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Precarity and Belonging in the Work of Teju Cole
Luke Watson MA Dissertation 2019 Black Bodies in the Open City: Precarity and Belonging in the work of Teju Cole Luke Watson (WTSLUK001) A minor dissertation submitted in partial fulfilment of the requirements for the award of the degree of Master of Arts in English Language, Literature & Modernity Faculty of the Humanities University of Cape Town 2019 COMPULSORY DECLARATION This work hasUniversity not been previously submitted of inCape whole, or in part, Town for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: Date: 4 June 2019 1 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University Luke Watson MA Dissertation 2019 Abstract This dissertation attempts to read Nigerian-American writer Teju Cole’s fiction and essays as sustained demonstrations of precarity, as theorised by Judith Butler in Precarious Life (2004). Though never directly cited by Cole, Butler’s articulation of a shared condition of bodily vulnerability and interdependency offers a generative critical framework through which to read Cole’s representations of black bodies as they move across space. By presenting the ‘black body’, rather than ‘black man’, as the preferred metonym for black people, Cole’s work, which I argue can be read as peculiar travel narratives, foregrounds the bodily dimension of black life, and develops an ambivalent storytelling mode to narrate the experiences of characters who encompass multiple spatialities and subjectivities. -
1. the Regulation of Social Media Influencers: an Introduction Catalina Goanta and Sofia Ranchordás
1. The regulation of social media influencers: an introduction Catalina Goanta and Sofia Ranchordás 1. SETTING THE SCENE Nikkie de Jager was an unknown teenager from the small Dutch town of Uden until one of her videos (‘The Power of Make-Up’) went ‘viral’, amassing in a short period of time nearly 40 million views.1 Her ‘NikkieTutorials’ make-up channel on YouTube soon became an online sensation with millions of views from different countries, helping her build an international reputation as a ‘YouTuber’ and make-up artist. Without prior training in communication, advertising, or even the beauty sector, de Jager’s is a good example of an emerging ‘profession’: ‘social media influencer’. A growing number of indi- viduals, often without any traditional professional certification, have a job which consists in sharing moments of their daily lives, offering advice in different areas (e.g., fitness, beauty, food), and while doing so, endorsing con- sumer goods and services. In many cases, these social media influencers fail to properly disclose the commercial nature of their relationship with the compa- nies behind these advertisements. Moreover, these channels are not limited to lifestyle advice and can have broader societal consequences, for example, on election results. The comedy and commentary channel of German YouTuber Rezo is a good example of how social media influencers are also having an impact in politics. On 18 May 2019, Rezo published a video criticizing the German Christian Democratic Union party (CDU), which gained well over 15 million views in three months,2 and was subsequently endorsed by at least 90 other YouTubers, in an attempt to hold German politicians responsible, especially for their perceived lack of commitment to the fight against global 1 NikkieTutorials, YouTube channel (YouTube, 2015) https://www .youtube .com/ watch ?v = a4Ov8qvZ2 _w & t = 266s. -
Download the 2020 Report
A Guide by the Divided Community Project, Second Edition 2020 THE OHIO STATE UNIVERSITY MORITZ COLLEGE OF LAW PROGRAM ON DISPUTE RESOLUTION Co-Director Josh Stulberg, [email protected] | Co-Director Carl Smallwood, [email protected] Deputy Director William Froehlich, [email protected] | Executive Committee Members Thomas Battles Grande Lum | Nancy Rogers | Andrew Thomas Divided Communities and Social Media: Strategies for Community Leaders, Second Edi- tion (2020) by the Divided Community Project at The Ohio State University Moritz College of Law, is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, Those seeking to modify this guide for targeted audiences may do so for nonprofit purposes as long as they give attribution and they allow the same “share alike” use of their content by others. Suggestd Citation: : Divided Community Project, Key Considerations for Leaders Facing Community Unrest: Effective Problem- Solving Strategies that have been Used in Other Communities (2nd ed. 2019) CC BY-NC-SA 4.0, https://go.osu.edu/dcpkc2. Other publications by the Divided Community Project are available as follows: Planning in Advance of Community Unrest (2d ed., 2020), https://go.osu.edu/dcppia. Key Considerations for Leaders in the Face of Community Unrest (2d ed., 2020) https://go.osu.edu/dcpkc. Considerations for College and University Leaders: When Conflicts and Divisive Incidents Arise (2020), https://go.osu.edu/dcptoolkit. Community Resiliency Initiative Case Studies (2018), https://go.osu.edu/dcpcri. Simulations for Leadership During Crisis (2017 and 2019) are available upon request. Contact DCP’s Deputy Director at [email protected]. -
Make Me Smart August 31, 2021 Transcript
Make Me Smart August 31, 2021 transcript Note: Marketplace podcasts are meant to be heard, with emphasis, tone and audio elements a transcript can't capture. Transcripts are generated using a combination of automated software and human transcribers, and may contain errors. Please check the corresponding audio before quoting it. Kai Ryssdal: Let's go. Let's go. Molly Wood: I'm not, I'm not saying that I was finishing up a kid-related text. I'm just saying I'm here now, and that’s what matters. Hey everyone, I'm Molly Wood. Welcome back to Make Me Smart, the podcast where none of us is as smart as all of us. Kai Ryssdal: I'm Kai Ryssdal, it is Tuesday one topic deep dive today. That topic of choice today is this thing called the creator economy. Molly Wood: Exactly. I'm pretty excited about this, actually. We've been covering this on Marketplace Tech since about 2018. I'm gonna take some early credit for this word, or this term, the creator economy. We have talked to our guest today many times about this, it's become a big buzzword. And basically the idea includes anybody who's making a living as an online influencer and, of course, all the money that goes along with that. So you see all these people on Tik Tok and streaming on Twitch and adult content creators on sites like OnlyFans. And it is changing the entertainment industry completely. Kai Ryssdal: Tens of millions of people around the whole planet consider themselves part of this creator economy. -
The Rise of Twitter Fiction…………………………………………………………1
Twitter Fiction: A Shift in Author Function Hilary Hyman Twitter fiction, an example of twenty-first century digital narrative, allows authors to experiment with literary form, production, and dissemination as they engage readers through a communal network. Twitter offers creative space for both professionals and amateurs to publish fiction digitally, enabling greater collaboration among authors and readers. Examining Jennifer Egan’s “Black Box” and selected Twitter stories from Junot Diaz, Teju Cole, and Elliott Holt, this thesis establishes two distinct types of Twitter fiction—one produced for the medium and one produced through it—to consider how Twitter’s present feed and character limit fosters a uniquely interactive reading experience. As the conversational medium calls for present engagement with the text and with the author, Twitter promotes newly elastic relationships between author and reader that renegotiate the former boundaries between professionals and amateurs. This thesis thus considers how works of Twitter fiction transform the traditional author function and pose new questions regarding digital narrative’s modes of existence, circulation, and appropriation. As digital narrative makes its way onto democratic forums, a shifted author function leaves us wondering what it means to be an author in the digital age. Twitter Fiction: A Shift in Author Function Hilary Anne Hyman Twitter Fiction: A Shift in Author Function Hilary Anne Hyman An Undergraduate Honors Thesis Submitted to the Department of English at Vanderbilt University in partial fulfillment of the requirements for Honors in the Major April 18, 2016 Thesis Adviser: Vera Kutzinski Date Second Reader: Haerin Shin Date Program Director: Teresa Goddu Date For My Parents Acknowledgements I would like to acknowledge Professor Teresa Goddu for shaping me into the writer I have become. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Post-American Novel: 9/11, the Iraq War, and the Crisis of American Hegemony Permalink https://escholarship.org/uc/item/1cs8p0b4 Author Page, Gabriel Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Post-American Novel: 9/11, the Iraq War, and the Crisis of American Hegemony By Gabriel Page A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Donna V. Jones, Chair Professor Karl Britto Professor Francine Masiello Professor Nadia Ellis Fall 2018 Abstract The Post-American Novel: 9/11, the Iraq War, and the Crisis of American Hegemony by Gabriel Page Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Donna V. Jones, Chair This dissertation proposes a new analytical category for thinking about a subset of post-9/11 Anglophone novels that are engaged with the political aftermath of 9/11. I designate this category the post-American novel, distinguishing it from the category of 9/11 fiction. While the 9/11 novel is a sub-genre of national literature, focusing on the terrorist attacks as a national trauma, the post-American novel is a transnational literary form that decenters 9/11, either by contextualizing the terrorist attacks in relation to other historical traumas or by shifting focus to the “War on Terror.” I theorize the post-American novel as the literary expression of international opposition to the 2003 U.S. -
The Language Spoken by All
Discussing Teju Cole’s essays on photography, Lu asks: How should we approach a medium that readily lends itself to distortion? In response, she develops an argument that urges us to reassess our identities in light of the global community with which photography can bring us into contact. (Instructor: Christina van Houten) THE LANGUAGE SPOKEN BY ALL Alice Lu he camera is—and always will be—a tool, an instrument, a weapon. Whether it has a detrimental or beneficial impact is the decision the photographer must make. However, whether we let a photograph’s message influence us or not Tis the decision we, the audience, must make. Teju Cole, a renowned writer and photographer, reckons with the positive and negative impacts of photography by relating the intricacies of the camera, the photographers, and the photographs themselves in a comprehensive ethical conversation. Cole takes his readers on a captivating journey through his collection of photo journals, using the camera as a lens to tackle cultural, technological, international, and personal issues. In doing so, he helps us rid ourselves of innocence and naivety and devel - op our own global perspectives. In such a diverse world, we need peo - ple with global perspectives, like Cole, to show us what we are doing wrong as brothers and sisters, as friends and strangers, and as human beings. In his essay “Against Neutrality,” Cole observes that in the eyes of many people, images “are often presumed to be unbiased.” They are snapshots of the real world, but we cannot assume that they are nec - essarily true. -
Violence, Political Attacks, Layoffs … and Still Doing Vital Work
NIEMAN REPORTS Violence, political attacks, layoffs … and still doing vital work Contributors The Nieman Foundation for Journalism at Harvard University Julia Keller (page 24), a 1998 Nieman www.niemanreports.org Fellow and former cultural critic at the Chicago Tribune, won the 2005 Pulitzer Prize for Feature Writing. “The Cold Way Home” (Minotaur Books), the eighth novel in her series set in her home state of West Virginia, will be published in August. She has taught writing at Princeton University, Notre Dame, and the University of Chicago. publisher Ann Marie Lipinski Lenka Kabrhelova (page 32), a 2018 editor Nieman Fellow, most recently was a James Geary creative producer and presenter at Czech senior editor Radio, the public radio broadcasting Jan Gardner network in the Czech Republic. Prior to editorial assistant that she was a U.S. correspondent for Eryn M. Carlson Czech Radio and a correspondent in Russia. Kabrhelova has reported from staff assistant nearly 20 diff erent countries. She Shantel Blakely additionally worked for the BBC World design Service in Prague and in London. Pentagram Days after a mass shooting at The Capital newspaper, staff members march in the 4th of July parade in Annapolis, Maryland in 2018 editorial offices Michael Blanding (page 6) is a journalist One Francis Avenue, Cambridge, with more than 25 years of experience, MA 02138-2098, 617-496-6308, covering media, crime, culture, and the Contents Winter 2019 / Vol. 73 / No. 1 [email protected] environment. His work has appeared in The New York Times, Wired, Slate, and Copyright 2019 by the President and Features Departments Fellows of Harvard College. -
Criminal Defamation: Still “An Instrument of Destruction” in the Age of Fake News
CRIMINAL DEFAMATION: STILL “AN INSTRUMENT OF DESTRUCTION” IN THE AGE OF FAKE NEWS Jane E. Kirtley* & Casey Carmody** I. INTRODUCTION When Bangladeshi journalist Abdul Latif Morol, a correspondent for the Daily Probaha, used Facebook on August 1, 2017 to relay reports about the death of a goat, he was not expecting to be the target of a criminal defamation prosecution.1 The previous day, Bangladesh’s Minister of State for Fisheries and Livestock Narayan Chandra Chanda donated the goat to a poor farmer in Dumuria during an event sponsored by the government’s local livestock department.2 Following the event, news organizations published stories noting that the goat had died overnight. Morol took to Facebook to report the information, writing, “Goat given by state minister in the morning dies in the evening.”3 Soon after the post was published, fellow journalist Subrata Faujdar, a correspondent for the Daily Spandan, filed a criminal defamation complaint against Morol.4 Faujdar claimed that Morol’s post, which also contained a photo of the minister, was intended to demean the official.5 Faujdar was a supporter of the ruling party in Bangladesh and filed the complaint because * Silha Professor of Media Ethics and Law, and Director, Silha Center for the Study of Media Ethics and Law, Hubbard School of Journalism and Mass Communication, University of Minnesota; Affiliated Faculty Member, University of Minnesota Law School. ** PhD Candidate, Hubbard School of Journalism and Mass Communication, University of Minnesota. The authors gratefully acknowledge the research assistance of Scott Memmel, PhD candidate and editor Silha Bulletin, Hubbard School of Journalism and Mass Communication, University of Minnesota, in the preparation of this article. -
News + Digital Trends
LOLA RED News + Digital Trends 20 VOL. 32 PRESENTED WEEK OF MARCH 1 2021 CHART OF THE WEEK Are you team Apple or team Spotify? It looks like Spotify’s multimillion-dollar bet on podcasting is going to pay off. According to recent projections, Spotify’sU.S. podcast listenership has surpassed Apple Podcasts’ listenership. This year, 28.2 million people will listen to podcasts on Spotify at least monthly, while 28.0 million will NEWS + listen via Apple Podcasts. Spotify has experienced significant DIGITAL growth in the recent years due to an aggressive growth plan, and is projected to grow 41.3% this year. TRENDS “By putting podcasts and music in one place, Spotify quickly became the convenient one-stop-shop for everything digital audio,” noted eMarketer forecasting analyst Peter Vahle. “Apple was the de facto destination for podcasts for a long time, but in recent years, it has not kept up with Spotify’s pace of investment and innovation in podcast content and technology. Spotify’s investments have empowered podcast creators and advertisers through its proprietary hosting, creation, and monetization tools,” he said. Source | eMarketer 2 NEWS + TWEET DIGITAL TRENDS OF THE WEEK 3 CREATOR OF THE WEEK College student calls larger creative productions into question Last month, a TikTok video of a Sprite commercial filmed by college student, Ashley Xu, started a conversation among creative industry leaders: what can agencies learn from Gen Z NEWS + as the creative process becomes democratized? DIGITAL In the video, Ashley uses her dorm room desk and white bed TRENDS sheets as a backdrop, a ring light for lighting and a paintbrush to manipulate props. -
Unfollowed: Examining the Property Rights of Social Media
UNFOLLOWED: EXAMINING THE PROPERTY RIGHTS OF SOCIAL MEDIA INFLUENCE IN DIVORCE PROCEEDINGS Hamilton Leiser1 I. SOCIAL MEDIA’S GLOBAL REACH Imagine a picture of an egg being worth ten million dollars. At least one digital marketing agency is estimating exactly that.2 In January 2019, a then-anonymous person created an account on Instagram with a single goal: make a photo of an egg the most liked post on Instagram.3 Within days, the post passed the previously most-liked post on Instagram, which was a picture of Kylie Jenner’s infant daughter.4 As of February 3, 2019, the egg post has over fifty-two million likes, with the account having over ten million followers.5 The account began to post pictures of the egg with cracks, eventually revealing a video promoting mental health.6 This account’s influence as a 1. Hamilton Leiser is a 2020 candidate for Juris Doctor from SMU Dedman School of Law. He received a Bachelor of Business Administration from the University of Texas at Austin in 2016. Hamilton would like to thank Professor Weaver for her help and guidance on this Comment. 2. See Taylor Lorenz, The World-Record Instagram Egg Is Going to Make Someone Very Rich, THE ATLANTIC (Jan. 31, 2019), https://www.theatlantic.com/technology/archive/2019/01/race- monetize-world-record-instagram-egg/581686/. 3. See Jonah Engel Bromwich & Sapna Maheshwari, Meet the Creator of the Egg that Broke Instagram, N.Y. TIMES (Feb. 3, 2019), https://www.nytimes.com/2019/02/03/style/world-record- egg-instagram.html. -
Youtube: Theater for Gen Z's Hyperreality
Bard College Bard Digital Commons Senior Projects Spring 2020 Bard Undergraduate Senior Projects Spring 2020 Youtube: Theater for Gen Z’s Hyperreality Marina E. Laprade Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2020 Part of the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Laprade, Marina E., "Youtube: Theater for Gen Z’s Hyperreality" (2020). Senior Projects Spring 2020. 161. https://digitalcommons.bard.edu/senproj_s2020/161 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 Youtube: Theater for Gen Z’s Hyperreality Senior Project Submitted to The Division of the Art of Bard College by Marina Laprade Annandale-on-Hudson, New York May 2020 2 Acknowledgements Thank you to Susan and to everyone else who supported me while writing this. Thank you Cayce Pollard and your jetlagged mirror world. 3 Table of Contents Introduction Thesis……………………………………………………………………………………………...4 Context The Vlogging Influencer………………………………………………………………..