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Romance in Dollhouse Lorna Jowett
‘I love him... Is that real?’ Interrogating Romance in Dollhouse Lorna Jowett A Dollhouse Confession (not mine!), website Because of Joss Whedon’s commitment to what he regularly calls feminism in interviews and commentaries, the Whedon creations have consistently interrogated the myth of heterosexual romance. Long-running TV shows like Buffy and Angel offered wide scope for examining romance alongside other aspects of gender and sexuality. The mix of conventions in these earlier shows also lend themselves to negotiating romance from different angles, whether this is about characters growing up and changing their own ideas about romantic and sexual relationships, or what you can ‘get away with’ in a fantasy show about vampires. Firefly featured both a happily married couple and a sex-worker, neither common-place in network TV drama, allowing that shorter-lived series to move away from obvious conventions of romance. And then there’s Dollhouse, where almost all of the characters are either prostitutes or pimps. Melissa Milavec and Sharon Kaye suggest that Buffy ‘owes much of its popularity to making erotic love a dominant theme’ (2003: 174): Dollhouse may owe its lack of popularity to the way it treats much the same theme in a more disturbing fashion. ‘Like every good fairy tale, the story grows more intricate, and more divisive, every decade,’ says a reporter of Dollhouse rumours in ‘The Man on the Street’ (Dollhouse 1.6). His words are equally applicable to the myth of heterosexual romance as tackled by the Whedonverses on TV. The Whedon shows offer a sustained interrogation of gender, but are complicated by the demands of mainstream entertainment. -
Artificial Subjectivity As a Posthuman Negotiation of Hegel's Master/Slave Dialectic
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English Spring 5-2011 "Now There's No Difference": Artificial Subjectivity as a Posthuman Negotiation of Hegel's Master/Slave Dialectic Casey J. McCormick Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation McCormick, Casey J., ""Now There's No Difference": Artificial Subjectivity as a osthumanP Negotiation of Hegel's Master/Slave Dialectic." Thesis, Georgia State University, 2011. https://scholarworks.gsu.edu/english_theses/105 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. “NOW THERE’S NO DIFFERENCE”: ARTIFICIAL SUBJECTIVITY AS A POSTHUMAN NEGOTIATION OF HEGEL’S MASTER/SLAVE DIALECTIC by CASEY J. MCCORMICK Under the Direction of Dr. Chris Kocela ABSTRACT This thesis examines the theme of robot rebellion in SF narrative as an incarnation of Hegel’s Master/Slave dialectic. Chapter one analyzes the depiction of robot rebellion in Karel Capek’s R.U.R. Chapter two surveys posthuman theory and offers close readings of two con- temporary SF television series that exemplify ontologically progressive narratives. The thesis concludes that posthuman subjectivity sublates the Master/Slave dialectic and encourages practical posthuman ethics. INDEX WORDS: Artificial subjectivity, Hegel, Master/Slave, Posthuman, Capek, Battlestar Galac- tica, Dollhouse “NOW THERE’S NO DIFFERENCE”: ARTIFICIAL SUBJECTIVITY AS A POSTHUMAN NEGOTIATION OF HEGEL’S MASTER/SLAVE DIALECTIC by CASEY J. -
Orphan Girls, Dolls and Secret Spaces in Children's Literature
NARRATIVES OF TRANSFORMATION: ORPHAN GIRLS, DOLLS AND SECRET SPACES IN CHILDREN'S LITERATURE by CHRISTY SHARON GOERZEN B.A., Simon Fraser University, 1999 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Children's Literature) THE UNIVERSITY OF BRITISH COLUMBIA December 2006 © Christy Sharon Goerzen, 2006 Abstract Many critics working in the field of literature for children have acknowledged the prevalence of orphan characters, dolls and doll characters and "children-only" spaces in the literature. While many have discussed their significance separately, to the best of my knowledge no one has thus far examined how they can function and operate together in literature for children. This examination of these formerly separate topics together is grounded in the question: How do dolls, secret spaces and the play associated with them function in literature for children such that the marginalized and displaced orphan girl characters therein undergo positive psychological transformation? My study is based in literary and psychological analysis. The theoretical framework employs the play theories of D.W. Winnicott and Erik Erikson, in conjunction with Gaston Bachelard's and Yi-Fu Tuan's theories of space. The methodology of this study builds upon psychological analyses of the orphan girl protagonists, within the context of their secret space environments and their relationships with dolls in the novels. This thesis analyzes four distinct novels featuring orphan girl protagonists, secret spaces and dolls, and examines the forms of psychological transformation experienced by each protagonist: Rumer Godden's Miss Happiness and Miss Flower, Sylvia Cassedy's Lucie Babbidge's House, Enys Tregarthen's The Doll Who Came Alive and Sylvia Cassedy's Behind the Attic Wall. -
Murder Is Her Hobby Uncovers the Unexpected Intersection Between Craft and Forensic Science
Murder Is Her Hobby uncovers the unexpected intersection between craft and forensic science. Frances Glessner Lee (1878–1962) created her exquisitely detailed miniature death scenes, The Nutshell Studies of Unexplained Death, to train homicide investigators in the 1940s and ’50s to “convict the guilty, clear the innocent, and find the truth in a nutshell.” These dollhouse-sized dioramas of true crime scenes helped revolutionize the emerging field of forensics and are still used today. They reveal how Lee co-opted traditionally feminine crafts to advance in a male- dominated field—achieving the rank of first female police captain in the country and establishing herself as one of its leading voices. Considered the godmother of forensic science, Lee constructed the Nutshells to teach students in Harvard’s Department of Legal Medicine how to effectively canvass a crime scene. A talented artist as well as criminologist, she masterfully crafted handmade and customized elements to render scenes in exacting detail, with each component a potential clue designed to challenge trainees’ powers of observation and deduction. While Lee drew from real cases, she embellished the original scenes with elements from her imagination and the world around her. The cases she selected and details she chose provide insight into the mind of this remarkable woman, and a window into the domestic history of mid-twentieth-century America. As the first public display of all nineteen Nutshells, the Renwick Gallery allows Lee’s dioramas to be seen as works of art, and connects craft with a seemingly unrelated discipline. As the Nutshells are still active training tools, the real cases behind each remain secret. -
August 2021 Bellevue Public Library
Curious Incident of the Dog … - Mark Haddon, 226p Necessary Lies – Diane Chamberlain, 343p Dashing Through the Snow – Mary Higgins Clark, 226p The Necklace – Cheryl Jarvis, 222p (NF) Dead Irish – John Lescroart, 432p News of the World – Paulette Jiles, 213p Death Comes to Pemberley -- P.D. James, 291p The Night – Elie Wiesel, 120p (NF) Defending Jacob – William Landay, 421p The Night Circus – Erin Morgenstern, 387p Destiny of the Republic – Candice Millard, 339p (NF) Night Road - Kristin Hannah, 385p A Dog’s Purpose – W. Bruce Cameron, 333p Nineteen Minutes -- Jodi Picoult, 455p The Dollhouse – Fiona Davis, 289p The No. 1 Ladies Detective … - Alexander McCall Smith, 235p The Dressmaker – Kate Alcott, 306p O Pioneers – Willa Cather, 206p The Dry Grass of August – Anna Jean Mayhew, 283p The Ocean at the End of the Lane – Neil Gaiman, 181p Eat, Pray, Love - Elizabeth Gilbert, 334p (NF) Olive Kitteridge - Elizabeth Strout, 286p The Echo Maker - Richard Powers, 451p Once We Were Brothers – Ronald Balson, 394p Educated – Tara Westover, 334p (NF) Once upon a Town – Bob Greene, 288p (NF) Eleanor Oliphant … -- Gail Honeywell, 327p One False Move - Alex Kava, 384p The Elegance of the Hedgehog – Muriel Barbery, 325p One Thousand White Women – Jim Fergus, 304p Extremely Loud & Incredibly … – Jonathan Safran Foer, 326p Orange Is the New Black – Piper Kerman, 327p (NF) B OK Fahrenheit 451 - Ray Bradbury, 190p The Orphan Train – Christina Baker Kline, 373p Firefly Lane - Kristin Hannah, 479p The Orphan’s Tale – Pam Jenoff, 344p The Forgotten Garden - -
Neoliberal Eugenics in Joss Whedon's Dollhouse (2009
Neoliberal Eugenics in Joss Whedon’s Dollhouse (2009- 2010) LESLEY VERBEEK Published in: Vol. 4, Issue 2 (2020), pp. 1-16. Section: Articles © Copyright The Author, 2020. Except where otherwise noted, this work has been licensed under a Creative Commons 4.0 NC-BY-ND license. Full terms of use at www.digressions.nl/terms. Neoliberal Eugenics in Joss Whedon’s Dollhouse (2009-2010) LESLEY VERBEEK* Abstract: In this paper, Joss Whedon’s science fiction series Dollhouse (2009-2010) is argued to contain an implicit exploration of the taboo around “neoliberal eugenics,” afforded by its genre-specific use of speculative technologies, and to therefore serve as a reflection of and addition to public discourse concerning the ethical dangers of free market genetic modification. This is done by drawing parallels, through discourse analysis, between themes and events in the series and arguments from prominent bioethicists and philosophers in widely read newspapers. Keywords: neoliberal eugenics, Dollhouse, genetic modification, bioethics, science fiction ollhouse is a science fiction television series that ran from 2009 until 2010, when it was cancelled due to low ratings. It was created by Joss Whedon, D known for creating the cult television series Buffy the Vampire Slayer (1997-2003), the cult hit Firefly (2002-2003), the Avengers franchise (2012 and 2015), and Agents of S.H.I.E.L.D. (2013-2020). Dollhouse is the name of a Los Angeles based corporation that remains hidden from the public as it deals in ethically questionable and illegal practices. The corporation employs people on a five-year contract during which they are hired out to rich individuals. -
From Postmodern Subjectivity to Posthuman Thingness in Joss Whedon's "Dollhouse"
Nova Southeastern University NSUWorks CAHSS Faculty Articles Faculty Scholarship Spring 2016 Object Entanglements: From Postmodern Subjectivity to Posthuman Thingness in Joss Whedon's "Dollhouse" Juliette Kitchens 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 Kitchens, J. (2016). Object Entanglements: From Postmodern Subjectivity to Posthuman Thingness in Joss Whedon's "Dollhouse". Studies in Popular Culture, 38 (2), 1-22. Retrieved from https://nsuworks.nova.edu/shss_facarticles/797 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]. STUDIES IN POPULAR CULTURE 38.2 SPRING 2016 i STUDIES IN POPULAR CULTURE Studies in Popular Culture, a journal of the Popular Culture Association in the South, publishes articles on popular culture however mediated through film, literature, radio, television, music, graphics, print, practices, associations, events—any of the material or conceptual conditions of life. Its contributors from the United States, Australia, Canada, China, England, Finland, France, Ireland, Israel, Italy, Scotland, Spain, and the Turkish Republic of North Cyprus include distinguished anthropologists, sociologists, psychologists, cultural geographers, ethnomusicologists, historians, and scholars in comics, communications, film, games, graphics, literature, philosophy, religion, and television. Direct editorial queries and submissions by email to editor Lynnette Porter, [email protected]; mailing address: Humanities and Communication Department, Embry-Riddle Aeronautical University, 600 South Clyde Morris Boulevard, Daytona Beach, Florida 32114.