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Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
April 2005 Updrafts
Chaparral from the California Federation of Chaparral Poets, Inc. serving Californiaupdr poets for over 60 yearsaftsVolume 66, No. 3 • April, 2005 President Ted Kooser is Pulitzer Prize Winner James Shuman, PSJ 2005 has been a busy year for Poet Laureate Ted Kooser. On April 7, the Pulitzer commit- First Vice President tee announced that his Delights & Shadows had won the Pulitzer Prize for poetry. And, Jeremy Shuman, PSJ later in the week, he accepted appointment to serve a second term as Poet Laureate. Second Vice President While many previous Poets Laureate have also Katharine Wilson, RF Winners of the Pulitzer Prize receive a $10,000 award. Third Vice President been winners of the Pulitzer, not since 1947 has the Pegasus Buchanan, Tw prize been won by the sitting laureate. In that year, A professor of English at the University of Ne- braska-Lincoln, Kooser’s award-winning book, De- Fourth Vice President Robert Lowell won— and at the time the position Eric Donald, Or was known as the Consultant in Poetry to the Li- lights & Shadows, was published by Copper Canyon Press in 2004. Treasurer brary of Congress. It was not until 1986 that the po- Ursula Gibson, Tw sition became known as the Poet Laureate Consult- “I’m thrilled by this,” Kooser said shortly after Recording Secretary ant in Poetry to the Library of Congress. the announcement. “ It’s something every poet dreams Lee Collins, Tw The 89th annual prizes in Journalism, Letters, of. There are so many gifted poets in this country, Corresponding Secretary Drama and Music were announced by Columbia Uni- and so many marvelous collections published each Dorothy Marshall, Tw versity. -
Animated Stereotypes –
Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes. -
James Merrill: a Postmodern Poet? Yes & No (With a New Poem by James Merrill)
ANDREA MARIANI James Merrill: A Postmodern Poet? Yes & No (With a New Poem by James Merrill) Scripts for the Pageant, so far the most extraordinary and contro versial of Merrill's texts, which was published in 1980 as the third part of his monumental poem The Changing Light at Sandover, is itself divided into three sections: "Yes," "&," and "No." 1 The reader, however much puzzled by the heterogeneity of Merrill's materials and linguistic strategies, cannot but acknowledge the final message of the "pageant": men, their lives, science, poetry, the "supernatural" powers which acted in order to dictate hundreds of ambiguous and contradictory truths, all belong to a universe which is both positive and negative: Yes and no came to be especially telling, the more I realized how important it was—not only for the poem but for my mental bal ance—to remain of two minds about everything that was happening. One didn't want to be merely skeptical or merely credulous. 2 In his amazement, the "chosen" poet is forced to see and, at the same time, is frightened by what he sees; "therefore, singing, he tells" (Heidegger 505). Ten years before the publication of the trilogy, Merrill was already aware of the full implication of this dualism; in an interview with David Kalstone based on a discussion of the poem "Yannina" (Divine Comedies, FF9 327-31), he concludes: People are always asking, Was it real? Did it happen? . As if a yes-or no answer would settle the question. Was it really Yannina I went to? Was my companion real or imaginary? I can only say yes and no to questions like this. -
Hammer Langdon Cv18.Pdf
LANGDON HAMMER Department of English [email protected] Yale University jamesmerrillweb.com New Haven CT 06520-8302 yale.edu bio page USA EDUCATION Ph.D., English Language and Literature, Yale University B.A., English Major, summa cum laude, Yale University ACADEMIC APPOINTMENT Niel Gray, Jr., Professor of English and American Studies, Yale University Appointments in the English Department at Yale: Lecturer Convertible, 1987; Assistant Professor, 1989; Associate Professor with tenure, 1996; Professor, 2001; Department Chair, 2005-fall 2008, Acting Department Chair, fall 2011 and fall 2013, Department Chair, 2014-17 and 2017-19 PUBLICATIONS Books In progress: Elizabeth Bishop: Life & Works, A Critical Biography (under contract to Farrar Straus Giroux) The Oxford History of Poetry in English (Oxford UP), 18 volumes, Patrick Cheney general editor; LH coordinating editor for Volumes 10-12 on American Poetry, and editor for Volume 12 The Oxford History of American Poetry Since 1939 The Selected Letters of James Merrill, edited by LH, J. D. McClatchy, and Stephen Yenser (under contract to Alfred A. Knopf) Published: James Merrill: Poems, Everyman’s Library Pocket Poets, selected and edited with a foreword by LH (Penguin RandomHouse, 2017), 256 pp James Merrill: Life and Art (Alfred A. Knopf, 2015), 944 pp, 32 pp images, and jamesmerrillweb.com, a website companion with more images, bibliography, documents, linked reviews, and blog Winner, Lambda Literary Award for Gay Memoir/Biography, 2016. Finalist for the Poetry 2 Foundation’s Pegasus Award for Poetry Criticism, 2015. Named a Times Literary Supplement “Book of the Year, 2015” (two nominations, November 25). New York Times, “Top Books of 2015” (December 11). -
COVER Web.Indd
Poetic Patriarch The singular Richard Wilbur displays a “Mozartean felicity” with verse. During the extended World War II battle of Monte Cassino, Richard Wilbur spent a lot of time in a foxhole. The Germans had pinned down his army division in a valley, firing their 88s from the hills above. “As Waugh said, a lot of war is just waiting around,” says Wilbur, who used that waiting time to read Edgar Allan Poe, among others, and to write poems. Years later, he observed that if there were no atheists in foxholes, there were plenty of poets. “Poems were a way of putting your world in order, a bit,” he explains. Wilbur, A.M. ’47, JF ’50, sent one of those battlefield poems to Wilbur’s Collected Poems 1943-2004, critic Adam Kirsch ’97 wrote, his wife, Charlee, who showed it to a friend who was an editor at “No other twentieth-century American poet, with the possible the Saturday Evening Post. The magazine immediately published it. exception of James Merrill, demonstrates such a Mozartean fe- Wilbur mailed many more poems home; when he left the army, licity in the writing of verse. This is partly a matter of formal he had $400, a wife and daughter to support, and a stack of mastery: Wilbur has written the best blank verse of any Ameri- wartime poetry. On the GI Bill, he enrolled in a Harvard doctoral can poet since Frost.” program in English literature. “I figured I’d become a great scholar of Europe in the seventeenth century,” he recalls. The Near the fairgrounds in the western Massachusetts town stack of poems, joined by others that he continued to write, grew of Cummington, a gently winding country road leads to the in a desk drawer. -
Dead Zone Back to the Beach I Scored! the 250 Greatest
Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �������������������������������������������� ����������������������� ���������������������� contents ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ �������������������������� -
Smithbradley.Pdf (368.3Kb)
CANON ____________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy ____________________________________________ by BRADLEY HARRISON SMITH Dr. Scott Cairns, Dissertation Supervisor May 2019 The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled CANON presented by Bradley Harrison Smith, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. ______________________________________________ Professor Scott Cairns ______________________________________________ Professor Frances Dickey ______________________________________________ Professor Alexandra Socarides ______________________________________________ Professor Aliki Barnstone ______________________________________________ Professor Carsten Strathausen ACKNOWLEDGEMENTS I would like to thank Scott Cairns for directing this project, Frances Dickey for graciously and patiently working with me over the years as I struggled to hone my academic prose, Alexandra Socarides for her wisdom and emotional support, Aliki Barnstone for her inspiration and guidance, and Carsten Strathausen for his encouragement and insight. I would also like to thank Dean Young, Michael Adams, David Wevill, Brigit Pegeen Kelly, Mary Ruefle, Tomaž Šalamun, Matt Hart, James D’Agostino, Jennifer Jesse, Willis -
Go the Go the Distance Distance
GO THE DISTANCE A TWISTED TALE GO THE DISTANCE A TWISTED TALE What if Meg had to become a Greek god? JEN CALONITA Los Angeles • New York Copyright © 2021 Disney Enterprises, Inc. All rights reserved. Published by Disney • Hyperion, an imprint of Buena Vista Books, Inc. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from the publisher. For information address Disney • Hyperion, 125 West End Avenue, New York, New York 10023. Printed in the United States of America First Hardcover Edition, April 2021 1 3 5 7 9 10 8 6 4 2 FAC-020093-21050 Library of Congress Control Number: 2020946065 ISBN 978-1-368-06380-7 Visit disneybooks.com For Tyler and Dylan— Always go the distance. —J.C. PROLOGUE Some time ago . “Excuses! Excuses! You give the same ones every week!” “They’re not excuses, Thea! It’s the truth!” “Truth? You expect me to believe you leave this house every day and go to work?” Their voices echoed through the small home, inevitably reaching five-year-old Megara as she sat in the adjacent room at the window. She didn’t flinch as their argument grew louder and more heated. As cutting as their words might be, Megara didn’t understand them. Her parents’ arguments had become as common as the sun rising in the morning and the moon shining at night. Even her mother seemed to anticipate them coming now, like she could feel an impend- ing storm. -
How Disney's Hercules Fails to Go the Distance
Article Balancing Gender and Power: How Disney’s Hercules Fails to Go the Distance Cassandra Primo Departments of Business and Sociology, McDaniel College, Westminster, MD 21157, USA; [email protected] Received: 26 September 2018; Accepted: 14 November; Published: 16 November 2018 Abstract: Disney’s Hercules (1997) includes multiple examples of gender tropes throughout the film that provide a hodgepodge of portrayals of traditional conceptions of masculinity and femininity. Hercules’ phenomenal strength and idealized masculine body, coupled with his decision to relinquish power at the end of the film, may have resulted in a character lacking resonance because of a hybridization of stereotypically male and female traits. The film pivots from hypermasculinity to a noncohesive male identity that valorizes the traditionally-feminine trait of selflessness. This incongruous mixture of traits that comprise masculinity and femininity conflicts with stereotypical gender traits that characterize most Disney princes and princesses. As a result of the mixed messages pertaining to gender, Hercules does not appear to have spurred more progressive portrayals of masculinity in subsequent Disney movies, showing the complexity underlying gender stereotypes. Keywords: gender stereotypes; sexuality; heroism; hypermasculinity; selflessness; Hercules; Zeus; Megara 1. Introduction Disney’s influence in children’s entertainment has resulted in the scrutiny of gender stereotypes in its films (Do Rozario 2004; Dundes et al. 2018; England et al. 2011; Giroux and Pollock 2010). Disney’s Hercules (1997), however, has been largely overlooked in academic literature exploring the evolution of gender portrayals by the media giant. The animated film is a modernization of the classic myth in which the eponymous hero is a physically intimidating protagonist that epitomizes manhood. -
Go the Distance Sheet Music from Hercules
GO THE DISTANCE from Walt Disney Pictures’ HERCULES Music by ALAN MENKEN Lyrics by DAVID ZIPPEL Slowly D G A D xx ox ooo x oo x ox L.H. G A D ooo x oo x ox L.H. G A D G A D ooo x oo x ox ooo x oo x ox Ihave of -ten dreamed of a far -off place where a un -knownroad to em -brace my fate, though that G A Bm7 Gmaj7 Asus A G A D ooo x oox ooo x oox oo ooo x oo x ox 3 he -ro’s wel-come would be wait -ingfor me, where the crowds will cheer when they road may wan -der, it will lead me to you. And a thou -sandyears would be 3 Sheetmusic-free.com Compliments of musicnotes.com 2 G A Bm G F Bm D/A G Asus A ooo x oo x ooo x oox ooo x oox oo see my face, and a voice keeps say-ing this is where I’m meant to be. I’ll be worth the wait. It might take a life-time, but some -how I’ll see it through. And I D(add9)/F Em/G D/A A A/G D(add9)/F Em/G oo o ooox oox x oo ox oo o ooox there some -day. I can go the dis -tance. I will find my way won’t look back. I can go the dis -tance. And I’ll stay on track. No, I D/A A A/G D(add9)/F G 1. -
Richard Hugo Awarded $10,000 Academy of American Poets Fellowship
University of Montana ScholarWorks at University of Montana University of Montana News Releases, 1928, 1956-present University Relations 12-1-1981 Richard Hugo awarded $10,000 Academy of American Poets fellowship University of Montana--Missoula. Office of University Relations Follow this and additional works at: https://scholarworks.umt.edu/newsreleases Let us know how access to this document benefits ou.y Recommended Citation University of Montana--Missoula. Office of University Relations, "Richard Hugo awarded $10,000 Academy of American Poets fellowship" (1981). University of Montana News Releases, 1928, 1956-present. 7225. https://scholarworks.umt.edu/newsreleases/7225 This News Article is brought to you for free and open access by the University Relations at ScholarWorks at University of Montana. It has been accepted for inclusion in University of Montana News Releases, 1928, 1956-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. /^University yi# of Montana Office of University Relations • Missoula, Montana 59812 (406) 243-2522 braun/rv MEDIA RELEASE 12/1/81 state, w/pic RICHARD HUGO AWARDED $10,000 ACADEMY OF AMERICAN POETS FELLOWSHIP MISSOULA-- Richard Hugo, professor of English and director of the creative writing program at the University of Montana, has been awarded a $10,000 fellowship for "distinguished poetic achievement" by the Academy of American Poets. The announce ment was made by Mrs. Hugh Bullock, academy president, at the 47th annual mem bers' meeting in New York Nov. 18. The fellowship of the Academy of American Poets was the first award of its kind in the United States.