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2015 Spring Voices
VOICES FROM THE WRITING CENTER SPRING 2015 A CELEBRATION OF WRITING DONE IN AND AROUND THE UNIVERSITY OF IOWA WRITING CENTER EDITED BY CASSANDRA BAUSMAN TABLE OF CONTENTS From Father to Son, Tanner King ................................................ 3 Forget Me Not , De'Shea Coney .................................................. 6 Standoff, Devin Van Dyke ........................................................ 11 Storm of War, Abe Kline ......................................................... 113 Wilderness Appreciation, Natalie Himmel .................................. 17 The Sticky Note, Mingfeng Huang ............................................ 22 Odd and Even, Wenxiu Zou ...................................................... 26 World Apart (Excerpt), Cody Connor .................................... 44 Narrativa, Sarah Jansen ............................................................. 57 Why Everyone Should "Bilbo Up', Sarah Kurtz...........................59 Authoethnography, Ying Chen......................................................62 Voir Dire, Raquel Baker.............................................................64 2 FROM FATHER TO SON Stepping over one childhood memory after another, I make my way toward the chest. I look into it, and there it is, TANNER KING staring up at me. A faded brown teddy bear, with so many patches and stitch jobs that I wonder how much of the original The front door of the old farmhouse opens with a loud fabric is actually there. It looks like it could be centuries old. creak, and my childhood living room greets me as if no time has Maybe it is. It has black beads for eyes, one of which is hanging passed. This is clearly not the case. Plaster is missing from the loosely by a thread. The other one looks up at me, as if it's wall in large chunks, some of it to be found on the dusty brown wondering where I've been. sofa sitting against the staircase to my right. Graffiti litters the Written down the inside of its right leg is “ALBert.” My walls, covering up what is left of the brown striped wallpaper. -
Die Beach-Party-Filme (1963-1968) Zusammengestellt Von Katja Bruns Und James Zu Hüningen
Kieler Beiträge zur Filmmusikforschung, 5.4, 2011 // 623 Die Beach-Party-Filme (1963-1968) Zusammengestellt von Katja Bruns und James zu Hüningen Inhalt: Alphabetisches Verzeichnis der Filme Chronologisches Verzeichnis der Filme Literatur Als Beach Party Movies bezeichnet man ein kleines Genre von Filmen, das sich um die Produktionen der American International Pictures (AIP) versammelt. Zwar gab es eine Reihe von Vorläufern – zuallererst ist die Columbia-Produktion GIDGET aus dem Jahre 1959 zu nennen (nach einem Erfolgsroman von Frederick Kohner), in dem Sandra Dee als Surferin aufgetreten war –, doch beginnt die kurze Erfolgsgeschichte des Genres erst mit BEACH PARTY (1963), einer AIP-Produktion, die einen ebenso unerwarteten wie großen Kassenerfolg hatte. AIP hatte das Grundmuster der Gidget-Filme kopiert, die Geschichte um diverse Musiknummern angereichert, die oft auch als performances seinerzeit populärer Bands im Film selbst szenisch ausgeführt wurden, und die Darstellerinnen in zahlreichen Bikini-Szenen ausgestellt (exponierte männliche Körper traten erst in den Surfer-Szenen etwas später hinzu). Das AIP-Konzept spekulierte auf einen primär jugendlichen Kreis von Zuschauern, weshalb – anders, als noch in der GIDGET-Geschichte – die Rollen der Eltern und anderer Erziehungsberechtigter deutlich zurückgenommen wurden. Allerdings spielen die Auseinandersetzungen mit Eltern, vor allem das Erlernen eines selbstbestimmten Umgangs mit der eigenen Sexualität in allen Filmen eine zentrale dramatische Rolle. Dass die Jugendlichen meist in peer groups auftreten und dass es dabei zu Rang- oder Machtkämpfen kommt, tritt dagegen ganz zurück. Es handelte sich ausschließlich um minimal budgetierte Filme, die on location vor allem an den Stränden Kaliforniens (meist am Paradise Cove) aufgenommen wurden; später kamen auch Aufnahmen auf Hawaii und an anderen berühmten Surfer-Stränden zustande. -
Vision, Desire and Economies of Transgression in the Films of Jess Franco
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation. -
Candidates Accelerate Electioneering
RE5PON5IBLE REFRE5ENT/ Candidates Accelerate Electioneering (UNICOL I, out cliff STUDENT GOVERNMENT Candidates lot' ASB executive and legislative po- lots for two representatives to Student Council. kins (SPUR), Bob Atmstrong Election Board Heisterberg. sitions are in the Gnat stages of electioneering for next A new rule set forth by the ASB states, "that write-in candidates are duly elected only GRADUATE RACE week's elections. when he receives at least the required number of votes Three graduate students are in the race for two A maze of campaign posters, handouts galore and which equals the number of signatures required on the graduate representative seats on Student C'ouncil. They hand shaking candidates will greet students now until petition to run for office. are Ray Kunde (SPUR), Patty Givens t UNICOL(, and after the polls close at 7:30 p.m. next Thursday. Richard Epstein. QUALIFICATIONS have filed petitions for senior repre- Ken Lane, ASB election chairman, predicts 3-4,000 Nine persons Harold Kushins (UNI('OL), Dick students will vote in the upcoming election. Last year The present petition qualification for executive sentative and include J. Fraser (SPUR), Larry Collins a total of 2,818 cast ballots. officers is 100 signatures, and council representatives Miner I SPUR), J. Ann Latiderback (SPUR), Polling places will be located in front of the col- must have 50 signatures. (UNICOL), Jack Grady, Lowry (SPUR) and Vincent Con- lege bookstore, on Seventh Street, In front of the Campaigning tur ASB Presidential votes are, ac- Margaret Leshin, Gil . cafeteria and on Seventh Street across from the cording to their ballot positions, Gene Lokey (UNICOL), treras I. -
Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 106 CONGRESS, SECOND SESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 106 CONGRESS, SECOND SESSION Vol. 146 WASHINGTON, WEDNESDAY, MARCH 15, 2000 No. 29 Senate The Senate was not in session today. Its next meeting will be held on Monday, March 20, 2000, at 12 noon. House of Representatives WEDNESDAY, MARCH 15, 2000 The House met at 10 a.m. and was God of hope, fill us with joy and ican workers are being left behind un- called to order by the Speaker pro tem- peace as we trust in You that, by the employed and unable to reach the pore (Mr. OSE). power of Your spirit, our whole life and American dream. And in spite of this f outlook may be radiant with hope. indisputable fact, the Clinton adminis- Amen. tration continues to encourage the ex- DESIGNATION OF THE SPEAKER f pansion of current free trade policy, PRO TEMPORE such as NAFTA, to other nations The SPEAKER pro tempore laid be- THE JOURNAL around the world. fore the House the following commu- The SPEAKER pro tempore. The Sadly, the President has also failed nication from the Speaker: Chair has examined the Journal of the to mention another fact that the Com- WASHINGTON, DC, last day's proceedings and announces merce Department also announced, and March 15, 2000. to the House his approval thereof. that is that the United States experi- I hereby appoint the Honorable DOUG OSE Pursuant to clause 1, rule I, the Jour- enced record trade deficits with its to act as Speaker pro tempore on this day. -
List of Hairstyles
List of hairstyles This is a non-exhaustive list of hairstyles, excluding facial hairstyles. Name Image Description A style of natural African hair that has been grown out without any straightening or ironing, and combed regularly with specialafro picks. In recent Afro history, the hairstyle was popular through the late 1960s and 1970s in the United States of America. Though today many people prefer to wear weave. A haircut where the hair is longer on one side. In the 1980s and 1990s, Asymmetric asymmetric was a popular staple of Black hip hop fashion, among women and cut men. Backcombing or teasing with hairspray to style hair on top of the head so that Beehive the size and shape is suggestive of a beehive, hence the name. Bangs (or fringe) straight across the high forehead, or cut at a slight U- Bangs shape.[1] Any hairstyle with large volume, though this is generally a description given to hair with a straight texture that is blown out or "teased" into a large size. The Big hair increased volume is often maintained with the use of hairspray or other styling products that offer hold. A long hairstyle for women that is used with rich products and blown dry from Blowout the roots to the ends. Popularized by individuals such asCatherine, Duchess of Cambridge. A classic short hairstyle where it is cut above the shoulders in a blunt cut with Bob cut typically no layers. This style is most common among women. Bouffant A style characterized by smooth hair that is heightened and given extra fullness over teasing in the fringe area. -
Emotional and Descriptive Meaning- Making in Online Non-Professional Discussions About Science
` “Nah, musing is fine. You don't have to be 'doing science'” Emotional and Descriptive Meaning- Making in Online Non-Professional Discussions about Science Oliver Martin Marsh UCL Department of Science and Technology Studies Submitted for the degree of Doctor of Philosophy August 2017 1 ` Declaration I, Oliver Martin Marsh, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ` Abstract In this thesis I use online settings to explore how descriptive and emotional forms of meaning-making interact in non-professional discussions around ‘science’. Data was collected from four participatory online fora, from March 2015 to February 2016. Posts and comments from these fora were examined through discourse analysis, supplemented by interviews with participants and computer-aided text analysis, over the period August 2015 to August 2017. Theoretical background drew on Science and Technology Studies (STS) and Fan Studies (FS), to examine how science was presented in both descriptive and emotional terms. There were two main findings. Firstly, discussions were shaped by an expectation that members should respect mainstream scientific consensus. In a manner familiar from STS, participants treated claims which went against scientific consensus as incorrect or non- credible. Responses also showed emotional aspects which shaped participation. Respect for scientific consensus facilitated social bonding and expression of community values, while disrespect was met with anger and/or ridicule. Through normalisation of such behaviour, scientific authority was maintained by communal sanctions rather than accredited expertise. The second main finding was a distinction between two forms of discourse, which I refer to as musing and identifying. -
Motorradfahren Im Film / Biker-Filme: Eine Filmo- Bibliographie 2011
Repositorium für die Medienwissenschaft Hans Jürgen Wulff Motorradfahren im Film / Biker-Filme: Eine Filmo- Bibliographie 2011 https://doi.org/10.25969/mediarep/12752 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Motorradfahren im Film / Biker-Filme: Eine Filmo-Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 121). DOI: https://doi.org/10.25969/mediarep/12752. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0121_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 121, 2011: Biker-Filme. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0121_11.html Letzte Änderung: 17.3.2011. Motorradfahren im Film / Biker-Filme: Eine Filmo-Bibliographie Hans J. Wulff Inhalt: Es entstand im Gefolge der innergesellschaftlichen Einleitung Herausbildung vor allem jugendlicher Subkulturen Bibliographie in den 1950er Jahren. In einer Verbindung von Mo- 1. Biker Movies torradfahren, Gruppenbildung, Verhalten, Outfit und 2. Road Movies gemeinsamer Musikstile entstanden gesellschaftliche Filmographie Gegenwelten, die sich manchmal rigide gegen die umgreifende Gesellschaft abschotteten. Doch das Genre ist nicht homogen, sondern entfaltet sich in Einleitung mehreren, klar voneinander unterscheidbaren Zy- klen, die im folgenden einzeln vorgestellt werden. -
Soundings East
Soundings East Volume 39 Spring 2017 Soundings East Soundings East Volume 39 TABLE OF CONTENTS CLAIRE KEYES POETRY AWARD Winner Faith Shearin Darwin’s Daughter ................................................................................. 2 My Grandmother, Swimming ................................................................. 3 My Mother, Getting Dressed .................................................................. 4 Ruined Beauty ........................................................................................ 5 Escapes ................................................................................................... 6 Old Woman Returns to Rosebank Avenue ............................................. 7 Adam and Eve in Couples Therapy ......................................................... 8 In This Photo of My Father ..................................................................... 9 Phrenology .............................................................................................10 Northwest Passage .................................................................................11 CLAIRE KEYES STUDENT POETRY AWARD Winner Rebekah Aran In the Heat .......................................................................................... 12 Runner-Up Felicia LeBlanc 3 am ...................................................................................................... 13 FICTION Ryan Burruss The Great Flood ....................................................................................17 John DeBon -
College Radio Station of the Year Engaging Romanticism
College Radio Station of the Year Engaging Romanticism WKDU-FM, Drexel's student-run radio station, is having Engaging Romanticism, a performance one of its most successful years to date while celebrating by students and faculty of the music its 40th anniversary. They recently were ranked in a list of program, will be presented on Sunday, the nation’s top 10 best college radio stations by The Wall November 13th at 4 PM, in the A.J. Street Journal and now WKDU has won the College Drexel Picture Gallery (3141 Chestnut Music Journal’s (CMJ) Station of the Year award, for the Street). More than just a concert, Art second year in a row. WKDU was also named “Biggest History professor and historian Charles Champion of the Local Scene,” a win that validates the Morscheck will address how Romantic very ethos of the station. music continues to make a direct and meaningful emotional connection with “CMJ is kind of like Billboard for college stations,” says listeners and performers. Jake Cooley, a junior business administration major and general manager at the station. “It’s a big deal because at The concert will include songs by CMJ you’re voted on by other colleges and people in the Schubert and Brahms, the Romances by industry.” Robert Schumann, Chopin’s Ballade Number Three, Richard Strauss’ WKDU Philadelphia 91.7 FM, broadcast from the Serenade for Winds, and the finale of basement of the Creese Student Center, is free format, non- Victor Ewald’s third brass quintet. commercial radio whose members are unpaid student volunteers who have a passion for music and unique radio The Drexel faculty includes some of the programming for the greater Philadelphia area audience. -
The Aesthetic Pleasures of Girl Teen Film, by Samantha Colling
The Aesthetic Pleasures of Girl Teen Film, by Samantha Colling. Bloomsbury Academic, 2017 (167 pages). Desirée de Jesus When Cyndi Lauper tweaked the lyrics of Robert Hazard’s “Girls Just Want to Have Fun” she gave us more than a 1980s feminist anthem about sexual freedom; she centred pleasurable female experiences in the pop-cultural imagination and made girlish fun a birthright. Since its release, the song has functioned as narrative shorthand for feminine enjoyment, accompanying film and television sequences that expand its meaning beyond its erotic origins and spotlight female-identified protagonists indulging in fun activities. While not all on-screen moments of girlish fun rely on Lauper’s remake, they hold in common the spectacularised expression of a feminine sensibility presumably shared by all girls and women. Samantha Colling’s book The Aesthetic Pleasures of Girl Teen Film explores how these moments of girlish fun and affective pleasure are created in Hollywood teen films released between 2000 and 2010. The book presents a striking critical analysis of the ways the fairy-tale realism of girl teen film aesthetics reinforces the gender norms that constrain girlhood behaviour and defines the different types of girlish fun, pleasures, and experiences made available to audiences. If, as some have argued, female-driven stories are seen to lack the depth of their male-centric counterparts, light-hearted commercial films about girls’ lives are disparaged all the more. Colling’s book tackles these implicit biases through its examination of how these films construct instances of “girl fun” and shows us why understanding pleasures deemed feminine and frivolous is of crucial importance. -
Film's Musical Moments
MUSIC & THE MOVING IMAGE SERIES This new series aims to explore the area of ‘screen Series Editor: Kevin Donnelly music’. Volume topics include: multimedia music, music and television, Hollywood fi lm music, and the music of FILM’S MUSICAL MOMENTS Bollywood cinema. EDITED BY IAN CONRICH & ESTELLA TINCKNELL FILM’S ‘Conrich and Tincknell’s book The scope of this collection is indicative of the examines a diverse range of breadth and diversity of music’s role in cinema, MUSICAL MOMENTS musical phenomena in fi lms as is its emphasis on musical contributions to and opens up provocative new ‘non-musical’ fi lms. By bringing together chapters avenues of research. This book that are concerned both with the relationship will surely be of interest to between performance, music and fi lm and the scholars of fi lm genre theory, fi lm specifi city of national, historical, social, and music studies, and popular music cultural contexts, Film’s Musical Moments will be culture.’ of equal importance to students of fi lm studies, cultural studies and music. The book is organised Jeff Smith, Washington University into four sections: Music, Film, Culture focuses in St Louis on cinema representations of music forms; Stars, Performance and Reception explores stars, fan Tincknell Conrich and Estella Ian cultures and intertextuality; The Post-Classical Hollywood Musical considers the importance of popular music to contemporary cinema; and Beyond Hollywood looks to specifi c national contexts. Chapters include jazz and animation, the Country and Western biopic, cult musicals and fandom, the importance of the soundtrack movie, and musicals from the former East Germany.