DOCSLIB.ORG

Teaching the Media with Mouse Woman: Adventures in Imaginative Education

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Teaching the Media with Mouse Woman: Adventures in Imaginative Education Teaching the Media with Mouse Woman: Adventures in Imaginative Education by Kymberley Stewart M.A., Simon Fraser University, 2004 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Curriculum Theory & Implementation Program Faculty of Education Kymberley Stewart 2014 SIMON FRASER UNIVERSITY Summer 2014 Approval Name: Kymberley Stewart Degree: Doctor of Philosophy (Education) Title: Teaching the Media with Mouse Woman: Adventures in Imaginative Education Examining Committee: Chair: Allan MacKinnon Associate Professor Mark Fettes Senior Supervisor Associate Professor Kieran Egan Supervisor Professor Michael Ling Supervisor Senior Lecturer Lynn Fels Internal/External Examiner Associate Professor Faculty of Education David Jardine External Examiner Professor Faculty of Education University of Calgary Date Defended: August 20, 2014 ii Partial Copyright Licence iii Ethics Statement iv Abstract Concerns have been expressed for decades over the impact of an increasingly media-saturated environment on young children. Media education, however, occupies a somewhat marginal place in compulsory schooling, and its theorists and practitioners have given relatively little attention to the question of how to teach the media to elementary school children. This question is explored through an auto-ethnography and métissage spanning more than twenty years of media use, media studies, and media education. Three shifts in emphasis are particularly central to the thesis. The first is a shift from a protectionist to a more open, albeit critical stance with respect to children‘s media use. The second is a shift from conceiving of media education in terms of a pre-packaged curriculum towards the co-construction of learning experiences with the students, guided by Egan‘s theory of imaginative education. The third involves learning to slow down and take time to dwell with the questions and activities inspired by an imaginative focus on media. By tracing the personal and professional growth and struggles of one passionate media educator, the thesis seeks to illustrate the educational issues that the field of media education needs to engage with, if it is to develop into a more dynamic and influential field of theory and practice. It also offers a situated, experiential perspective on the practice of imaginative education that highlights its close ties with other voices and traditions in educational philosophy, and connects it with the ethos of métissage as a research praxis. • Keywords: media education; imagination; pedagogy; reflective practice; métissage; auto-ethnography v Dedication To all the Mouse Wo(men) and Mischief Makers who have inspired me to revel in the art of being lost vi Acknowledgements The words I find in this acknowledgment will never match the gratitude and love I feel for those who have been a part of this journey to write this thesis. It has become a transformational process that and I will never forget. Dr. Mark Fettes: Our paths crossed a decade ago while I was looking for a new academic home. You‘ve provided not only a home in a new field, but a foundation for my future career of teaching and researching. Without your support I never would have found the courage to find my voice and I would have probably fallen into the path of writing a thesis for others, instead of for myself. Thank you from the bottom of my heart for making my vision a reality. You were truly my guiding spirit during this process. Dr. Kieran Egan: Our paths crossed even longer ago when I was first inspired by your work to look more closely at imagination. Over the last decade you allowed me to be intertwined into the world of the Imaginative Education Research Group. Dr. Michael Ling: I am so very thankful for all the impromptu, hallway discussions that poked and prodded my understandings and perceptions. I love that our media lives merged with anthropology and now education; you keep my inner Seinfeld alive and well in my academic world. Dr. Lynn Fels and Dr. David Jardine: I cannot thank you both enough for making the culminating conversation about my thesis so meaningful and memorable. Your words and commitment to the conversation will help me move this starting piece forward/sideways/inward. Dr. Vicki Kelly: My behind-the-scenes committee member—the one person who always seemed to find me at my most vulnerable and always knew exactly what to say to keep me going. I hope our lives and work find a way to weave into one another. vii My new home provided by Mark and Kieran in the IERG office provided me with life-long friends and colleagues who fostered my inquiry into educational practice and drive to understand IE to new depths; while always keep me smiling—much gratitude to Annabella Cant, Veronica Hotton , Stacey Makortoff, Melanie Young and Tannis Calder—you are my Mischief-Makers in the most loving way. I will miss being able to spin my chair around in IERG and see your smiling, loving, thoughtful faces. My gratitude to teachers and researchers working with IE extends far beyond the walls of the IERG office; I will forever be indebted to the passionate, thoughtful, inspirational teachers/researchers in LUCID—thank you for allowing me to be part of your journeys. Your tenacity, strength and love has helped me more than you‘ll ever know. To Brian Gohkle and Elaine MacKee who have been gifts to understanding Waldorf education and Steiner: I am forever grateful for the hours of conversations, practices, and queries. To my extended Waldorf family: Thank you Jen Dodds for daily updates on how to juggle life and work that kept me going/laughing; to the parents who so thoughtfully helped with pick-up and playdates for Tayme while I worked and to Stephanie for keeping me healthy and focused. Thanks to Kathy Sherrell for the years of study-dates at various campus around the Lower Mainland. And of course, thanks to my Mom and Dad who helped me become the student I am today, who reminded me that no matter what the journey entailed, I could follow my dream of becoming an educator; and to my Babas who remain with me daily and always remind me to find love and ingenuity in all that I do. Dana, my love: Thank you for nurturing me in all the ways that have made it possible to complete a dream of finishing my PhD. You‘ve made raising a daughter, finishing a PhD and starting a career all possible with your patience and love. And finally, thank you to my darling daughter Tayme, who has been my muse for learning to stand still, finding wonder and mystery again in life and learning to find balance… just like Mouse Woman. viii Table of Contents APPROVAL ................................................................................................................................................. II PARTIAL COPYRIGHT LICENCE ............................................................................................................... III ETHICS STATEMENT ............................................................................................................................... IV ABSTRACT ................................................................................................................................................. V DEDICATION ............................................................................................................................................ VI ACKNOWLEDGEMENTS .......................................................................................................................... VII TABLE OF CONTENTS .............................................................................................................................. IX CHAPTER 1. WALK THIS WAY ........................................................................................... 1 KARMA CHAMELEON ................................................................................................................................ 1 TAINTED LOVE .......................................................................................................................................... 5 TAKE ON ME, TAKE ME ON .................................................................................................................... 12 HERE COMES THE RAIN AGAIN/ FALLING ON MY HEAD LIKE A MEMORY/ FALLING ON MY HEAD LIKE A NEW EMOTION ........................................................................................................................... 19 EXPRESS YOURSELF ............................................................................................................................... 22 COURAGE… ............................................................................................................................................ 26 …COULDN’T COME AT A WORSE TIME .................................................................................................. 26 IF YOU DON’T KNOW ME BY NOW ......................................................................................................... 30 HOLD ME NOW, STAY WITH ME ............................................................................................................ 35 CHAPTER 2. WHERE THE WILD THINGS ARE ............................................................ 38 LET THE WILD RUMPUS START ............................................................................................................. 38 THE FOREST GREW AND GREW ............................................................................................................ 41
Load more

Recommended publications
  • Every Light in the House Is on Trace Adkins Free Mp3 Download
    Every light in the house is on trace adkins free mp3 download CLICK TO DOWNLOAD “Every Light in the House” is a song written by Kent Robbins and recorded by American country music artist Trace Adkins. It was released in August as the second single from his debut. Check out Every Light In The House by Trace Adkins on Amazon Music. Stream ad-free or purchase CD's and MP3s now on renuzap.podarokideal.ru(26). 10/26/ · Every Light In The House Trace Adkins [Intro] F C A# [Verse] F I told you I d leave a light on C In case you ever wanted to come back home A# F C You smiled and said you appreciate the gesture F I took you every word to heart C Cause I can t stand us being apart A# F C And just to show how much I really miss ya [Chorus] F Every light in the house is on C The backyard s bright as the . Trace Adkins Every Light in the House Lyrics More music MP3 download song lyrics: How High the Moon Lyrics, Take Me Back Lyrics, Fools Fall in Love Lyrics, Shooting Star Lyrics, Love Up Lyrics, I'm from the CO Lyrics, Hammer of God Lyrics, Kansas City Lyrics, Few Hours of Light Lyrics, My Devotion Lyrics, Donna the Prima Donna. Download the karaoke of Every Light in the House as made famous by Trace Adkins in the genre Country on Karaoke Version. Every Light in the House Karaoke - Trace Adkins. All MP3 instrumental tracks Instrumentals on demand Latest MP3 instrumental tracks MP3 instrumental tracks Free karaoke files.
    [Show full text]
  • Here Comes Television
    September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business.
    [Show full text]
  • Open Source Ethos Guiding Beliefs Or Ideals That Characterize a Community
    Open Source Ethos guiding beliefs or ideals that characterize a community Patrick Masson Open Source Initiative [email protected] What is the mission of the conference? …bring smart and creative people together; …inspire and motivate them to create new and amazing things; …with an intimate group of like minded individuals. What is the mission of the conference? …bring smart and creative people together; …inspire and motivate them to create new and amazing things; …with an intimate group of like minded individuals. This is the open source ethos – guiding beliefs, ideals of a community It's a great time to be working with open source 1.5 Million Projects 78% of companies run on open source 64% of companies participate It's a great time to be working with open source 88% expect contributions to grow 66% consider before proprietary <3% Don't use OSS 2015 Future of Open Source Survey Black Duck, Northbridge It's a great time to be working with open source It's a great time to be working with open source It's a great time to be working with open source It's a great time to be working with open source Open-course/Open-source Marc Wathieu CC-BY-NC-SA https://www.flickr.com/photos/marcwathieu/2412755417/ _____ College first Massive Open source Online Course (MOOC) Are you seeing other examples of this Mini-MOOC trend (free, I began but did not finish my first The Gates grantees aren’t the only ones open source courses by a MOOC (Massive Open-Source, startup or organization)? Online Course).
    [Show full text]
  • The Notion of Song, Identities, Discourses, and Power
    The Notion of Song, Identities, Discourses, and Power: Bridging Songs with Literary Texts to Enhance Students’ Interpretative Skills Elroy Alister Esdaille Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2020 © 2020 Elroy Alister Esdaille All Rights Reserved Abstract Sometimes students struggle to interpret literary texts because some of these texts do not lend themselves to the deduction of the interpretative processes with which they are familiar, but the same is not true when students pull interpretations from songs. Is it possible that students’ familiarity with songs might enable them to connect a song with a book and aid interpretation that way? This study attempted to explore the possibility of bridging songs to literary texts in my Community College English classroom, to ascertain if or how the use of song can support or extend students’ interpretive strategies across different types of texts. I investigated how songs might work as a bridge to other texts, like novels, and, if the students use songs as texts, to what extent do the students develop and hone their interpretative skills? Because of this, how might including songs as texts in English writing or English Literature curriculum contribute to the enhancement of students’ writing? The students’ responses disclosed that the songs appealed to their cognition and memories and helped them to interpret and write about the novels they read. Moreover, the students’ responses revealed that pairing or matching songs with novels strengthened interpretation of the book in a plethora of ways, such as meta-message deduction, applying contexts, applying comparisons, and examining thematic correlations.
    [Show full text]
  • Karaoke Catalog Updated On: 20/12/2018 Sing Online on Entire Catalog
    Karaoke catalog Updated on: 20/12/2018 Sing online on www.karafun.com Entire catalog TOP 50 Tennessee Whiskey - Chris Stapleton Perfect - Ed Sheeran Grandma Got Run Over By A Reindeer - Elmo & All I Want For Christmas Is You - Mariah Carey Summer Nights - Grease Crazy - Patsy Cline Bohemian Rhapsody - Queen Feliz Navidad - José Feliciano Have Yourself A Merry Little Christmas - Michael Sweet Caroline - Neil Diamond Folsom Prison Blues - Johnny Cash Killing me Softly - The Fugees Don't Stop Believing - Journey Ring Of Fire - Johnny Cash Zombie - The Cranberries Baby, It's Cold Outside - Dean Martin Dancing Queen - ABBA Fly Me To The Moon - Frank Sinatra Rockin' Around The Christmas Tree - Brenda Lee Girl Crush - Little Big Town Livin' On A Prayer - Bon Jovi White Christmas - Bing Crosby Piano Man - Billy Joel Jackson - Johnny Cash Jingle Bell Rock - Bobby Helms Can't Help Falling In Love - Elvis Presley Baby It's Cold Outside - Idina Menzel Friends In Low Places - Garth Brooks Let It Go - Idina Menzel I Wanna Dance With Somebody - Whitney Houston Last Christmas - Wham! Let It Snow! Let It Snow! Let It Snow! - Dean Martin You're A Mean One, Mr. Grinch - Thurl Ravenscroft Uptown Funk - Bruno Mars Africa - Toto Rudolph The Red-Nosed Reindeer - Alan Jackson Shallow - A Star is Born My Way - Frank Sinatra I Will Survive - Gloria Gaynor The Christmas Song - Nat King Cole Wannabe - Spice Girls It's Beginning To Look A Lot Like Christmas - Dean Take Me Home, Country Roads - John Denver Please Come Home For Christmas - The Eagles Wagon Wheel -
    [Show full text]
  • In This Episode of the Flintstones, the Main Characters Are Shown to Seek Martial Arts Lessons
    In this episode of the Flintstones, the main characters are shown to seek martial arts lessons. The judo master in the scene is depicted as a Japanese man who wears a sinister-looking smile throughout the scene. He offers the characters lessons at supposedly good prices. As he rattles off the offers by ensuring them that they could get "silver medal lessons" for "[a] big bargain, big bargain" and "for a few more measly dollars ... gold medals, diamond medals...," his pronunciations are exaggeratedly shown to be wrong by a mix up between r's and l's and by an obvious difference in the emphasis on syllables. The man's speech is set apart from the other characters' by juxtaposing his differently accented words to the others' SAE pronunciation. Also, the Flintstones and their friends bowed while imitating his accent as if attempting to fit that man's mannerisms. However, this can be seen as making light of the man's characteristics and manners as if they are silly. In this scene, the judo master portrays prevalent stereotypes about Asians. The man's inability to enunciate r's and l's reflect the struggle that many people face in differentiating between r's and l's in English because their native tongues do not make the same distinction. More importantly, the judo master's speech is used to indicate a lack of intelligence, as evidence by Fred's comment, "What does 'et cetera, et cetera' mean in Japanese? Sucker?" which is followed by Barney's response in a tone mocking the Japanese man's, "Oh, that's for sure!" Furthermore, prior to that, Fred had thrown in an unintelligible word in an attempt to imitate the man's Japanese accent.
    [Show full text]
  • Allan Holdsworth Schille Reshaping Harmony
    BJØRN ALLAN HOLDSWORTH SCHILLE RESHAPING HARMONY Master Thesis in Musicology - February 2011 Institute of Musicology| University of Oslo 3001 2 2 Acknowledgment Writing this master thesis has been an incredible rewarding process, and I would like to use this opportunity to express my deepest gratitude to those who have assisted me in my work. Most importantly I would like to thank my wonderful supervisors, Odd Skårberg and Eckhard Baur, for their good advice and guidance. Their continued encouragement and confidence in my work has been a source of strength and motivation throughout these last few years. My thanks to Steve Hunt for his transcription of the chord changes to “Pud Wud” and helpful information regarding his experience of playing with Allan Holdsworth. I also wish to thank Jeremy Poparad for generously providing me with the chord changes to “The Sixteen Men of Tain”. Furthermore I would like to thank Gaute Hellås for his incredible effort of reviewing the text and providing helpful comments where my spelling or formulations was off. His hard work was beyond what any friend could ask for. (I owe you one!) Big thanks to friends and family: Your love, support and patience through the years has always been, and will always be, a source of strength. And finally I wish to acknowledge Arne Torvik for introducing me to the music of Allan Holdsworth so many years ago in a practicing room at the Grieg Academy of Music in Bergen. Looking back, it is obvious that this was one of those life-changing moments; a moment I am sincerely grateful for.
    [Show full text]
  • Barbara Mandigo Kelly Peace Poetry Contest Winners
    The Gathering by Ana Reisens Adult Category, First Place In the movie we sleep fearlessly on open planes because we cannot imagine any danger more tragic than those that have already passed. For weeks we have been arriving over the earth’s broken skin, over mountains and rivers, shaking the aching flagpoles from our shoulders. Now all the priests and imams and rabbis and shamans are gathered beside the others, teachers, brothers and kings and they’re sharing recipes and cooking sweet stories over fires. Suddenly we hear a voice calling from the sky or within – or is it a radio? – and it sings of quilts and white lilies as if wool and petals were engines. It’s a lullaby, a prayer we all understand, familiar like the scent of a lover’s skin. And as we listen we remember our grandmothers’ hands, the knitted strength of staying, how silence rises like warmth from a woven blanket. And slowly the lines begin to disappear from our skin and our memories spin until we’ve forgotten the I of our own histories and everyone is holy, everyone is laughing, weeping, singing, It’s over, come over, come in. And this is it, the story, an allegory, our movie – the ending and a beginning. The producer doesn’t want to take the risk. No one will watch it, he says, but we say, Just wait. All the while a familiar song plays on the radio and somewhere in a desert far away a soldier in a tank stops as if he’s forgotten the way.
    [Show full text]
  • Euell Porter
    Euell Porter Material prepared by Maurice Alfred Biographical Sketch of Euell Porter 1910-1998 Edwin Euell Porter was born October 10, 1910 near Franklin, Texas and died September 23, 1998, in Waco Texas. He was the last of six children born to George W. and Alma Parker Porter. His parents worked a small farm outside of Franklin in Robertson County. George W. came from Missouri and was a second generation Irish immigrant. Euell’s mother was of Cajun descent with hair as “black as coal.” His twin sisters, Addis Mae and Gladys Faye, and his brothers, Richard Bland, Samuel Lewis, and George Felton, took care of their little brother almost from his birth. When Porter was about six, his mother became bedridden with influenza and he remembered his mother saying “bring that baby here and let him stand by the bed and sing for me.” Though his mother was ill, the Porter’s sang and made music each night, with his sister Addis or his brother Sam playing the piano, and the rest of the family singing. His mother’s illness became progressively worse, and she died when he was eight. After her death, the family moved to a farm near Pettaway, Texas. Their new house and farm were much larger, with one room set aside for music. In the music room there was a pump organ and a five pedal upright piano. The family continued its tradition of singing, with his sister Addis Mae playing the organ and brother Samuel Lewis playing the piano. In the early 1920’s, Porter attended a singing school in Boone Prairie and it was there he learned to read shaped notes.
    [Show full text]
  • A Shaman, a Sherpa, and a Healer: a Post-Intentional
    A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM (Under the Direction of Corey W. Johnson) ABSTRACT The purpose of this study was to explore the phenomenon of songwriting. Through a series of in depth interviews, three songwriters provided rich descriptions of their lived experiences with the phenomenon. Post-intentional phenomenology was used as the primary guiding theoretical framework for this study, which negotiated the tenets of both phenomenology and poststructuralism. Songwriting was described in terms of portaling, everesting, and gravitating-levitating and was revealed as a complex phenomenon of cathartic and transcendent experiences. The findings highlight the need for unstructured, expressive, and artistic leisure, which can be transformative in times of personal or social unrest. INDEX WORDS: Songwriting, Post-intentional phenomenology, Creativity, Leisure A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM B.S., University of West Georgia, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2011 © 2011 Brian E. Kumm All Rights Reserved A SHAMAN, A SHERPA, AND A HEALER: A POST-INTENTIONAL PHENOMENOLOGY OF SONGWRITING by BRIAN E. KUMM Major Professor: Corey W. Johnson Committee: Janette R. Hill Diane M. Samdahl Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2011 iv DEDICATION This thesis is dedicated to the memory of Dianne Kendall Hickly (mom number 2). March 1, 1947 – July 23, 2011 v ACKNOWLEDGEMENTS I sincerely want to say thank you to everyone who contributed to the successful completion of this thesis.
    [Show full text]
  • Songs by Title
    Songs by Title Title Artist Title Artist #1 Goldfrapp (Medley) Can't Help Falling Elvis Presley John Legend In Love Nelly (Medley) It's Now Or Never Elvis Presley Pharrell Ft Kanye West (Medley) One Night Elvis Presley Skye Sweetnam (Medley) Rock & Roll Mike Denver Skye Sweetnam Christmas Tinchy Stryder Ft N Dubz (Medley) Such A Night Elvis Presley #1 Crush Garbage (Medley) Surrender Elvis Presley #1 Enemy Chipmunks Ft Daisy Dares (Medley) Suspicion Elvis Presley You (Medley) Teddy Bear Elvis Presley Daisy Dares You & (Olivia) Lost And Turned Whispers Chipmunk Out #1 Spot (TH) Ludacris (You Gotta) Fight For Your Richard Cheese #9 Dream John Lennon Right (To Party) & All That Jazz Catherine Zeta Jones +1 (Workout Mix) Martin Solveig & Sam White & Get Away Esquires 007 (Shanty Town) Desmond Dekker & I Ciara 03 Bonnie & Clyde Jay Z Ft Beyonce & I Am Telling You Im Not Jennifer Hudson Going 1 3 Dog Night & I Love Her Beatles Backstreet Boys & I Love You So Elvis Presley Chorus Line Hirley Bassey Creed Perry Como Faith Hill & If I Had Teddy Pendergrass HearSay & It Stoned Me Van Morrison Mary J Blige Ft U2 & Our Feelings Babyface Metallica & She Said Lucas Prata Tammy Wynette Ft George Jones & She Was Talking Heads Tyrese & So It Goes Billy Joel U2 & Still Reba McEntire U2 Ft Mary J Blige & The Angels Sing Barry Manilow 1 & 1 Robert Miles & The Beat Goes On Whispers 1 000 Times A Day Patty Loveless & The Cradle Will Rock Van Halen 1 2 I Love You Clay Walker & The Crowd Goes Wild Mark Wills 1 2 Step Ciara Ft Missy Elliott & The Grass Wont Pay
    [Show full text]
  • It Came from Outer Space: the Virus, Cultural Anxiety, and Speculative
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 It came from outer space: the virus, cultural anxiety, and speculative fiction Anne-Marie Thomas Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Thomas, Anne-Marie, "It came from outer space: the virus, cultural anxiety, and speculative fiction" (2002). LSU Doctoral Dissertations. 4085. https://digitalcommons.lsu.edu/gradschool_dissertations/4085 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. IT CAME FROM OUTER SPACE: THE VIRUS, CULTURAL ANXIETY, AND SPECULATIVE FICTION A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Anne-Marie Thomas B.A., Texas A&M-Commerce, 1994 M.A., University of Arkansas, 1997 August 2002 TABLE OF CONTENTS Abstract . iii Chapter One The Replication of the Virus: From Biomedical Sciences to Popular Culture . 1 Two “You Dropped A Bomb on Me, Baby”: The Virus in Action . 29 Three Extreme Possibilities . 83 Four To Devour and Transform: Viral Metaphors in Science Fiction by Women . 113 Five The Body Electr(on)ic Catches Cold: Viruses and Computers . 148 Six Coda: Viral Futures .
    [Show full text]