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Are We a Bunch of Robin Hoods?” Filesharing As a Folk Tradition of Resistance Benjamin Staple
Document generated on 09/27/2021 8:47 a.m. Ethnologies “Are We a Bunch of Robin Hoods?” Filesharing as a Folk Tradition of Resistance Benjamin Staple Crime and Folklore Article abstract Crime et folklore On the edge of the digital frontier, far from the oceans of their maritime Volume 41, Number 1, 2019 namesakes, pirate communities flourish. Called outlaws and thieves, these file-sharers practice a vernacular tradition of digital piracy in the face of URI: https://id.erudit.org/iderudit/1069852ar overwhelming state power. Based on ethnographic fieldwork conducted with DOI: https://doi.org/10.7202/1069852ar Warez Scene cracking groups and the Kickass Torrents community, this article locates piracy discourse as a site of contested identity. For file-sharers who embrace it, the pirate identity is a discursively-constructed composite that See table of contents enables users to draw upon (and create) outlaw folk hero traditions to express themselves and affect small-scale change in the world around them. This article argues that pirate culture is more nuanced than popularly depicted and Publisher(s) that, through traditional practice, piracy is a vernacular performance of resistance. Association Canadienne d’Ethnologie et de Folklore ISSN 1481-5974 (print) 1708-0401 (digital) Explore this journal Cite this article Staple, B. (2019). “Are We a Bunch of Robin Hoods?”: Filesharing as a Folk Tradition of Resistance. Ethnologies, 41(1), 197–224. https://doi.org/10.7202/1069852ar Tous droits réservés © Ethnologies, Université Laval, 2020 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. -
The Genesis of Toby: a Folk Hero of the American Theater Author(S): Jere C
The Genesis of Toby: A Folk Hero of the American Theater Author(s): Jere C. Mickel Source: The Journal of American Folklore, Vol. 80, No. 318 (Oct. - Dec., 1967), pp. 334-340 Published by: American Folklore Society Stable URL: http://www.jstor.org/stable/537410 Accessed: 22/04/2010 21:29 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=illinois and http://www.jstor.org/action/showPublisher?publisherCode=folk. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press and American Folklore Society are collaborating with JSTOR to digitize, preserve and extend access to The Journal of American Folklore. -
The Subversive Anti-Hero Trend in Postmodern Television: How Subversive Are They, Really?
THE REPUBLIC OF TURKEY BAHCESEHIR UNIVERSITY THE SUBVERSIVE ANTI-HERO TREND IN POSTMODERN TELEVISION: HOW SUBVERSIVE ARE THEY, REALLY? M.S. Thesis ELİF İNCE İSTANBUL, 2013 THE REPUBLIC OF TURKEY BAHCESEHIR UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES FILM AND TELEVISION THE SUBVERSIVE ANTI-HERO TREND IN POST- MODERN TV: HOW SUBVERSIVE ARE THEY, REALLY? M.S. Thesis ELİF İNCE Thesis Supervisor: PROF. SELİM EYÜBOĞLU İSTANBUL, 2013 ACKNOWLEDGEMENTS The writing process of this thesis has provided me with the long-forgotten joy of concentrating, brewing and producing. It has also provided me with an excuse for what already is a shameless guilty pleasure: spending countless hours in front of the television. I would like to thank my advisor Prof. Dr. Selim Eyüboğlu for steering me in the right direction and encouraging me to keep it simple while also looking at multiple TV series- it certainly made the process much more fun and satisfying; my mother Birsen İnce for talking me into getting a master’s degree (although she definitely would not like any of the characters I wrote about if she had to chance to meet them); my father Ümit İnce, for somehow having an idea about each and every show I discussed and talking to me about them (although it remains a mystery when he finds the time to watch them); and my fiancé Çağıl Yetkin for bearing with me without once growing jealous of Tony Soprano, Dexter Morgan or Walter White, and above all for sharing and enjoying the Buffysphere with me. İstanbul, 2013 Elif İnce iii ABSTRACT THE SUBVERSIVE ANTI-HERO TREND IN POST-MODERN TV: HOW SUBVERSIVE ARE THEY, REALLY? Elif İnce Film and Television Thesis Supervisor: Prof. -
The Outlaw and the Popular /Folk Hero: a Review Article
Australian Folklore 26, 2011 59 The Outlaw and The Popular /Folk Hero: A Review Article J.S. Ryan ABSTRACT: This is a generous and powerful treatment of the authority- defiant figure across many cultures and centuries. While Graham Seal’s major work to date has been largely concerned with medieval England and colonial Australia, this is a fine and world-ranging survey, and a study presented with a compassionate identification and with a pleasing wit. It is, quite simply, Australia’s finest national and comparative volume in the global scholarship of the folkloric discipline. What more is there to say about outlaw heroes? A great deal, it turns out. While many might have considered the tradition of the outlawed hero to have died out, it has not only endured, but has evolved into viable new forms; the cultural processes that produce and contain the outlaw hero as a viable model of resistance are not only ancient, extensive and deep, but are also socially perilous. I hope this book will make a small contribution towards a better understanding of this ongoing imperative of history and mythology. Graham Seal, ‘Preface’, pp. vii-viii, in his Outlaw Heroes in Myth and History (2011).1 The Author—First as Australia-focussed Folklorist Graham Seal (b. 1950), originally trained as an historian, and now a professor of both our folklore and cultural studies and of the Asian and of the Pacific region at Curtin University in Western Australia, has long been a national and international figure in the world sphere of the scholarship of largely contemporary folklore. -
The Trickster's Transformation – from Africa to America
ISSN 2411-9563 (Print) European Journal of Social Sciences May-August 2017 ISSN 2312-8429 (Online) Education and Research Volume 4, Issue 3 The Trickster’s Transformation – from Africa to America Nataša Vajić Assist. Prof. Dr. at Faculty of Philology, Slobomir P University, Slobomir, Bosnia and Herzegovina Abstract One of the most favorite characters in many African myths and folk tales is definitely a trickster. As a part of the African cultural heritage, the trickster has an important place in the cultures of many African nations. He is an entertainer, teacher, judge and a sage. Many comic aspects of life are brought together through the trickster, as well as serious social processes. He rewards and punishes. He is a deity and an ordinary man, if not an animal. During the Middle Passage Era he goes along with his suffering people to the New World. New circumstances require him to change and assume new forms. He has to be a rebel and a protector of his people due to slavery and violation of human rights. So, from comical spider and monkey back in Africa, we now have new characters such as Railroad Bill, Brother John, Br’er Rabbit and many hoodoo doctors. African oral tradition is transformed and becomes the basis for African-American literature. Keywords: African-American literature, African myths, the trickster Introduction African trickster is an important figure in the myths of the African oral tradition. Among the Akan, the trickster god Anansi is so popular that there is even a special genre of stories - anansesem (spider stories). Although his habits and desires are those of men, the trickster is usually in animal form. -
Folklore/Cinema: Popular Film As Vernacular Culture
Utah State University DigitalCommons@USU All USU Press Publications USU Press 2007 Folklore/Cinema: Popular Film as Vernacular Culture Sharon R. Sherman Mikel J. Koven Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the American Film Studies Commons, and the Folklore Commons Recommended Citation Sherman, S. R., & Koven, M. J. (2007). Folklore / cinema: Popular film as vernacular culture. Logan: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. FOLKLORE / CINEMA Popular Film as Vernacular Culture FOLKLORE / CINEMA Popular Film as Vernacular Culture Edited by Sharon R. Sherman and Mikel J.Koven Utah State University Press Logan, Utah Copyright ©2007 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322–7200 Manufactured in the United States of America Printed on recycled, acid-free paper ISBN: 978–0–87421–673-8 (hardback) ISBN: 978–0–87421–675-2 (e-book) Library of Congress Cataloging-in-Publication Data Folklore/cinema : popular film as vernacular culture / edited by Sharon R. Sherman and Mikel J. Koven. p. cm. ISBN 978-0-87421-673-8 (hardback : alk. paper) -- ISBN 978-0-87421-675-2 (e-book) 1. Motion pictures. 2. Folklore in motion pictures. 3. Culture in motion pictures. I. Sherman, Sharon R., 1943- II. Koven, Mikel J. PN1994.F545 2007 791.43--dc22 2007029969 Contents Introduction: Popular Film as Vernacular Culture 1 I. -
Tricksters, Comedians, Fools, Tricksters Rogues, and Picaros
TRICKSTERS, COMEDIANS, FOOLS, TRICKSTERS ROGUES, AND PICAROS: by Don L. F. Nilsen English Department Arizona State University Tempe, AZ 85287-0302 ( [email protected] ) Abrams, David M., and Brian Sutton-Smith. "The Development of the Trickster in Children's Narrative." Journal of American Folklore 90 (1977): 29-47. Ajayi, 'Bade. "Asa: The Court Jester in Yoruba Oral Tradition." Jolan: Journal of the Linguistic Association of Nigeria. 3 (1985): 113-121. Allen, Paula Gunn. Off the Reservation: Reflections on Boundary-Busting, Border-Crossing Loose Canons. Boston, MA: Beacon, 1998. Alter, Robert. Rogue's Progress: Studies in the Picaresque Novel. Harvard Studies in Comparative Literature 26 Cambridge, MA: Harvard University Press, 1964. Ammons, Elizabeth, and Annette White-Pak, eds. Tricksterism in Turn-of-the-Century American Literature: A Multicultural Perspective. Hanover, NH: Tufts University Press of New England, 1994. Amory, Frederic. The Entry of the Trickster to the High Cultures of the West. Folklore Prepint Series 5.2. Bloomington, IN: Folklore Publications Group, Folklore Studies Association, Indiana University, 1977. Amory, Frederic. "Three Profiles of the Trickster." Arv: Scandinavian Yearbook of Folklore [Finland] 44 (1988): 7-25. Arnold, A. James, ed. Monsters, Tricksters, and Sacred Cows: Animal lTales and American Identities. New World Studies. Charlottesville, VA: University Press of Virginia, 1996. Ashley Kathleen M. "The Guiler Beguiled: Christ and Satan as Theological Tricksters in Medieval Religious Literature." Criticism 24.2 (Spring, 1982): 126-1337. Auda, Valerie. "The Court Fool or Jester: A Historic Background." Cycnos [France] 5 (1989): 23-26. Babcock, Barbara Abrahams, ed. The Reversible World: Symbolic Inversion in Art and Society. -
Red Hot Chili Peppers to the World Stage
The Californication album signalled the welcome return of the Red Hot Chili Peppers to the world stage. Paul Tingen discusses the recording with the album’s engineer, Jim Scott. he ‘Californication’ of the world is in full swing. Of course, it’s been going on for decades, mainly via The trouble began when their guitarist John Frusciante Tthe influence of the likes of Hollywood and Disney- descended into a journey of drug-induced self-destruc- land. But recently there’s been a major accessory to the tion. Four years later several near miracles have global takeover, in the form of the latest album from the happened. Frusciante is off drugs, has a new set of rejuvenated Red Hot Chili Peppers. It’s their most suc- teeth, some skin grafts on his arms and clearly still cessful album yet, topping the hit parades all over the knows how to play the guitar. He has also joined singer world and turning platinum in Australia, New Zealand, Anthony Kiedis, bassist Flea and drummer Chad Smith Canada, Japan and the USA, and gold in almost all to resurrect the Chili Peppers, and together they have European countries. created an engaging album. Most of the tracks have a Apparently the title came out of a visit by singer high-energy rock vibe, but they’re interspersed with Anthony Kiedis to Borneo. He was surprised to see the many touching ballads, of which Scar Tissue became a local culture saturated with images from the US, and Cal- monster hit. ifornia in particular, whether it was Coca-Cola, Marlboro, Californication’s engineer Jim Scott has an impressive- and Hollywood movies, or T-shirts, posters, CDs and ly long list of credits to his name, including Natalie cassettes from Californian bands (including the Red Hot Merchant, Lucinda Williams, Counting Crows, Tom Petty, Chili Peppers themselves). -
Songwriters-In-The-Round: Vicki Peterson, Shelly Peiken, Bleu, Roy
Cal Poly Pomona Music Department 3801 W. Temple Avenue, Pomona, CA 91768 Phone: 909-869-3554 Fax: 909-869-4145 Website: http://www.cpp.edu/~class/music/ For Details, Contact: Teresa Kelly, Music Department Publicist Email: [email protected] For Release: January 25, 2016 Phone: 909-869-3554 Songwriters-in-the-Round: Vicki Peterson, Shelly Peiken, Bleu, Roy Zimmerman, Eleni Mandell, Kelly Jones, Tim Cohan, Linus of Hollywood, Arthur Winer, MC Prototype & Jess Furman in concert Wednesday, February 24th, 8:00 PM in the Cal Poly Pomona Music Recital Hall. Tickets are $15 general/$10 student, available at http://csupomona.tix.com/Event.aspx?EventCode=840454 or through the Publicity Office, 24-188, (909) 869-3554. The Songwriters-in-the-Round concert will be preceded by: 3rd Songwriting Summit • Wednesday, February 24th, 2:00-5:00 PM in the Cal Poly Pomona Music Recital Hall, 24-191. Master classes are FREE and open to the public. For more information, please contact Prof. Arthur Winer at [email protected]. -------------------------------------------------------------------------------------------------------- SPECIAL EVENT: Songwriters-in-the-Round: Vicki Peterson, Shelly Peiken, Bleu, Roy Zimmerman, Eleni Mandell, Kelly Jones, Tim Cohan, Linus of Hollywood, Arthur Winer, MC Prototype & Jess Furman in concert The Cal Poly Pomona Music Department and the Songwriter Showcase ensemble are pleased to announce an unusual and diverse group of acclaimed songwriters together in concert for an evening of Songwriters-in-the-Round Wednesday, February 24th, 8:00 PM. Featuring songwriters Vicki Peterson (The Bangles), Shelly Peiken ("What a Girl Wants"), Bleu, Roy Zimmerman, Eleni Mandell (The Living Sisters), Kelly Jones, Tim Cohan (Tryst, MacArthur), Linus of Hollywood, Arthur Winer (MacArthur), MC Prototype & Jess Furman sharing the stage for a night of original music. -
Heroic/Anti-Heroic Narratives: the Quests of Sherron Watkins by Mark E
Journal of Critical Postmodern Organization Science Vol 3 (2) 2005 Heroic/Anti-Heroic Narratives: The Quests of Sherron Watkins by Mark E. Hillon, William L. Smith & Gabriel D. Isaacs New Mexico State University, USA ABSTRACT With the recent collapse of Enron and the need for sense-making, opinions of Sherron Watkins'status in the Enron spectacle abound. Competing narratives portray her as both heroic whistleblower and anti-hero of corporate greed. Was she a hero or not? Rather than add to this dialectic controversy, we first define the classical typology of a hero as originally set forth by Homer and later detailed by Joseph Campbell. We next analyze the texts of Watkins' quest chronology in order to elucidate the complex circumstances surrounding the creation of both narratives. The textual analysis then leads to a clarification of the anti-hero typology, followed by a new prototype, the quasi-hero, which possesses some classical hero attributes, yet is devoid of other essential qualities. Our contribu- tion extends the current hero typology, thereby providing a necessary expanse of classification for understanding today's corporate spectacles. I. INTRODUCTION ing stories vary in effectiveness, with some achieving the appearance and near popular The social notion and academic typology of a satisfaction of a heroic narrative, while others "hero" can be traced to the prototype hero's are downright implausible. Sherron Watkins is quest presented in Homer's Iliad and Odys- an intriguing figure in the Enron texts because sey. In the search for a hero of the Enron she emerges in the lead role of two distinct, spectacle, some have wholeheartedly ascribed yet highly divergent heroic quest narratives: heroic attributes to Sherron Watkins (McNulty as hero and anti-hero. -
Peppers Are a Motley Crew "Houston Chronicle" (13 Décembre 1985) - Marty Racine
Red Hot Chili Peppers - Peppers Are A Motley Crew "Houston Chronicle" (13 Décembre 1985) - Marty Racine Yes, we live in strange times. Imagine 400 otherwise normal people going crazy over an Australian-American-Israeli white funk band doing the ``African Ghost Dance'' and calling themselves the Red Hot Chili Peppers. Oh Dem Freaky Styley boys, dese white boys on funk and currently out of Hollywood, are just about the silliest bunch of rascals this side of Pluto, but they cemented their strong Houston following Wednesday night at Rockefeller's with enough flash and trash to send a standing-room crowd home into the cold drizzle happy as loons. This was their third-to-last show on a two-month tour, so the Peppers were perhaps more wrinkled than usual. Nevertheless, as bassist ``Flea'' told me in a recent phone conversation, we are to take their music, if not their antics, ``seriously.'' A drum roll please, for background: Flea, of aboriginal descent, was born in Australia and moved to Southern California at the proverbial young age. ``Long Daddy Slow'' Slovak, the guitarist, was born in Israel. Drummer Cliff ``Sloeman Dog Style'' Martinez and lead vocalist Anthony Kiedis, who looked like some mad surf warrior Wednesday night, are of the American Midwest. A couple of years ago the boys, all in other Southern California bands, took up a friend's offer to do a 15-minute outrageous shtick at the friend's Los Angeles nightclub. Whadaya know, the shtick stuck. People started talking, the boys dumped their other projects, and a band was born. -
The Myth of Russian Stupidity in Rfl Lessons
International Scientific-Pedagogical Organization of Philologists (ISPOP) DOI: THE MYTH OF RUSSIAN STUPIDITY IN RFL LESSONS Natalia V. Roitberg PhD in Philology, lecturer University of Haifa (Haifa, Israel) e-mail: [email protected] Abstract. This study addresses the use of folklore materials among advanced and intermediate-level students of Russian. Special attention is devoted to the Russian folk character Ivan the Fool, the myth of Russian stupidity, and mechanisms by which the theme of foolishness presented in Russian folklore and literature. The paper focuses on the reading Russian fairy folk tales of Ivan the Fool (Leo Tolstoy’s “The Tale of Ivan the Fool and his two brothers” and the tale “Before the Cock Crows Thrice” by Vasily Shukshin) and the interpreting Russian proverbs and sayings about fools which are shown as conceptions of the myth of Russian stupidity. It was determined that the use of Russian folktales and proverbs as curriculum materials have a great educational significance, linguistic importance on Russian language teaching, as well as on the Russian language acquisition. Furthermore, folklore materials are considered efficient tools for foreign students’ deeper insight into Russian mentality and folk lore. Keywords: Russian as a foreign language lesson (RFL lesson), folklore materials, fairy tales, Ivan the Fool, the myth of Russian stupidity МИФ О РУССКОЙ ГЛУПОСТИ НА УРОКАХ РКИ Наталья Владимировна Ройтберг Кандидат филологических наук, лектор Хайфский Университет (Хайфа, Израиль) e-mail: [email protected] Аннотация. В статье рассматривается использование материалов устного народного творчества на уроках русского языка как иностранного студентам среднего и продвинутого уровней. Отдельное внимание уделено образу Ивана-дурака, мифу о русской глупости и способам репрезентации темы «простофильства» в русском фольклоре и литературе.