STEPHEN Carrie

Total Page:16

File Type:pdf, Size:1020Kb

STEPHEN Carrie STEPHEN KING Carrie Stephen King Carrie Para Tabby, que me metió en esto Y luego me ayudó a salir. Stephen King Carrie Primera parte DEPORTE SANGRIENTO Stephen King Carrie Noticia publicada por el semanario Enterprise de Westover, Maine, el día 19 de agosto de 1966: Lluvia de piedras en Chamberlain Fuentes fidedignas nos informan que el 17 del presente se produjo una lluvia de piedras en la calle Carlin, en circunstancias en que el cielo se presentaba totalmente despejado. Las piedras se precipitaron principalmente sobre el inmueble que habita Mrs. Margaret White. Causaron considerables daños en el tejado y estropearon dos canalones y un tubo de desagüe. Los destrozos fueron evaluados en 25 dólares. Mrs. White es viuda y vive con su hija, Carietta de tres años de edad. Nuestros esfuerzos para localizar a Mrs. White resultaron infructuosos. Nadie se sorprendió cuando ocurrió, no verdaderamente, no en ese nivel subconsciente donde nuestras vivencias más brutales. En apariencia todas la muchachas que estaban en las duchas se sintieron anonadadas, estremecidas, avergonzadas o simplemente felices porque esa cerda de la White había vuelto a recibir una buena. Incluso algunas de ellas podrían haber alegado que el hecho las había sorprendido, pero, por su supuesto, esa afirmación habría sido falsa. Carrie había asistido a la escuela con algunas de ellas desde el primer año, y esto se había estado gestando desde entonces, gestándose en forma lenta e inmutable, según todas las leyes que gobiernan la naturaleza humana, gestándose con la exacta regularidad de una reacción en cadena que se acerca a la mesa crítica. Lo que nadie sabía, desde luego, era que Carrie White tenía poderes telecinéticos. Inscripción tallada en un banco de la escuela primaria de la calle Barker, en Chamberlain: Carrie White come mierda Los gritos, los ecos y el ruido subterráneo del chapoteo del agua de las duchas sobre las baldosus llenaban el vestuario. Las muchachas habían estado jugando a voleibol .durante la primera hora, y había algo apremiante en su ligero sudor matutino. Se estiraban y retorcían bajo él agua caliente, chillando, lanzando agua y pasándose de mano en mano las barras de jabón blanco. Carrie se hallaba en medio de ellas, impasible, una rana entre los cisnes. Era una muchacha robusta, con granos en el cuello, la espalda y las nalgas. Su cabello mojado no parecía tener color alguno: se pegaba a su rostro con una obstinación empapada y abatida.. Estaba allí parada simplemente, con la cabeza ligeramente inclinada, dejando que el agua se precipitara sobre su cuerpo y cayera al suelo. Parecía la típica cabeza de turco, el perpetuo blanco de las bromas, la chica capaz de tragarse las historias más inverosímiles, objeto de todas las malas jugadas. Y lo era. En forma desesperada y constante deseaba que la «Escuela Secundaria Ewen» tuviera duchas individuales -y por lo tanto privadas- como las escuelas de Andover y Bosford. Porque se quedaban mirándola... Ellas siempre se quedaban mirdndola. Las duchas se fueron cerrando una a una, mientras las chicas se quitaban sus gorros de baño en tonos pastel, se secaban, se ponían un spray desodorante y dirigían miradas al reloj que había sobre la puerta. Se abrocharon los sujetadores y se ajustaron las bragas. El vapor parecía suspendido en el aire y todo el lugar podría haber sido un estableciento de baños egipcios, a no ser por el ruido sordo del estanque para baños de remolino, situado en un rincón. Los gritos y los silbidos rebotaban en las paredes como el golpe seco y vibrante de las bolas de billar. -...entonces Tommy me dijo que me veía horrible con eso y yo ... -... voy a ir con mi hermana y su marido. A él le gusta hurgarse la nariz, y a ella también, así que... -...demasiado tacaño para gastarse un maldito centavo, de modo que Cindi y yo... Stephen King Carrie Miss Desjardin, la profesora de gimnasia, de pecha piano, entró en el vestuario, estiró el cuello, echó una rápida mirada en derredor y dio unas vigorosas palmadas. -¿Qué esperas, Carrie? ¿El juicio final? La campana sonará dentro de cinco minutos. Sus shorts eran de un color blanco deslumbrante y sus piernas, quizá demasiado derechas, se destacaban por su discreta musculatura. Un silbato de plata, que había ganado en una competición de tiro con arco, colgaba de su cuello. Las muchachas sofocaron una risita y Carrie levantó los ojos, la mirada lenta, aturdida por el calor el ininterrumpido martilleo del agua. Fue un sonido extraño, parecido al croar de una rana que resultó grotescamente apropiado. Una vez más las chicas ahogaron la risa. Sue Snell se había quitado la toalla de la cabeza con la velocidad de un prestidigitador que va a realizar un truco y comenzó a peinarse rápidamente. Miss Desjardin hizo un irritado gesto de impaciencia en dirección a Carrie y salió. La muchacha cerró el grifo y la última ducha se extinguió con una gota y un gorgoteo. Antes de que diera el primer paso, nadie habla visto la sangre que le corría por la pierna. De Explosión en las Sombras: Hechos comprobados y conclusiones específicas obtenidas del caso de Carietta White, por David R. Congress (Tulane University Press, 1981), pág. 34: Es indiscutible que la falta de fenómenos concretos de telecinesia durante la infancia de Carietta White tiene su explicación en las conclusiones presentadas por White y Stern en su ensayo Telecinesia: Nuevo análisis de un extraño talento. Es decir, que la capacidad para mover objetos mediante el uso exclusivo de la voluntad sólo se manifiesta en momento de extrema tens ión. Esta capacidad se encuentra, de hecho, perfectamente escondida; ¿de qué otra manera, si no, podría haber permanecido sumergida durante siglos dejando al descubierto solamente la cima del iceberg en medio de un mar de charlatanería? Las pruebas de que disponemos son escasas y se basan en rumores, pero, aun así, bastan para señalar que Carrie White poseía un potencial telecinético de inmensa magnitud. Lo trágico de la situación es que no podemos dejar de pensar en toda la experimentación que habríamos llevado a cabo si, en su debido tiempo... -¡Re-gla! Chris Hargensen lanzó el primer grito, éste fue a estrellarse contra los azulejos de la pared, rebotó y volvió a estrellarse. Sue Snell ahogó la risa en la nariz y sintió una extraña e incómoda mezcla de odio, repugnancia, exasperación y lástima. La chica tenía un aspecto tan idiota parada allí, sin saber lo que le estaba ocurriendo. Santo Dios, cualquiera pensaría que nunca... -¡RE-glal Se estaba convirtiendo en una salmodia, en un conjuro. Alguien en el fondo (quizás Hargensen otra , Sue no podía distinguirlo con precisión en esa selva de gritos) chillaba con ronco desenfado: ¡Que se lo tape! -¡REgla, RE-gla, RE-gla! Aturdida, Carrie permanecía inmóvil en el centro del circulo que empezaba a formarse, las gotas de agua se deslizaban por su cuerpo. Se quedó parada como un buen paciente, sabiendo que la broma era a su costa (como siempre), muda y desconcertada, pero no sorprendida. Sue experimentó un asco creciente cuando las primeras oscuras gotas de la sangre de la menstruación golpearon las baldosas del piso y formaron círculos del tamaño de una moneda. -¡Por el amor de Dios, Carrie, tienes el período! -gritó Sue-. ¡Límpiate! -¿Ah? Lanzó una mirada bovina en derredor suyo. El pelo pegado a sus mejillas seguía una línea curva que le daba la forma de un casco. Tenía una erupción de acné en un hombro. A los dieciséis años, la huidiza marca de la persona que ha sido hondamente herida ya aparecía claramente en sus ojos. Stephen King Carrie -¡Cree que se usan para el lápiz labial! -gritó de repente Ruth Gogan con enigmático regocijo y luego se echó a reír a carcajadas. Más tarde, Sue recordó la exclamación y la incorporó al cuadro total, pero, en ese momento, era sólo otro sonido sin sentido en medio de la confusión. Tiene dieciséis años -pensaba- Tiene que saber qué es lo que le está sucediendo... Más gotas de sangre. Carrie seguía parpadeando y mirando a sus compañeras con lenta perplejidad. Helen Shyres se dio vuelta y simuló que iba a vomitar. -¡Estás sangrando! - gritó de repente Sue, furiosa-. ¡Estás sangrando, mamarracho estúpido! Carrie bajó la vista y se miró. Dio un alarido. El sonido se oyó con fuerza en el húmedo vestuario. De repente, un tapón la golpeó en el pecho y cayó a sus pies con un ruido sordo. Una mancha como una flor roja apareció en el algodón y se expandió. Entonces la risa, despectiva, horrorizada, asqueada, pareció alzarse y estallar para convertirse en algo horrible, punzante. Las chicas estaban bombardeándola con tapones y compresas higiénicas, algunos sacados de sus bolsos, otros de la estropeada expendedora automática. Caían como nieve. La salmodia se convirtió en: Que lo tape, que lo tape, que lo tape, que lo... Sue también los lanzaba y repetía la salmodia junto con las demás, sin saber muy bien qué estaba haciendo: una frase mágica había acudido a su mente y resplandecía allí como un anuncio de neón: No haces daño a nadie. Realmente no haces daño a nadie. Las palabras todavía brillaban tranquilizadoras cuando, repentinamente, Carrie comenzó a aullar, mientras retrocedía agitando los brazos, gruñendo e hipando. Las muchachas se detuvieron al darse cuenta de que finalmente se había llegado a la fisión y la explosión. Fue en este momento cuando, según sus recuerdos, algunas de ellas manifestaron su sorpresa. Sin embargo, ahí estaban todos esos años de «acortemos las sábanas de la cama de Carrie» en el campamento de la Juventud Cristiana y encontré esta carta de amor de Carrie para Flash
Recommended publications
  • Download Article (PDF)
    Advances in Social Science, Education and Humanities Research, volume 554 Proceedings of the 7th International Conference on Humanities and Social Science Research (ICHSSR 2021) The Hysteric Yell from Women: A Comparative Study of The Yellow Wall Paper and Carrie Lihua Lv1, Min Zhou1* 1 English Department, Zhejiang Ocean University, Zhoushan, Zhejiang 316000 P. R. China *Corresponding author. Email: [email protected] ABSTRACT Today, there are many researches focus on feminism, this paper from a new perspective, hysteria, to connect perspective of female literature in the past and the contemporary feminist literature, to look through the feminism history by comparation and give new inspiration to the development of women in the current society. Keywords: Feminism, Hysteria, The Yellow Wallpaper, Carrie 1. A BRIEF INTRODUCTION ON THE men’s private property, as they accept any treatment their TWO WORKS AND THEIR CREATING husbands, fathers or any male family members saw appropriate. Even they have doubts or disapproval in BACKGROUNDS their hearts. As the narrator in The Yellow Wallpaper did. Meanwhile, the treatments of so-called rest therapy, while 1.1. A Brief Introduction on The Yellow limiting and depriving any freewill of women in fact, Wallpaper and Its Creating Background were extremely popular at that time. Women of that time seemed to have all the needs and lived under proper care, The Yellow Wallpaper is a story narrated in the first- but their mind was supervised and restricted under person, the story is a collection of journal entries written patriarchy authority. From the end of the 18th century to by a woman who has a physician husband.
    [Show full text]
  • Audition Sheet Bring This Sheet with You to the Audition
    THE STORY Based on the Stephen King’s first novel, Carrie is the story of a high school girl with telekinetic powers. Bullied by classmates and abused by her overbearing mother, Carrie finds herself on a path toward independence and acceptance by her peers- until everything comes to a brutal end on prom night. THE CAST • Carrie White • Margaret White- Carrie’s mother • Sue Snell- the first to befriend Carrie; the story is told from her memories • Tommy Ross- Sue’s boyfriend who takes Carrie to the prom • Chris Hargenson- Carrie’s biggest foe, determined to bring her down from her ascent • Billy Nolan- Chris’ boyfriend and cruel partner in crime • Reverend Bliss- church leader • Mr. Stephens- English teacher/guidance counselor • Ms. Gardner- PE teacher • Named Students- George, Freddy, Frieda, Stokes, Helen, Norma • Chorus- students and other smaller roles The cast will feature ~25 performers (principals and chorus). THE PRODUCTION Attendance at all rehearsals is mandatory for principals and for support cast as needed. A calendar will be distributed on a bi-weekly basis- I assume you can be at all rehearsals, Monday through Thursday (3:05-5:30) and Friday (2:30- 5:30) unless otherwise noted on this form. A missed rehearsal may require dismissal from the show. Masconomet's Drug and Alcohol Policy applies to all cast and crew members of school productions. There will be 3 performances of Carrie: October 27, 28, and 29 at 7:00pm. AUDITIONS Auditions for all male roles will take place on Monday, August 29, from 3:00-4:30pm. Auditions for all female roles will take place on Monday, August 29, from 6:00-8:30pm.
    [Show full text]
  • Distribution Agreement in Presenting This Thesis As A
    Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter now, including display on the World Wide Web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Maron Tate March 6, 2019 Maternity and the Aging Female Body in Postmodern Hollywood Horror Film by Maron Tate Michele Schreiber Adviser Media Studies Michele Schreiber Adviser Tanine Allison Committee Member Amy Aidman Committee Member Joseph Skibell Committee Member 2019 Maternity and the Aging Female Body in Postmodern Hollywood Horror Film By Maron Tate Michele Schreiber Adviser An abstract of a thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Media Studies 2019 Abstract Maternity and the Aging Female Body in Postmodern Hollywood Horror Film By Maron Tate Beginning in the 1960s and progressing rapidly with the closure of the classical period in 1968, Hollywood departed from the supernatural “thing” theme of the horror genre and became fascinated with the familiar, and specifically, the familial. An era of maternity-coded films emerged, specifically with the debut of Psycho (1960), progressing to where Hollywood horror cinema stands now: a conglomeration of remakes, reinventions, and revisitations to recognizable themes entrenched in white (and often female) victimhood, paranormal visits, inexplicably violent strangers, and disease.
    [Show full text]
  • Vengeance Is Ours: Safe Spaces and Critical Empathy in Horror Films David S
    Bridgewater State University Virtual Commons - Bridgewater State University Honors Program Theses and Projects Undergraduate Honors Program 5-8-2018 Vengeance is Ours: Safe Spaces and Critical Empathy in Horror Films David S. Hooker Follow this and additional works at: http://vc.bridgew.edu/honors_proj Part of the Film and Media Studies Commons Recommended Citation Hooker, David S.. (2018). Vengeance is Ours: Safe Spaces and Critical Empathy in Horror Films. In BSU Honors Program Theses and Projects. Item 282. Available at: http://vc.bridgew.edu/honors_proj/282 Copyright © 2018 David S. Hooker This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Vengeance is Ours Safe Spaces and Critical Empathy in Horror Films David S. Hooker Submitted in Partial Completion of the Requirements for Departmental Honors in English Bridgewater State University May 8, 2018 Dr. John Mulrooney, Thesis Advisor Prof. Evan Dardano, Committee Member Prof. Nicole Williams, Committee Member Hooker 1 Abstract Many genres of film seek to bring viewers to heightened emotional states, perhaps this is most true of horror films. Although often displaying extreme violence, such films paradoxically provide openings for critically empathetic viewings which allow viewers with diverse backgrounds and experiences to identify with victims and survivors and transcend elements of subjective identity. This project analyzes the capacity of horror films, including those of William Friedkin, David Cronenberg, Brian DePalma and others, to offer viewers space in which to be critically empathetic. Regarding gender issues in the genre as outlined by such scholars as Carol J. Clover, and the emerging scholarship on critical empathy, such as that of Todd DeStigter, this project offers new ways of thinking about horror both on screen and off.
    [Show full text]
  • American Monsters: Tabloid Media and the Satanic Panic, 1970-2000
    AMERICAN MONSTERS: TABLOID MEDIA AND THE SATANIC PANIC, 1970-2000 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Sarah A. Hughes May 2015 Examining Committee Members: Kenneth L. Kusmer, Advisory Chair, History Carolyn Kitch, Journalism Susan E. Klepp, History Elaine Tyler May, External Member, University of Minnesota, American Studies © Copyright 2015 by Sarah A. Hughes All Rights Reserved iii ABSTRACT “American Monsters: Tabloid Media and the Satanic Panic, 1970-2000,” analyzes an episode of national hysteria that dominated the media throughout most of the 1980s. Its origins, however, go back much farther and its consequences for the media would extend into subsequent decades. Rooted in the decade’s increasingly influential conservative political ideology, the satanic panic involved hundreds of accusations that devil-worshipping pedophiles were operating America’s white middle-class suburban daycare centers. Communities around the country became embroiled in criminal trials against center owners, the most publicized of which was the McMartin Preschool trial in Manhattan Beach, California. The longest and most expensive trial in the nation’s history, the McMartin case is an important focal point of this project. In the 1990s, judges overturned the life sentences of defendants in most major cases, and several prominent journalists and lawyers condemned the phenomenon as a witch-hunt. They accurately understood it to be a powerful delusion, or what contemporary cultural theorist Jean Baudrillard termed a “hyperreality,” in which audiences confuse the media universe for real life. Presented mainly through tabloid television, or “infotainment,” and integral to its development, influence, and success, the panic was a manifestation of the hyperreal.
    [Show full text]
  • Who Am I Really?: Questioning the Patriarchal “Girl World” to Find Identity in Mean Girls, Heathers the Musical, and Carrie: the Musical
    Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-30-2019 Who Am I Really?: Questioning the Patriarchal “Girl World” to Find Identity in Mean Girls, Heathers the Musical, and Carrie: The Musical Megan Renner Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Renner, Megan, "Who Am I Really?: Questioning the Patriarchal “Girl World” to Find Identity in Mean Girls, Heathers the Musical, and Carrie: The Musical" (2019). Theses and Dissertations. 1082. https://ir.library.illinoisstate.edu/etd/1082 This Thesis is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. WHO AM I REALLY?: QUESTIONING THE PATRIARCHAL “GIRL WORLD” TO FIND IDENTITY IN MEAN GIRLS, HEATHERS THE MUSICAL, AND CARRIE: THE MUSICAL MEGAN RENNER 105 Pages Both musicals and stories about teenage girls are genres that tend to be overlooked by scholars, and to not receive serious analysis. Some scholars may dismiss these genres as being shallow and unworthy of scrutiny through a critical lens. However, much may be learned about patriarchal influence on teenage girls in musicals such as Mean Girls, Heathers the Musical and Carrie: The Musical. This thesis analyzes the patriarchal influence on the teen girl characters in these three musicals, using Girl Studies and feminist theory. This study applies arguments that state that patriarchal influence is what causes girls to form cliques, in order for them to feel powerful in a world that disenfranchises them, and applies it to these musicals.
    [Show full text]
  • Carrietta White's Personality in Carrie by Stephen King a Thesis
    CARRIETTA WHITE’S PERSONALITY IN CARRIE BY STEPHEN KING A THESIS Submitted as Partial Fulfilment of the Requirements for the Sarjana Degree of English Department Faculty of Letter and Humanities UIN Sunan Ampel Surabaya By : MARIYATUL HIBTIYAH Reg. Number : A73214048 ENGLISH DEPARTMENT FACULTY OF ARTS AND HUMANITIES UIN SUNAN AMPEL SURABAYA 2018 i ABSTRACT Hibtiyah, Mariyatul 2018. Carrietta White’s Personality in Carrie by Stephen King. Thesis. English Department. Faculty of Arts and Humanities. State Islamic University of Sunan Ampel surabaya. The Advisor : Sufi Ikrima Sa’adah, M. Hum ____________________________________________________________________ The thesis focuses on the personality of the main character named Carrie and the factors that affect her personality. This thesis uses personality theory of Carl Jung that focuses only on archetypes that includes Persona, Shadow, Anima & Animus and Self to be able to find Carrie's personality. This research uses descriptive qualitative method. The result of the research finds that Carrie's personality is strongly influenced by her religious fanatical mother and her schoolmates who always bully and avoid her, so that Carrie’s personality grow and generate 1) Carrie's persona is quiet and watchful to her friends and obedient to her mother. Persona occur on the basis of the demands of the environment and the people around her. 2) Carrie’s shadow characterized by rebel, anger, revenge, physical harm and murderous act. Shadow happens because she feels imperfect and too many bully and mockery she got so she can not see the good side of herself. 3) The animus of Carrie appears in the form of forceful argument.
    [Show full text]
  • NEW BLOOD in CONTEMPORARY CINEMA W OMEN DIRECTORS and the POETICS of HORROR New Blood in Contemporary Cinema
    PATRICIA PISTERS NEW BLOOD IN CONTEMPORARY CINEMA W OMEN DIRECTORS AND THE POETICS OF HORROR New Blood in Contemporary Cinema New Blood in Contemporary Cinema Women Directors and the Poetics of Horror Patricia Pisters Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting- edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Patricia Pisters, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 6695 0 (hardback) ISBN 978 1 4744 6697 4 (webready PDF) ISBN 978 1 4744 6698 1 (epub) The right of Patricia Pisters to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents List of Figures vii Acknowledgements viii Introduction: Virginia’s Unruly Daughters and Carrie’s Crimson Sisters 1 Red Flags on the Red Carpet 1 The Bloody Difference: Virginia Woolf’s Unruly Daughters 5 Cinematic Poetics of Horror, Metaphors and Relations: A Note on Theory 11 Following a Trail of Blood: Carrie’s Crimson Sisters 16 Drop by Drop: Chapter Overview 18 1.
    [Show full text]
  • A Description of Theme in Stephen King's Novel Carrie
    A DESCRIPTION OF THEME IN STEPHEN KING’S NOVEL CARRIE A PAPER BY NAME : TAMARA REBECCA REG.NO : 142202013 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OFCULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2017 UNIVERSITAS SUMATERA UTARA Approved by Supervisor, Drs. Parlindungan Purba, M.Hum. NIP. 19630216 198903 1 003 Submitted to Faculty of Cultural Studies, University of North Sumatera In partial fulfillment of the requirements for Diploma-III in English Study Program Approved by Head of Diploma III English Study Program, Dra.SwesanaMardiaLubis.M.Hum. NIP. 19571002 198601 2 003 Approved by the Diploma-III English Study Program Faculty of Culture Studies, University of Sumatera Utara as a Paper for the Diploma-III Examination UNIVERSITAS SUMATERA UTARA Accepted by the board of examiners in partial fulfillment of the requirement for The Diploma-III Examination of the Diploma-III of English Study Program, Faculty of Cultural Studies, University of Sumatera Utara. The Examination is held on : Faculty of Culture Studies, University of Sumatera Utara Dean, Dr. Budi Agustono, M.S. NIP. 19600805198703 1 0001 Board of Examiners : Signed 1. Dra. SwesanaMardiaLubis, M.Hum( Head of ESP) ____________ 2. Drs. ParlindunganPurba, M.Hum( Supervisor ) ____________ 3. Drs. SiamirMarulafau, M.Hum ____________ UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am Tamara Rebecca declare that I am thesole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person’s work has been used without due acknowledgement in the main text of this paper.
    [Show full text]
  • Dru Tvena I Kulturna Važnost Horora
    Društvena i kulturna važnost horora Smrekar, Jana Undergraduate thesis / Završni rad 2019 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zagreb, Faculty of Croatian Studies / Sveučilište u Zagrebu, Fakultet hrvatskih studija Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:111:048512 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-24 Repository / Repozitorij: Repository of University of Zagreb, Centre for Croatian Studies SVEUČILIŠE U ZAGREBU HRVATSKI STUDIJI Jana Smrekar DRUŠTVENA I KULTURNA VAŽNOST HORORA ZAVRŠNI RAD Zagreb, 2019. SVEUČILIŠE U ZAGREBU HRVATSKI STUDIJI ODSJEK ZA SOCIOLOGIJU Jana Smrekar DRUŠTVENA I KULTURNA VAŽNOST HORORA ZAVRŠNI RAD Mentor: prof. dr. sc. Renato Matić, redoviti profesor Zagreb, 2019. Sažetak Horor-žanr je u znanstvenim krugovima velikim dijelom zapostavljen jer je smatran nižom umjetničkom formom. No, u ovom radu pokazano je da je horor izrazito djelotvoran u bavljenju društvenim anksioznostima. Tjeskobe izražene u djelima iz žanra ovise o društvenom, političkom i ekonomskom kontekstu u kojem su nastali, te o identitetu i iskustvima autora i publike. Ovaj rad se fokusira na kratki povijesni pregled razvoja žanra, te na komparaciju horora i bajki, prema kojima su horori, naročito oni o odrastanju, moderne bajke, kao i analizu romana Stephena Kinga It i njegove filmske adaptacije kao metafore za cikličko sistemsko nasilje. Horori, zbog svoje simboličke naravi, igraju ključnu ulogu u preispitivanju društvenih struktura i podižu glasove marginaliziranih skupina. Abstract The horror genre is largely ignored in academic circles because it is considered a lower art form. But, this dissertation shows that horror is extremely effective in dealing with societal anxieties.
    [Show full text]
  • Proefschrift Joeri Pacolet.Pdf
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/155632 Please be advised that this information was generated on 2021-09-27 and may be subject to change. Stephen Kings Transcendente Schrijvers Een Post-Jungiaanse Analyse van de Puer Aeternus in Kings Fictie Joeri Frans Pacolet ©Joeri Frans Pacolet, 2015 ISBN/EAN: 978-90-9029533-6 NUR-code: 617 Foto voorzijde: ‘train track’ van Nadia Szopińska (Flickr, creative commons) Alle rechten voorbehouden. Niets uit deze uitgave mag worden openbaar gemaakt of verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand of uitgezonden, hetzij elektronisch, mechanisch, door middel van fotokopie, microfilm, opname of op welke wijze dan ook, zonder voorafgaande schriftelijke toestemming van de auteur. II Stephen Kings Transcendente Schrijvers Een Post-Jungiaanse Analyse van de Puer Aeternus in Kings Fictie Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus, volgens besluit van het college van decanen in het openbaar te verdedigen op vrijdag 19 februari 2016 om 16.30 uur precies door Joeri Frans Pacolet Geboren op 26 augustus 1981 te Sint-Truiden (België) III Promotor: Prof. dr. J. T. J. Bak Copromotor: Dr. E. J. van Leeuwen (Universiteit Leiden) Manuscriptcommissie: Prof. dr. O. Dekkers Prof. dr. T. D’haen (Katholieke Universiteit Leuven, België) Prof. dr. P.Th.G.
    [Show full text]
  • Cast Information
    CAST INFORMATION For Immediate Release DATE: October 2019 CONTACT: Kori Radloff, [email protected], 402-502-4641 Ella Enchanted Cast Information Aguel Lual Joey Hartshorn Lauren Krupski LaDareon LD Copeland Shannon Duke Carina DuMarce Marcel Daly Ella Dame Olga & Others Lucinda & Others Sir Peter & Others Hattie & Others Olive & Others Prince Charmont & Others Aguel Lual (Ella) Aguel Lual is a recent graduate of the Johnny Carson School of Theatre and Film at UNL and could not be more excited to be making her Rose debut! Some of her favorite credits are Kate Monster in Avenue Q (Nebraska Repertory Theatre) Maurice in Lord of The Flies (Nebraska Rep) and Emmie Thibodeaux in Caroline, Or Change (Omaha Community Playhouse.) She also loves sharing theater with young audiences and has worked as a Teaching Artist with Flatwater Shakespeare’s Little But Fierce program. Joey Hartshorn (Mother, Dame Olga, Menagerie Creature, Giant Bride) Joey Hartshorn is making her Rose Theater debut in Ella Enchanted. Brand spanking new to the area, she is excited and honored to be part of the Omaha theater scene. She was recently seen in OCP’s Ragtime (Emma Goldman), she received the Barbara Ford Award for the 2018-2019 Season at OCP for her role as Marge in Bridges of Madison County. Some favorite past roles include, Penelope Pennywise (Urinetown), Nellie Lovett (Sweeny Todd), Margaret White (Carrie the Musical), Vivian Bearing (Wit), Becca (Rabbit Hole) God of Carnage (Annette), Sheila (Boys Next Door) Pirates of Penzance (Ruth) and some favorite directing credits include Greenday’s American Idiot, Dogfight, Spring Awakening, Heathers, Closetland, Beauty and the Beast and Next to Normal.
    [Show full text]