Libraries Publications and Scholarship University Libraries 9-20-2016 Glee, Flash Mobs, and the Creation of Heightened Realities Elizabeth Downey Mississippi State University, [email protected] Follow this and additional works at: https://scholarsjunction.msstate.edu/ul-publications Recommended Citation Downey, Elizabeth M. "Glee, Flash Mobs, and the Creation of Heightened Realities." Journal of Popular Film & Television, vol. 44, no. 3, Jul-Sep2016, pp. 128-138. EBSCOhost, doi:10.1080/ 01956051.2016.1142419. This Article is brought to you for free and open access by the University Libraries at Scholars Junction. It has been accepted for inclusion in University Libraries Publications and Scholarship by an authorized administrator of Scholars Junction. For more information, please contact [email protected]. Glee and Flash Mobs 1 Glee, Flash Mobs, and the Creation of Heightened Realities In May of 2009 the television series Glee (Fox, 2009-2015) made its debut on the Fox network, in the coveted post-American Idol (2002-present) timeslot. Glee was already facing an uphill battle due to its musical theatre genre; the few attempts at a musical television series in the medium’s history, Cop Rock (ABC, 1990) and Viva Laughlin (CBS, 2007) among them, had been overall failures. Yet Glee managed to defeat the odds, earning high ratings in its first two seasons and lasting a total of six. Critics early on attributed Glee’s success to the popularity of the Disney Channel’s television movie High School Musical (2006) and its subsequent sequels, concerts and soundtracks. That alone cannot account for the long-term sensation that Glee became, when one acknowledges that High School Musical was a stand-alone movie (sequels notwithstanding).