DOCSLIB.ORG

Mass Culture As Domination Or Resistance in Latin American Narratives

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mass Culture As Domination Or Resistance in Latin American Narratives University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses, Dissertations, Student Research: Modern Languages and Literatures, Department Modern Languages and Literatures of 11-2011 Mass Culture as Domination or Resistance in Latin American Narratives Tim Robbins University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/modlangdiss Part of the Latin American Literature Commons, and the Modern Languages Commons Robbins, Tim, "Mass Culture as Domination or Resistance in Latin American Narratives" (2011). Theses, Dissertations, Student Research: Modern Languages and Literatures. 10. https://digitalcommons.unl.edu/modlangdiss/10 This Article is brought to you for free and open access by the Modern Languages and Literatures, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses, Dissertations, Student Research: Modern Languages and Literatures by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. MASS CULTURE AS DOMINATION OR RESISTANCE IN LATIN AMERICAN NARRATIVES By Timothy R. Robbins A DISSERTATION Presented to the Faculty of The Graduate College at University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: Modern Languages and Literatures (Spanish) Under the Supervision of Professor José Eduardo González Lincoln, Nebraska November, 2011 Mass Culture as Domination or Resistance in Latin American Narratives Timothy R. Robbins, Ph.D. University of Nebraska, 2011 Advisor: José Eduardo González Since the introduction of radio to Latin America in the 1930’s and later television in the 1950’s, mass culture has become an important and even contentious part of Latin American identity, and as such has also become an important part of Latin American narratives. In looking at the issue of mass culture, two basic approaches emerge: one can see mass culture as a force of domination or one can see it as a force of resistance. It is possible to trace these approaches through different time periods and geopolitical situations. The Mexican Onda writers, for instance, utilize the rock and roll of North American mass culture for the creation of a generational ethos which pushes the boundaries of the authoritarian idea of Mexican identity. This can be seen as a positive force, as is the case with José Agustín, Gustavo Sainz and Parménides García Saldaña, or as a manifestation of cultural imperialism as Hector Manjarrez proposes. Carlos Monsiváis bridges the spectrum between the two ideologies, gradually envisioning mass culture to be an instrument of cultural imperialism at the same time that it offers a means of resisting social hierarchies and assumptions. At the same time that the Onda authors are exploring Mexican identity, Manuel Puig incorporates mass culture through film and radio in his novels with a different focus. In his novels, Boquitas pintadas and The Buenos Aires Affair, Puig explores the construction of power structures based on gender and ultimately proposes that mass culture can be used to resist these structures if one takes an active, critical approach. The Onda and Puig form a strong basis for comparison and contrast for postmodern writers Alberto Fuguet and Rodrigo Fresán. These authors see mass culture as a part of the fabric of postmodern life, but in this they also see it as a means of domination. Mass culture becomes a fetish that allows the individual to maintain the status quo. iv For my wife, Jessica v ACKNOWLEDGEMENTS The number of people who have given support to this project in many different ways is too large to list here, so I would initially thank all of those who are not mentioned by name for their help. The biggest influence on me throughout this process has been my advisor, José Eduardo González. He has provided astute guidance, direct and insightful critiques, and unfailing support to me. Without him, this project would not be what it is and I thank him for believing in me and for helping me along the way. I would also like to thank the members of my committee, Rigoberto Guevara, Kay Nickel and James Garza for their time and input. I would especially recognize Kay Nickel for her extremely detailed coments on the text of my dissertation. Throughout the process of writing, a number of individuals have been extremely helpful through dialogue and feedback. Jim Gustafson has traveled the conference circuit with me and has provided insight on various parts of my work. He has given me encouragement and has shown me the benefits of both relaxing and living with impending deadlines. I would also like to thank Phil Snider for introducing me to the theories of Slavoj Žižek. Through countless afternoon coffee conversations, Phil has also given me a valuable doorway to see how those who are not involved in literary study can dialogue with my work. My colleagues and friends at Drury University have also been invaluable to me. I am fortunate to work in a fun, respectful environment with the members of the Languages Department: Elizabeth Nichols, Alberto Chamorro, Patrick Moser, and Cathy Blunk. I would be remiss not to give special consideration to Elizabethe Nichols, who vi was instrumental in my decision to attend graduate school and who has been supportive of me and my family from the time I met her as a student in her SPAN 201 class during the Fall of 1998. I consider her first and foremost a mentor and a friend. Other members of the Drury community have also given me unflagging encouragement. I would like to recognize Patricia MacEachern, Peter Browning, Peter Meidlinger, Charlyn Ingwerson and Jonathan Groves for their support. Finally, and perhaps most importantly, I would not have been able to continue this process without my family. I would like to thank my parents, Larry and Barbara Robbins, for giving me the opportunities to be where I am today. My wife, Jessica, has been amazingly patient and supportive, recognizing that at times her husband would disappear into his work and she would in essence be a single parent. I honestly would not have been able to finish without her. Finally, my children, Joseph and Emma, have shown me the lighter side of life and forced me to take a break when things become overwhelming. vii Table of Contents Chapter 1: Mass Culture and Theory: 1 From Adorno and Benjamin to Latin America Chapter 2: Sex, Drugs and Rock and Roll: The Mexican Onda 75 Chapter 3: Movies, Tango, Gender and Identity: Manuel Puig 160 Chapter 4: North American Dreams and Twilight Zone Reality: 197 Alberto Fuguet and Rodrigo Fresán Works Cited 249 1 Chapter 1 Mass Culture and Theory: From Adorno and Benjamin to Latin America Probably the criteria most often agreed upon for distinguishing between the modern and postmodern cultural sensibilities is their respective attitudes toward mass culture. Modernism defined itself in opposition to mass culture. Postmodernism embraces its forms and contents, incorporating them within new artifacts that blur the distinction between high and low culture. Santiago Colás (ix) In 1996, Alberto Fuguet and Sergio Gómez published their, to many, groundbreaking collection of short stories, McOndo, and instilled a new look within the academic as well as literary community as to what Latin American literature is and should be. The project of Fuguet and Gómez highlights the need of a new generation to find a voice and their increasing desire to distance themselves from the great Boom narratives that have become the expected norm from Latin American authors. In looking at this newer generation of authors that have recently enjoyed more critical attention, one encounters a narrative that seeks to forge through new territory and to become an autonomous form of art. As is always the case, individual regions and individual writers each have their own unique and separate styles, themes, motifs, etc., but in looking at a 2 group of writers who, either directly or tangentially, are connected with the McOndo project, Alberto Fuguet or Rodrigro Fresán for instance, the theme of mass culture and its relationship with their narrative creation and with other forms of culture becomes a clear area of interest. Based on the increased importance of mass culture within their work, we can examine the texts of these authors in the historical and literary context of their day, at the same time examining their precursors, writers who in the heyday of the Boom narratives chose to take a different approach, one that was less concerned with the great national narratives and more concerned with mass culture and its place in society and in literature. If we focus on the geographical, regional landscape, we find that the Onda writers in Mexico and Manuel Puig in the Southern Cone both provide examples of writers with whom the later McOndo authors enter into indirect dialogue.1 In looking at all of these writers and the theoretical background that coexists with their works, two very distinct attitudes towards mass culture emerge: a positive vision that sees mass culture as a means of resistance to traditional or authoritative practices and ideas about art, and a negative vision that sees mass culture as a force of domination or oppression. A Working Definition of Mass Culture. Before we begin to examine mass culture within these writers’ texts, it is necessary to have a clear grasp of what mass culture is and the controversies that surround it. The debate regarding mass culture and its relationship with so called “high” culture (e.g. Literature) is certainly not new. This debate finds resonance with the criticism of both Walter Benjamin and Theodor Adorno, and many critics and authors in one way or another continue their arguments. This relationship becomes one of the primary focuses of postmodern thought and expression.
Load more

Recommended publications
  • 9780367508234 Text.Pdf
    Development of the Global Film Industry The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional produc- tion companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a “big picture” view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated develop- ment of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world. Qiao Li is Associate Professor at Taylor’s University, Selangor, Malaysia, and Visiting Professor at the Université Paris 1 Panthéon- Sorbonne. He has a PhD in Film Studies from the University of Gloucestershire, UK, with expertise in Chinese- language cinema. He is a PhD supervisor, a film festival jury member, and an enthusiast of digital filmmaking with award- winning short films. He is the editor ofMigration and Memory: Arts and Cinemas of the Chinese Diaspora (Maison des Sciences et de l’Homme du Pacifique, 2019).
    [Show full text]
  • Central Problems in Cultural Studies
    Central Problems in Cultural Studies 1 Language and Material For Marxism, culture is a corporeal force locked into the socially organized production of the material conditions of existence. Marxism has argued that the material mode of production is ‘the real foundation’ of cultural superstructures. That is, the material – understood here as the economic – determines the cultural. However, this orthodox reading of Marx proved to be too mechanical and deterministic in exploring the specific features of culture. Consequently, the narrative of cultural studies involves a distancing of itself from Marxist reductionism. Instead, the analysis of the autonomous logic of language, culture, representation and consumption was placed in the foreground. – Barker, pp. 25-26 2 The Textual Character of Culture Most students of cultural studies are aware that culture can be read as a text, using concepts like signification, code or discourse. However, an emphasis on structuralist and poststructuralist accounts of signification has sometimes led cultural studies to reify language as a ‘thing’ or ‘system’ rather than grasp it as a social practice. – Barker, p. 26 3 The metaphor of culture as ‘like a language’ has a great deal to recommend it. However, there is also much to be gained by describing culture in terms of practices, routines and spatial arrangements. Not only is language always embedded in practice, but also all practices signify. Further, the identification of textual codes and subject positions does not guarantee that the proscribed meanings are ‘taken up’ by concrete persons in daily life (see Ang, 1985; Morley, 1992). – Barker, p. 26 4 The Location of Culture For Raymond Williams (1981, 1983) culture is located, for all intents and purposes, within flexible but identifiable boundaries.
    [Show full text]
  • World Latin American Agenda 2016
    World Latin American Agenda 2016 In its category, the Latin American book most widely distributed inside and outside the Americas each year. A sign of continental and global communion among individuals and communities excited by and committed to the Great Causes of the Patria Grande. An Agenda that expresses the hope of the world’s poor from a Latin American perspective. A manual for creating a different kind of globalization. A collection of the historical memories of militancy. An anthology of solidarity and creativity. A pedagogical tool for popular education, communication and social action. From the Great Homeland to the Greater Homeland. Our cover image by Maximino CEREZO BARREDO. See all our history, 25 years long, through our covers, at: latinoamericana.org/digital /desde1992.jpg and through the PDF files, at: latinoamericana.org/digital This year we remind you... We put the accent on vision, on attitude, on awareness, on education... Obviously, we aim at practice. However our “charisma” is to provoke the transformations of awareness necessary so that radically new practices might arise from another systemic vision and not just reforms or patches. We want to ally ourselves with all those who search for that transformation of conscience. We are at its service. This Agenda wants to be, as always and even more than at other times, a box of materials and tools for popular education. latinoamericana.org/2016/info is the web site we have set up on the network in order to offer and circulate more material, ideas and pedagogical resources than can economically be accommo- dated in this paper version.
    [Show full text]
  • September 8, 1962
    September 8, 1962 Ever since “Blue Moon” zoomed to the top of the charts, Colpix Records has been an important and consistant factor on the singles scene with a series of best sellers by such artists as James Darren (left), Shelley Fabares (second), Paul Petersen (third), the Marcels (fourth) and in the album field with Nina Simone (right). As the company’s singles continue to build, Leo Jeffe, executive vice-president of Columbia Pictures, parent company of Colpix, and Jerry Raker, general manager of Colpix Records, are seen discussing a major push for the company’s line. ) expanding album The two are standing in front of some of the important Columbia flicks for which Colpix has issued sound-track albums. 1 a sensational lineup!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! / Columbia singles sel/M * Also available on Single 33 Cash Box CashBox Vol. XXIV—Number 1 September 8, 1962 FOUNDED BY BILL GERSH Gash Box (Publication Office) 1780 Broadway New York 19, N. Y. SINGLES (Phone: JUdson 6-2640) CABLE ADDRESS: CASHBOX, N. Y. JOE ORLECK, President and Publisher NORMAN ORLECK, VP and Managing Director and GEORGE ALBERT, VP and Treasurer EDITORIAL—Music MARTY OSTROW, Editor-in-Chief IRA HOWARD, Editor IRV LICHTMAN, Associate Editor DICK ZIMMERMAN, Editorial Assistant SHOWTUNES MIKE MARTUCCI, Editorial Assistant BOB ETTINGER, Editorial Assistant POPSIE, Staff Photographer The music business doesn’t have gles rounds on a host of labels. ADVERTISING to look to nature for signs of Fall. This kind of showtune coverage of BOB AUSTIN, National Director, Music JERRY SHIFRIN, NY.C. office, Music The theatre sections of every publi- singles takes the record industry LEE BROOKS, Manager Chicago JACK DEVANEY, Manager Los Angeles cation, consumer or trade, make back at least a decade, and if it con- Machine MARTY TOOHEY, National—Coin the music man well aware at this tinues, the singles field well NEVILLE MARTEN, London, Eng.
    [Show full text]
  • T3 Magazine Uk - September 2014
    T3 magazine uk - september 2014 Download Free eBook:T3 Magazine UK - September - Free chm, pdf ebooks download. T3 Magazine UK - September T3 Magazine UK - September English | pages | True PDF | Mb. Read back issues: T3. T3 is the world’s number one gadget magazine. Each issue is packed full of the latest tech news and analysis, gadget reviews, intelligent features and a. T3 UK - September download magazine in PDF for free without registration on high speed! T3 UK Issue August download magazine in PDF for free without registration on high speed! T3 UK — October download magazine in PDF for free without registration on high speed! New Electronics — September 26, T3 is the world's number one gadget magazine. Each issue is packed full of the latest tech news and analysis, gadget reviews, intelligent features and a buying. The latest gadget and technology news, reviews, buyer's guides and features. Covering smartphones, laptops, audio, gaming, fitness and more. Find great deals on eBay for T3 Magazine in Computing, IT and Internet T3 MAGAZINE SEPTEMBER ISSUE 63 T3 magazine UK edition. ONE T3 Magazine - various editions - Gadgets iphone car tech Enjoy unlimited access to over magazines on your mobile and tablet. Your monthly bible for better living through technology, T3 is the UK's biggest-selling digital edition and T3 - Sep T3 - September Matt Hill, previously Editor of T3 Magazine and Digital Editions, joins Gizmodo UK to Gizmodo UK launched in September , quickly doubling its The T3 Gadget Awards took place on October 2 and named the. Published on 5th September T3 magazine has listed it amongst its " Gadgets You Can't Live Without", a collection of must have.
    [Show full text]
  • Introduction
    Introduction Frederick Luis Aldama Scholar, playwright, spoken-word performer, award-winning poet, and avant-garde fiction author, since the 1980s Giannina Braschi has been creating up a storm in and around a panoply of Latinx hemispheric spaces. Her creative corpus reaches across different genres, regions, and historical epochs. Her critical works cover a wide range of subjects and authors, including Miguel de Cervantes, Garcilaso de la Vega, Juan Ramón Jiménez, Gustavo Adolfo Bécquer, Antonio Machado, César Vallejo, and García Lorca. Her dramatic poetry titles in Spanish include Asalto al tiempo (1981) and La comedia profana (1985). Her radically ex- perimental genre-bending titles include El imperio de los sueños (1988), the bilingual Yo-Yo Boing! (1998), and the English-penned United States of Banana (2011). With national and international awards and works ap- pearing in Swedish, Slovenian, Russian, and Italian, she is recognized as one of today’s foremost experimental Latinx authors. Her vibrant bilingually shaped creative expressions and innovation spring from her Latinidad, her Puerto Rican-ness that weaves in and through a planetary aesthetic sensibility. We discover as much in her work about US/Puerto Rico sociopolitical histories as we encounter the metaphysical and existential explorations of a Cervantes, Rabelais, Did- erot, Artaud, Joyce, Beckett, Stein, Borges, Cortázar, and Rosario Castel- lanos, for instance. With every flourish of her pen Braschi reminds us that in the distillation and reconstruction of the building blocks of the uni- verse there are no limits to what fiction can do. And, here too, the black scratches that form words and carefully composed blank spaces shape an absent world; her strict selection out of words and syntax is as important as the precise insertion of words and syntax to put us into the shoes of the “complicit reader” (Julio Cortázar’s term) to most productively interface, invest, and fill in the gaps of her storyworlds.
    [Show full text]
  • Desplazamientos Lingüísticos Y Literarios En La Obra De Giannina Braschi YO-YO BOING!
    Facultad de Humanidades Sección de Filología Desplazamientos lingüísticos y literarios en la obra de Giannina Braschi YO-YO BOING! Trabajo de Fin de Grado Grado en español: lengua y literatura Estudiante: Anastasia Gameza Tutores: Dr. Juan Manuel García Ramos, Dra. Juana L. Herrera Santana La Laguna 2015 Índice SUMMARY -------------------------------------------------------------------------------------------------------------------- 3 RESUMEN --------------------------------------------------------------------------------------------------------------------- 4 1. INTRODUCCIÓN ------------------------------------------------------------------------------------------------------- 5 2. MARCO TEÓRICO------------------------------------------------------------------------------------------------------ 8 2.1. Puerto Rico y los Estados Unidos --------------------------------------------------------------------------- 8 2.2. Code-switching ------------------------------------------------------------------------------------------------ 10 2.3. Spanglish ------------------------------------------------------------------------------------------------------- 11 3. DESPLAZAMIENTOS ENTRE LOS “YOS” ------------------------------------------------------------------------- 12 3.1. El título y la composición de la obra --------------------------------------------------------------------- 12 3.2. Construcción del sujeto ------------------------------------------------------------------------------------- 13 4. MONOLINGÜISMO FRENTE AL BILINGÜISMO DENTRO
    [Show full text]
  • ART, TECHNOLOGY, and HIGH ART/LOW CULTURE DEBATES in CANONICAL AMERICAN ART HISTORY I. Overview in His Media Ar
    CHAPTER ONE: ART, TECHNOLOGY, AND HIGH ART/LOW CULTURE DEBATES IN CANONICAL AMERICAN ART HISTORY I. Overview In his Media Art History, Hans-Peter Schwarz of the Center for Art and Media in Karlsruhe, Germany (ZKM) wrote: “The history of the new media [sic] is inextricably linked with the history of the project of the modern era as a whole. It can only be described as the evolution of the human experience of reality, i.e. of the social reality relationship in the modern age.” I begin with his words, which have strong resonance for me, perhaps beyond his initial intent or ultimate direction. His astute triangulation of those three concepts—new media history, the project of the modern era, and “social reality”—form the nexus of my theoretical investigation. For it seems that current social realities and the project of the modern era largely govern new media’s reception within the Western art history canon. Perhaps clarity regarding the ideological interconnection of these three elements will only be possible with more historical distance. However, this dissertation represents a step toward a better understanding of the sometimes-vicious canonical opposition to the fusion of art and technology, in light of these intersections. Key are his two phrases: “the project of the modern era,” and “the evolution of the human experience of reality, i.e. of the social reality relationship in the modern age.” On the basis of Schwarz’s text, I take the second phrase to mean the dehumanization that results from industrialization and modern warfare. In regard to artistic production, he rightly underscores the abrupt reorganization of vision precipitated by, for example, developments in photography and cinematography during the early modernist period.
    [Show full text]
  • Beyond Intellectual Insularity: Multicultural Literacy As a Measure of Respect
    Beyond Intellectual Insularity: Multicultural Literacy as a Measure of Respect Lisa Taylor Bishops University Michael Hoechsmann McGill University Authors’ Note For their support of this research we are deeply indebted to the Social Sciences and Humanities Research Council, the Canadian Race Relations Foundation, Bishop’s University, and our participating school boards, schools, teachers, and students. Note des auteurs Pour leur soutien à cette recherche, nous sommes profondément reconnaissants au Conseil de recherche en sciences humaines du Canada, à la Fondation canadienne des relations raciales, à l'Université Bishop's, et aux conseils scolaires qui ont participé ainsi qu'aux écoles, aux enseignants et aux étudiants. Abstract We report on a national survey (942 secondary students, 10 school boards, 5 provinces) that measures what young people know about the histories and the intellectual, political, and cultural legacies of racialized peoples, globally and nationally, and where they learned it (school, media, family, community). Intended as a contribution to, and challenge of, existing frameworks for multicultural education, the research demonstrates the importance of in and out of school learning, and how the various sites of learning resonate differently for particular groups of young people. It demonstrates the key role schools can play for different youth in building, or augmenting, a consistent, common knowledge base. Résumé Nous faisons le rapport d'une enquête nationale (942 élèves du secondaire, 10 conseils scolaires, 5 provinces) qui mesure la connaissance des jeunes, de l'histoire et de l'héritage intellectuel, politique et culturelle des peuples racialisés, mondialement et nationalement, et où ils l'ont appris (l'école, les médias, la famille, la communauté).
    [Show full text]
  • Aerobatic Teams of the World
    AIRFORCES MONTHLY 16-pAGE SUPPLEMENT JUNE 2013 Military DisplayEdited by Mark Broadbent Teamsof the World 2013 IR FORCES operate display teams Ato showcase the raw skills of airmanship, precision and teamwork that underpin military flying and to promote awareness and recruitment. They also have an ambassadorial role, promoting an air force and country overseas. Many covered in this supplement display overseas each year and, in some cases, frequently undertake international tours. Teams are also used to promote a country’s aerospace industry, playing informal roles in sales campaigns. As financial constraints continue to affect air force budgets globally, it will be interesting to see if aerobatic teams can maintain their military, political and industrial value. FRECCE TRICOLORI - AMI Military display teams of the world 2013 Australia Roulettes ARGENTINACruz del Sur Brazil Esquadrilha Brunei Alap-Alap ROYAL AUSTRALIAN AIR FORCE da Fumaça Formation Official designation: ROYAL BRUNEI AIR FORCE Royal Australian Air BRAZILIAN AIR FORCE (Angkatan Tentera Udara Force Aerobatic Team (Força Aérea Brasileira) DiRaja Brunei - ATUDB) Aircraft: 6 x Pilatus PC-9 English translation: English translation: Base: RAAF Base East Sale Smoke Squadron Eagle Formation History: The Roulettes team Official designation: Official designation: Royal was established in 1970 for the Brazilian Air Force Air Brunei Air Force Aerobatic Team RAAF’s Golden Jubilee using Demonstration Squadron Aircraft: 3 x Pilatus PC-7II the Vampire’s replacement, the Aircraft: 7 x Embraer Base: Rimba AB Macchi MB326. It grew from T-27 Super Tucano History: Alap-Alap Formation its initial four aircraft to seven Base: Pirassununga AB was established in February 2011 in 1981, but a year later was History: The team was to mark the 50th anniversary reduced to five.
    [Show full text]
  • Cultural Stereotypes: from Dracula's Myth to Contemporary Diasporic Productions
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2006 Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions Ileana F. Popa Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1345 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. Ileana Florentina Popa BA, University of Bucharest, February 1991 MA, Virginia Commonwealth University, May 2006 Director: Marcel Cornis-Pope, Chair, Department of English Virginia Commonwealth University Richmond, Virginia May 2006 Table of Contents Page Abstract.. ...............................................................................................vi Chapter I. About Stereotypes and Stereotyping. Definitions, Categories, Examples ..............................................................................1 a. Ethnic stereotypes.. ........................................................................3 b. Racial stereotypes.
    [Show full text]
  • User Guide for Cisco Digital Media Manager 5.0
    User Guide for Cisco Digital Media Manager 5.0 Americas Headquarters Cisco Systems, Inc. 170 West Tasman Drive San Jose, CA 95134-1706 USA http://www.cisco.com Tel: 408 526-4000 800 553-NETS (6387) Fax: 408 527-0883 Text Part Number: OL-15762-01 THE SPECIFICATIONS AND INFORMATION REGARDING THE PRODUCTS IN THIS MANUAL ARE SUBJECT TO CHANGE WITHOUT NOTICE. ALL STATEMENTS, INFORMATION, AND RECOMMENDATIONS IN THIS MANUAL ARE BELIEVED TO BE ACCURATE BUT ARE PRESENTED WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED. USERS MUST TAKE FULL RESPONSIBILITY FOR THEIR APPLICATION OF ANY PRODUCTS. THE SOFTWARE LICENSE AND LIMITED WARRANTY FOR THE ACCOMPANYING PRODUCT ARE SET FORTH IN THE INFORMATION PACKET THAT SHIPPED WITH THE PRODUCT AND ARE INCORPORATED HEREIN BY THIS REFERENCE. IF YOU ARE UNABLE TO LOCATE THE SOFTWARE LICENSE OR LIMITED WARRANTY, CONTACT YOUR CISCO REPRESENTATIVE FOR A COPY. The Cisco implementation of TCP header compression is an adaptation of a program developed by the University of California, Berkeley (UCB) as part of UCB’s public domain version of the UNIX operating system. All rights reserved. Copyright © 1981, Regents of the University of California. NOTWITHSTANDING ANY OTHER WARRANTY HEREIN, ALL DOCUMENT FILES AND SOFTWARE OF THESE SUPPLIERS ARE PROVIDED “AS IS” WITH ALL FAULTS. CISCO AND THE ABOVE-NAMED SUPPLIERS DISCLAIM ALL WARRANTIES, EXPRESSED OR IMPLIED, INCLUDING, WITHOUT LIMITATION, THOSE OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OR ARISING FROM A COURSE OF DEALING, USAGE, OR TRADE PRACTICE. IN NO EVENT SHALL CISCO OR ITS SUPPLIERS BE LIABLE FOR ANY INDIRECT, SPECIAL, CONSEQUENTIAL, OR INCIDENTAL DAMAGES, INCLUDING, WITHOUT LIMITATION, LOST PROFITS OR LOSS OR DAMAGE TO DATA ARISING OUT OF THE USE OR INABILITY TO USE THIS MANUAL, EVEN IF CISCO OR ITS SUPPLIERS HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
    [Show full text]