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Cedars, November 15, 1996 Cedarville College
Masthead Logo Cedarville University DigitalCommons@Cedarville Cedars 11-15-1996 Cedars, November 15, 1996 Cedarville College Follow this and additional works at: https://digitalcommons.cedarville.edu/cedars Part of the Journalism Studies Commons, and the Organizational Communication Commons DigitalCommons@Cedarville provides a platform for archiving the scholarly, creative, and historical record of Cedarville University. The views, opinions, and sentiments expressed in the articles published in the university’s student newspaper, Cedars (formerly Whispering Cedars), do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The uthora s of, and those interviewed for, the articles in this paper are solely responsible for the content of those articles. Please address questions to [email protected]. Recommended Citation Cedarville College, "Cedars, November 15, 1996" (1996). Cedars. 686. https://digitalcommons.cedarville.edu/cedars/686 This Issue is brought to you for free and open access by Footer Logo DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Cedars by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. How Much Do You Owe? Students At Olympics. • •••••••• PAGE 4 Grandparent's Day.... Mister Smith Goes Student Profile........... to Cedorville Business Etiquette. • •••••••• PAGE 6 Do You Know If You're A Senior? News shorts. • •••••••• PAGE 9 CEDARVILLE COLLEGE STUDENT PUBLICATION Basketball teams rise to opening night against W ilberforce Mark Mien Lady Jacket bench proved to be the Staff Writer difference. All 14 members of the So long fall, hello winter. Yep, it squad played, and 12 of them scor is that time of the year again. -
An Annotated Bibliography of William Faulkner, 1967-1970
Studies in English Volume 12 Article 3 1971 An Annotated Bibliography of William Faulkner, 1967-1970 James Barlow Lloyd University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/ms_studies_eng Part of the American Literature Commons Recommended Citation Lloyd, James Barlow (1971) "An Annotated Bibliography of William Faulkner, 1967-1970," Studies in English: Vol. 12 , Article 3. Available at: https://egrove.olemiss.edu/ms_studies_eng/vol12/iss1/3 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Studies in English by an authorized editor of eGrove. For more information, please contact [email protected]. Lloyd: Faulkner Bibliography An Annotated Bibliography of William Faulkner, 1967—1970 by James Barlow Lloyd This annotated bibliography of books and articles published about William Faulkner and his works between January, 1967, and the summer of 1970 supplements such existing secondary bibliog raphies as Maurice Beebe’s checklists in the Autumn 1956 and Spring 1967 issues of Modern Fiction Studies; Linton R. Massey’s William Faulkner: “Man Working” 1919-1962: A Catalogue of the William Faulkner Collection of the University of Virginia (Charlottesville: Bibliographic Society of the University of Virginia, 1968); and O. B. Emerson’s unpublished doctoral dissertation, “William Faulkner’s Literary Reputation in America” (Vanderbilt University, 1962). The present bibliography begins where Beebe’s latest checklist leaves off, but no precise termination date can be established since publica tion dates for periodicals vary widely, and it has seemed more useful to cover all possible material than to set an arbitrary cutoff date. -
Art and Omnipotence: Genre Manipulation in Requiem for a Nun
ART AND OMNIPOTENCE: GENRE MANIPULATION IN REQUIEM FOR A NUN Requiem lor a Nun is usually classified as a novel. Yet it remains an irritating example of the genre, since it appears to defy even the loosest definition of a novel. Published in 1953, it consists of the three acts of a play called Requiem for a Nun, each of which is preceded by a long introduction see mingly unrelated to the action, if not the setting, of the play. Together, the introductions are about two-thirds as long as the play. If we consider that the text of a play, since it is not printed in continuous paragraphs, tends to take up more pages than narrative prose, we might actually end up with two Faulknerian texts of about equal length. Although Requiem lor a Nun has been produced as a play (most notably in 1956 at the Theatre des Mathurins under the direction of Albert Ca mus, who had also translated the text) the play cannot be truly understood if seen out of the context of the introductions. The story is a sequel to the events related in Sanctuary, published twenty years earlier in 1931, so that ideally even the play Re quiem lor a Nun requires a knowledge of the rest of the Faulk ner canon. Yet Temple Stevens, nee Drake, of Requiem for a Nun is no longer the Temple Drake of Sanctuary, nor is the Negress Nancy Mannigoe the Nancy of "That Evening Sun" (also published in 1931). Faulkner, although interested in the development of his characters, severs the ties between their 385 earlier and later versions because by the Fifties he had secretly become more interested in his own role as author. -
Contemporary Christian Music & The
PLAYING THE MARKET: CONTEMPORARY CHRISTIAN MUSIC & THE THEORY OF RELIGIOUS ECONOMY by Jamie Carrick B.A., The University of Calgary, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Religious Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) October 2012 © Jamie Carrick, 2012 Abstract Contemporary Christian music (CCM) is a fascinating and understudied part of the religious vitality of modern American religion. In this dissertation the theory of religious economy is proposed as a valuable and highly serviceable methodological approach for the scholarly study of CCM. The theory of religious economy, or the marketplace approach, incorporates economic concepts and terminology in order to better explain American religion in its distinctly American context. In this study, I propose three ways in which this method can be applied. Firstly, I propose that CCM artists can be identified as religious firms operating on the “supply-side” of the religio-economic dynamic; it is their music, specifically the diverse brands of Christianity espoused there within, that can allow CCM artists to be interpreted in such a way. Secondly, the diversity within the public religious expressions of CCM artists can be recognized as being comparable to religious pluralism in a free marketplace of religion. Finally, it is suggested that the relationship between supply-side firms is determined, primarily, by the competitive reality of a free market religious economy. ii Table of Contents Abstract . ii Table of Contents . iii List of Figures . iv Acknowledgements . v 1 Introduction . 1 1.1 Introduction . 1 1.2 Religion & Popular Culture . -
Contemporary Christian Music and Oklahoma
- HOL Y ROCK 'N' ROLLERS: CONTEMPORARY CHRISTIAN MUSIC AND OKLAHOMA COLLEGE STUDENTS By BOBBI KAY HOOPER Bachelor of Science Oklahoma State University Stillwater, Oklahoma 1993 Submitted to the Faculty of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE August, 2003 HOLY ROCK 'N' ROLLERS: CONTEMPORARY CHRISTIAN MUSIC AND OKLAHOMA COLLEGE STUDENTS Thesis Approved: ------'--~~D...e~--e----- 11 ACKNOWLEDGEMENTS My sincere appreciation goes out to my adviser. Dr. Jami A. Fullerton. for her insight, support and direction. It was a pleasure and privilege to work with her. My thanks go out to my committee members, Dr. Stan Kerterer and Dr. Tom Weir. ""hose knowledge and guidance helped make this publication possible. I want to thank my friend Matt Hamilton who generously gave of his time 10 act as the moderator for all fOUf of the focus groups and worked with me in analyzing the data. ] also want to thank the participants of this investigation - the Christian college students who so willingly shared their beliefs and opinions. They made research fun r My friends Bret and Gina r.uallen musl nlso be recognii'_cd for introducing me !(l tbe depth and vitality ofChrislian music. Finally. l must also give thanks to my parents. Bohby and Helen Hoopc,;r. whose faith ,md encouragement enabled me to see the possibilities and potential in sitting down. 111 - TABLE OF CONTENTS Chapter Page 1. INTRODUCTION Overview ofThesis Research Problem 3 Justification Definition ofTerms 4 [I. LITERATURE REVIEW 5 Theoretical Framework 6 Uses and Gratifications 6 Media Dependency 7 Tuning In: Popular Music Uses and Gratifications 8 Bad Music, Bad Behavior: Effects of Rock Music 11 The Word is Out: Religious Broadcasting 14 Taking Music "Higher": ('eM 17 Uses & Gratifications applied to CCM 22 111. -
William Faulkner and the Meaning of History
Longwood University Digital Commons @ Longwood University Theses, Dissertations & Honors Papers 8-15-1978 William Faulkner and the Meaning of History Allen C. Lovelace Follow this and additional works at: https://digitalcommons.longwood.edu/etd Part of the English Language and Literature Commons WILLIAM FAULKNER AND THE MEANING OF HISTORY by Allen c. Lovelace Firs Reader ��-c:.7eond Reader � (Repr�sentative of Graduate cil) THESIS Allen c. Lovelace, B. A. Graduate School Longwood College 1978 WILLIAM FAULKNER AND THE MEANING OF HISTORY Thesis A thesis submitted in partial fulfillment or the requirements for the degree or Master of Arts in English at Longwood College. by Allen c. Lovelace South Boston, Virginia Quentin Vest, Associate Professor of English Farmville, Virginia 1978 ACKNOWLEDGEMENTS A thesis, by its very nature, is the product not only of the writer, but also of the efforts of a number of other individuals. This paper is no exception, and I wish to ex press my indebtedness and sincerest appreciation to a nUJ.�ber of individuals. I am particularly grateful to Dr. Quentin Vest. Without his encouragement and guidance this paper would quite probably never have been written. I also wish to thank Dr. Vest for his patience with my tendency toward pro crastination. 1 '1hanks are due also to my wife, Carole, for her un derstanding and encouragement during the writing of this paper, and especially for the typing of the manuscript. I also wish to express my appreciation for their time and consideration to those members of the faculty at Longwood College who were my readers and to the Dabney Lancaster Library for their services which I found especial ly helpful. -
Gospel with a Groove
Southeastern University FireScholars Selected Honors Theses Spring 4-28-2017 Gospel with a Groove: A Historical Perspective on the Marketing Strategies of Contemporary Christian Music in Relation to its Evangelistic Purpose with Recommendations for Future Outreach Autumn E. Gillen Southeastern University - Lakeland Follow this and additional works at: http://firescholars.seu.edu/honors Part of the Christianity Commons, Liturgy and Worship Commons, Marketing Commons, Music Commons, and the Practical Theology Commons Recommended Citation Gillen, Autumn E., "Gospel with a Groove: A Historical Perspective on the Marketing Strategies of Contemporary Christian Music in Relation to its Evangelistic Purpose with Recommendations for Future Outreach" (2017). Selected Honors Theses. 76. http://firescholars.seu.edu/honors/76 This Thesis is brought to you for free and open access by FireScholars. It has been accepted for inclusion in Selected Honors Theses by an authorized administrator of FireScholars. For more information, please contact [email protected]. GOSPEL WITH A GROOVE: A HISTORICAL PERSPECTIVE ON THE MARKETING STRATEGIES OF CONTEMPORARY CHRISTIAN MUSIC IN RELATION TO ITS EVANGELISTIC PURPOSE WITH RECOMMENDATIONS FOR FUTURE OUTREACH by Autumn Elizabeth Gillen Submitted to the Honors Program Committee in partial fulfillment of the requirements for University Honors Scholars Southeastern University 2017 GOSPEL WITH A GROOVE 2 Copyright by Autumn Elizabeth Gillen 2017 GOSPEL WITH A GROOVE 3 Abstract Contemporary Christian Music (CCM) is an effective tool for the evangelism of Christianity. With its origins dating back to the late 1960s, CCM resembles musical styles of popular-secular culture while retaining fundamental Christian values in lyrical content. This historical perspective of CCM marketing strategies, CCM music television, CCM and secular music, arts worlds within CCM, and the science of storytelling in CCM aims to provide readers with the context and understanding of the significant role that CCM plays in modern-day evangelism. -
I Do’ Our Pets with Their Fur Babies MARCH 22, 2018 | VOL
Joy Geng Reflects on Decades of LGBTQ Activism Trey Pearson Finds Community Through Queer-Affirming Music March for Our Lives: Local Events Spring Pet Guide For the Love of Couples Say ‘I Do’ Our Pets With Their Fur Babies WWW.PRIDESOURCE.COM MARCH 22, 2018 | VOL. 2612 | FREE SPRING PET GUIDE ENTERTAINMENT 16 Couples Say ‘I Do’ With Their Fur Karola Wollstein (left) and Diane Stead (right) with Babies Hansi and Sylvie, their Wheaton Terriers. The couple 20 Pets and the LGBTQ Owners Who was married in June 2017. Photo courtesy of Milhem Images, Inc. Love Them COVER 22 Five Ways to Cope with the Death 24 From Christian Rock 16 For the Love of Our Pets of a Pet to Pops’s ‘Silver Horizon’ 23 May 12: Strutting Mutts Help Local Trey Pearson Finds Community NEWS Animal Shelter 16 Couples Say ‘I Do’ Through Queer-Affirming Music 4 U.S. Rep. Debbie Dingell, Vegas mass Shooting 23 Bloomfield Hills Woman Offered Survivor and Others to Attend March for Our Lives in $500K for Pet Speaker on ‘Shark Tank’ Ann Arbor with Furry Friends 4 LGBT Advocates Joining March For Our Lives in D.C. 6 Dr. Abdul El-Sayed Challenges Tradition as Gubernatorial Candidate 8 Longtime LGBTQ Activist Joy Geng Reitres, Reflects on COMMUNITY CONNECTIONS NEWS HAPPENINGS Decades of Engagement 12 Pence Criticized for Excluding Media from Breakfast with Gay Irish PM 13 Bisexual Rio Councilwoman, Human Rights Activist Killed 14 Study Examines U.S. Views on Polarizing Issues OPINION 12 Pence Criticized for Excluding Media 30 Best of LGBT Events 10 Parting Glances from Breakfast with Gay Irish PM 10 Viewpoint 11 Creep of the Week INTERVIEW LIFE 32 Statewide Events to Celebrate 24 From Christian Rock to Pop’s ‘Silver Horizon’ International Transgender Day of Visbility 26 From Film to the Stage: Melissa McKamie Refreshes 32 Joe Kort Teams Up with Modern Sex Baronness Elsa Schraeder in ‘The Sound of Music’ Therapy Institutes to Offer LGBTQ-Affirmative Therapy Certification Program 28 Worship Guide 26 Out Actress in 30 Happenings 34 Black and Pink Picks New Executive 6 Dr. -
1 Contemporary Chrstian Music: Transforming
CONTEMPORARY CHRSTIAN MUSIC: TRANSFORMING CHRISTIAN EXPERIENCE AND IDENTITY By BRITTANY E. CHASE A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2013 1 © 2013 Brittany E. Chase 2 I dedicate this thesis to my parents, who have been unconditionally loving and compassionate throughout my entire academic career. I could not have succeeded without your continuous prayers and encouragement, and I am truly blessed to have you in my life. 3 ACKNOWLEDGMENTS The completion of this thesis would not have been possible without the help of many important people. To my academic advisor and committee chair, Larry Crook, I thank you for your patience, encouragement, and support of my research interests throughout this entire process. I am immensely grateful for your constant kindness and compassion since I arrived at the University of Florida, and I thank you for believing in my ability to succeed and expressing your pride in my work and in me. I could not have accomplished this without your help and guidance. To my committee member, Silvio dos Santos, I thank you for your time and mentoring, and I sincerely appreciate your investment in my future and academic career. I thank my other professors at the University of Florida, Jennifer Thomas, Margaret Butler, Michael Deall, and Rosana Resende, who have fostered my intellectual and musical growth. I have many informants to thank for their honest and open participation in the interviews for this project. I thank Anyerin Drury and Adam Vodicka for sharing the visions of their respective churches, as well as Erica Scarano, Brett McCollum, and Brian Biederman, for taking the time to share their experiences. -
An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-21-2019 An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Music Business Commons An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts By Megan Marie Carlan Arts and Entertainment Management Dr. Theresa Lant Lubin School of Business August 21, 2019 Abstract Ranging from inspirational songs void of theological language to worship music imbued with overt religious messages, Contemporary Christian Music (CCM) has a long history of being ill-defined. Due to the genre’s flexible nature, many Christian artists over the years have used vague imagery and secular lyrical content to find favor among mainstream outlets. This study examined the most recent ten-year period of CCM to determine its ability to cross over into the mainstream music scene, while also assessing the impact of its lyrical content and genre on the probability of reaching such mainstream success. For the years 2008-2018, Billboard data were collected for every Christian song on the Hot 100, Hot Rock Songs, or Hot Country Songs in order to detect any noticeable trend regarding the rise or fall of CCM; each song then was coded for theological language. No obvious trend emerged regarding the mainstream success of CCM as a whole, but the genre of Rock was found to possess the greatest degree of mainstream success. Rock also, however, was shown to have a very low tolerance for theological language, contrasted with the high tolerance of Country. -
Requiem for a Nun" (1951)
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 4-2019 An Incongruous Present: Identifying the Absurd Aesthetic in William Faulkner’s "Requiem for a Nun" (1951) Blake Hani Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the American Literature Commons, Esthetics Commons, Literature in English, North America Commons, Philosophy of Language Commons, and the Theory and Criticism Commons Recommended Citation Hani, Blake, "An Incongruous Present: Identifying the Absurd Aesthetic in William Faulkner’s "Requiem for a Nun" (1951)" (2019). Undergraduate Honors Theses. Paper 1421. https://scholarworks.wm.edu/honorstheses/1421 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. An Incongruous Present: Identifying the Absurd Aesthetic in William Faulkner’s Requiem for a Nun (1951) A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in English from The College of William and Mary by Blake Hani Accepted for Honors. Williamsburg, VA April 30, 2019 Hani 2 I. Introduction – Re-contextualizing Requiem for a Nun The fact that man always hopes toward a better human condition, I think that the purpose of writing, of art, is a record… That that is one thing in which he can show tomorrow that yesterday he endured. -Faulkner, Lion in the Garden, pg. 177-178 Prior to publishing Requiem for a Nun in 1951, William Faulkner had only recently ended his longest period of inactivity between the publishing of Go Down, Moses in 1941 and Intruder in the Dust in 1948. -
Authors-At-Law: the Jurisprudence of Investigation in the Detective Fiction
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Authors-at-Law The Jurisprudence of Investigation in the Detective Fiction of Dashiell Hammett and William Faulkner Diana Louis Shahinyan A thesis submitted to the Faculty of Arts and Social Sciences at the University of Sydney in fulfillment of the requirements of the degree of Doctor of Philosophy in the Department of English. I hereby declare that, except where indicated in the notes, this thesis contains only my own original work.