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Graphic Novels
Graphic Novels Teaching Resources Center, Joyner Library A Selective Annotated Bibliography Titles in the Teaching Resources Center are cataloged with Dewey call numbers and are preceded by Curric. Please ask someone at the Teaching Resources Service Desk if you need any assistance. Lexile Title Information Call Score Number EASY 280L Arnold, Tedd. Hi! Fly Guy. New York: Scholastic, 2005. (Nine additional Fly E Guy titles) AR657F01 When Buzz captures a fly to enter in The Amazing Pet Show, his parents and the judges tell him that a fly cannot be a pet, but Fly Guy proves them wrong. GN380L Arnold, Tedd. Noodlehead Nightmares. New York: Holiday House, 2016. E (Also: Noodlehead Sees the Future) AR657NOODN Brothers Mac and Mac star in this collection of bedtime tales inspired by folktales about fools from around the world. GN530L Christelow, Eileen. The Desperate Dog Writes Again. Boston: Clarion E Books, 2010. C4619D When a new girlfriend comes between Emma the dog and her owner George, Emma e-mails "Ask Queenie," an advice column for dogs having problems with difficult humans. 1 310L Coudray, Philippe. Benjamin Bear in Bright Ideas: A TOON Book. New E York: TOON Books, 2013 (Also by author: Benjamin Bear in Fuzzy C83BEB Thinking: A TOON Book) Benjamin Bear, accompanied by his faithful rabbit friend, continues to share his observations and questions about the world around him. 290L Davis, Eleanor. Flop to the Top! New York: TOON Books, 2015. E D2923F Wanda's plan to make herself famous backfires when her floppy-faced dog starts drawing all the attention N/A Farber, Erica. -
Download Futuro Anteriore
Numero XVII Estate 2017 futuro anteriore Sommario L'Editorial L’Editorial 3 InSistenze 4 Gusci vuoti alla dervia di Simone Scaloni 5 Nella sottrazione utile... di Anna Laura Longo 9 SETTEMBRE 2017 - N.17- ANNO 5 La cristallomanzia delle vite interrotte di Gioele Marchis 13 L’attimo al fulmicotone di Lucio Costantini 17 www.rivistadiwali.it InVerso 21 «No, non è detto che il passato sia già accaduto, così alla perfezione piattamente presente del digitale, che an- Gianluigi Miani 22 come non è detto che il futuro non lo sia ancora. È cer- nulla ogni profondità dimensionale. O come le visioni vo- Valentina Ciurleo 23 to questo il modo in cui spontaneamente pensiamo il lutamente caricaturali del futuro nella fantascienza, che Direttore Editoriale tempo, ma...Lo spazio di questo ma raccoglie le infinite sappiamo non si produrranno mai come le immaginiamo, Roberto Marzano 24 Maria Carla Trapani possibilità della rappresentazione artistica del futuro an- ma che hanno proprio nel loro essere improbabili la forza Martina Millefiorini 26 teriore, questo tempo strano che già sui banchi di scuola di una protesta, di una resistenza. A volte l’anticato e il Direttore Responsabile Dona Amati 28 ci appariva misterioso. Ma è tutto lì il senso del tempo: futuristico si fondono in una sola immagine doppiamente Flavio Scaloni nella possibilità di pensare adesso qualcosa che oggi o anacronistica, come nello Steampunk, in cui le due dire- Focus Haiku 30 domani sarà passata… zioni convergono in una sola immagine, in un solo suo- Redazione InStante 35 Sarà passata, eccolo un esempio del nostro tempo, no, in una sola parola di resistenza. -
Happy Birthday!
THE THURSDAY, APRIL 1, 2021 Quote of the Day “That’s what I love about dance. It makes you happy, fully happy.” Although quite popular since the ~ Debbie Reynolds 19th century, the day is not a public holiday in any country (no kidding). Happy Birthday! 1998 – Burger King published a full-page advertisement in USA Debbie Reynolds (1932–2016) was Today introducing the “Left-Handed a mega-talented American actress, Whopper.” All the condiments singer, and dancer. The acclaimed were rotated 180 degrees for the entertainer was first noticed at a benefit of left-handed customers. beauty pageant in 1948. Reynolds Thousands of customers requested was soon making movies and the burger. earned a nomination for a Golden Globe Award for Most Promising 2005 – A zoo in Tokyo announced Newcomer. She became a major force that it had discovered a remarkable in Hollywood musicals, including new species: a giant penguin called Singin’ In the Rain, Bundle of Joy, the Tonosama (Lord) penguin. With and The Unsinkable Molly Brown. much fanfare, the bird was revealed In 1969, The Debbie Reynolds Show to the public. As the cameras rolled, debuted on TV. The the other penguins lifted their beaks iconic star continued and gazed up at the purported Lord, to perform in film, but then walked away disinterested theater, and TV well when he took off his penguin mask into her 80s. Her and revealed himself to be the daughter was actress zoo director. Carrie Fisher. ©ActivityConnection.com – The Daily Chronicles (CAN) HURSDAY PRIL T , A 1, 2021 Today is April Fools’ Day, also known as April fish day in some parts of Europe. -
Shogun's Local Legacy Kathleen Hanna True Widow
Vol. 24 • Issue 297 • September 2013 • slugmag.com • Always Free Shogun’s Local Legacy Kathleen Hanna True Widow slugmag.com 1 2 SaltLakeUnderGround slugmag.com 3 SaltLakeUnderGround • Vol. 24 • Issue #297 • September 2013 • slugmag.com facebook.com/SLUG.Mag @SLUGMag @SLUGMag youtube.com/user/SLUGMagazine Publisher: Eighteen Percent Gray Marketing Manager: Editor: Angela H. Brown Karamea Puriri Managing Editor: Esther Meroño Marketing Team: Ischa B., Sabrina Costello, Editorial Assistant: Alexander Ortega Kristina Sandi, Brooklyn Ottens, Angella Luci- Office Coordinator:Gavin Sheehan sano, Nicole Roccanova, Raffi Shahinian, Vic- Digital Content Coordinator: Cody Kirkland toria Loveless, Zac Freeman, Cassie Anderson, Copy Editing Team: Esther Meroño, Alexan- Cassie Loveless, Shley Kinser, Matt Brunk, Robin der Ortega, Mary E. Duncan, Cody Kirkland, Sessions, Carl Acheson, Chandler Hunt Johnathan Ford, Alex Cragun, Rachel Miller, Ka- Social Media Coordinator: Catie Weimer tie Bald, Liz Phillips, Allison Shephard, Laikwan Waigwa-Stone, Shawn Soward Distribution Manager: Eric Granato Distro: Eric Granato, Tommy Dolph, Tony Cover Designer: Joshua Joye Bassett, Nancy Burkhart, Adam Okeefe, Ryan Lead Designer: Joshua Joye Worwood, John Ford, Matt Pothier, Phil Cannon, Design Team: Eleanor Scholz, BJ Viehl, Lenny Tim Kronenberg, Justin Nelson-Carruth, Xkot Riccardi, Chad Pinckney, Mason Rodrickc Toxsik, Nancy Perkins Ad Designers: Kent Farrington, Sumerset Bivens, Christian Broadbent, Kelli Tompkins, Eric Senior Staff Writers: Mike Brown, Mariah Sapp, Brad Barker, Paden Bischoff, Maggie Mann-Mellus, James Orme, Lance Saunders, Zukowski, Thy Doan, KJ Jackett, Nicholas Dowd, Bryer Wharton, Peter Fryer, James Bennett, Ricky Nick Ketterer Vigil, Gavin Hoffman, Esther Meroño, Rebecca Website Design: Kate Colgan Vernon, Jimmy Martin, Ben Trentelman, Princess Office Interns: Carl Acheson, Robin Sessions, Kennedy, Sean Zimmerman-Wall, Cody Hudson, Alex Cragun, Chandler Hunt Shawn Mayer, Dean O. -
Katalog Zur Ausstellung
ARCHIV DER JUGENDKULTUREN (HRSG.) DER Z/WEITE BLICK JUGENDKULTUREN UND DISKRIMINIERUNGEN Archiv der Jugendkulturen (Hrsg.) DER Z/WEITE BLICK JUGENDKULTUREN UND DISKRIMINIERUNGEN Ausstellungseröffnung im Archiv der Jugendkulturen e.V., Berlin, 2017, Foto: Boris Geilert IMPRESSUM Archiv der Jugendkulturen e. V. Fidicinstraße 3 10965 Berlin Tel. 030–6942934 Fax 030–6913016 E-Mail: [email protected] Web: www.jugendkulturen.de Autor*innen / Redaktion: DJ Freshfluke, Jule Naima Fröhlich, Martin Gegenheimer, Florian Hofbauer, Tino Kandal, Edyta Kopitzki, Svetla Koynova, Bianca Loy, Gabriele Rohmann, Lisa Schug, Farina Wäcker Illustrationen: Gabriel S Moses, www.gabsmoses.com Lektorat: Berlin Lektorat und Nadine Marcinczik © Archiv der Jugendkulturen e. V. 2018 Die Veröffentlichung stellt keine Meinungsäußerung des BMFSFJ bzw. des BAFzA dar. Für inhaltliche Aussagen trägt der Autor/die Autorin bzw. tragen die Autoren/Autorinnen die Verantwortung. VORWORT Jugendkulturen sind wichtige Orte für (überwiegend) junge Sexismus und Homo- und Transfeindlichkeit – aber auch Menschen, an denen sie ihren Gedanken, Einstellungen, Hal- positive Aspekte wie jugendkulturelle Initiativen oder Pop- tungen, Reflexionen über sich und die Welt in Kleidung, Spra- Künstler*innen, die sich gegen Diskriminierungen in ihren che, Musik und Medien kreativen Ausdruck verleihen können. Szenen oder im Mainstream wehren und sich auf diese Weise Sie bieten Heranwachsenden Möglichkeiten, künstlerisch, zivilgesellschaftlich für die Gleichwertigkeit von Menschen ein- gesellschaftlich -
Middle Grade Webcomics
Middle Grade Webcomics Audrey’s Magic Nine Written by Michelle Wright and illustrated by Courtney Huddleston, Francesco Gerbino, and Tracy Bailey, this webcomic, now a series of graphic novels published by Farthing Press, centers on a black orphan adopted by a well-meaning but clueless suburban white couple. Breaking Cat News House cats Elvis, Puck, and Lupin report on such breaking news stories as “The people are missing!” and “There’s a box with a towel inside it on the kitchen table.” Georgia Dunn’s hilarious webcomic, with its feline’s-eye view of the world, is also being published by Andrews McMeel as a series of graphic novels. Cucumber Quest In GiGi D.G.’s video game–esque tale, adorable Cucumber the bunny and his sister Almond go up against a series of baddies. A vibrant palette, nonstop action, and a bizarre cast of friends and foes make for immersive reading. Also available as a series of graphic novels published by First Second. Homestuck Andrew Hussie’s wildly popular webcomic follows John Egbert, who on his 13th birthday plays a video game that unleashes the apocalypse. Available in print from Viz Media. Ozy and Millie Two anthropomorphic foxes navigate the world in this sweetly snarky webcomic, now a graphic novel published by Andrews McMeel, by Dana Simpson, creator of the best-selling “Phoebe and Her Unicorn” series. Enjoy the archive, or check out reruns on GoComics! Scared by the Bell Though being the new kid is never easy, it’s especially hard for Peter, an average kid whose classmates include a mummy, a pumpkinhead, and a skeleton. -
The Art Worlds of Punk-Inspired Feminist Networks
! The Art Worlds of Punk-Inspired Feminist Networks ! ! ! ! ! ! A social network analysis of the Ladyfest feminist music and cultural movement in the UK ! ! ! ! ! ! A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities ! ! ! 2014 ! ! Susan O’Shea ! ! School of Social Sciences ! ! Chapter One Whose music is it anyway? 1.1. Introduction 12 1.2. Ladyfest, Riot Girl and Girls Rock camps 14 1.2.1. Ladyfest 14 1.2.2. Riot Grrrl 16 1.2.3. Girls Rock camps 17 1.3. Choosing art worlds 17 1.4. The evidence: women’s participation in music 20 1.5. From the personal to the political 22 1.6. Thesis structure 25 Chapter Two The dynamics of feminist cultural production 2.1. Introduction 27 2.2. Art Worlds and Becker’s approach 29 2.3. Punk, Riot Grrrl and Ladyfest 32 2.3.1. Punk 33 2.3.2. Riot Grrrl 34 2.3.3. Ladyfest 40 2.4. The political economy of cultural production 41 2.5. Social movements, social networks and music 43 2.6. Women in music and art and the translocal nature of action 48 2.6.1. Translocality 50 2.7. Festivals as networked research sites 52 2.8. Conclusion 54 Chapter Three Methodology 3.1. Introduction 56 !2 ! 3.2. Operationalising Art Worlds, research aims and questions 57 3.3. Research philosophy 58 3.4. Concepts and terminology 63 3.5. Mixed methods 64 3.6. Ethics 66 3.6.1. Ethics review 68 3.6.2. -
Shapes of a Girl : the Archetypal Embodiments of Bjork
Shapes of a Girl: The Archetypal Embodiments of Bjork by Michael Lewis for Rick Tarnas Archetypes of Art & Culture December 12, 2005 “I’m a fountain of blood, in the shape of a girl.” -- Bjork The first time I really heard Bjork was a revelation to me indicating that something new could again be emerging on the frontier of modern music. Although I was already vaguely aware of the super-star musician Bjork for a number of years, I had barely paid much attention to perhaps nothing more than a few partial songs played over a radio-- until I finally heard the emotional power and creative genius of Bjork through listening to her song, “Bachellorette.” The song opens in a dramatically cinematic escalation of or- chestral strings, from which then the sheer power and boldness of her voice emerges like the natural calling of a hungry female chimera from a dense and thriving forest of sound, “I’m a fountain of blood, in the shape of a girl.” Her vocals then continue to un- ravel in an emotionally explosive poetic rhapsody, delivering a song of enigmatic pres- ence that ultimately climaxes and leaves the listener with a sense having been witness to an embodiment of the cosmic feminine force. Completely taken by the influence of this song on my mood and imagination, I soon found myself exploring the vast collection of Bjork’s musical artistry that spans more than seven albums over two decades. I came to recognize how Bjork, as a professional artist and radical alternative cultural icon, has sculpted not only a varied spectrum of styles and textures of artistic expres- sion, but has also continuously transformed and re-invented her self as a persona in the process. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
2017 Dis Jpmonteiro.Pdf
UNIVERSIDADE FEDERAL DO CEARÁ INSTITUTO DE CULTURA E ARTE PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO JULIO PIO MONTEIRO NOMADISMO SENSÍVEL: ESTÉTICA DO VIDEOCLIPE E TENSIONAMENTOS EM STONEMILKER E BLACK LAKE FORTALEZA 2017 JULIO PIO MONTEIRO NOMADISMO SENSÍVEL: ESTÉTICA DO VIDEOCLIPE E TENSIONAMENTOS EM STONEMILKER E BLACK LAKE Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal do Ceará, como requisito parcial à obtenção do título de mestre em Comunicação. Área de concentração: Fotografia e Audiovisual. Orientador: Prof. Dr. Osmar Gonçalves dos Reis Filho FORTALEZA 2017 ___________________________________________________________________________ ___________________________________________________________________________ JULIO PIO MONTEIRO NOMADISMO SENSÍVEL: ESTÉTICA DO VIDEOCLIPE E TENSIONAMENTOS EM STONEMILKER E BLACK LAKE Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal do Ceará, como requisito parcial à obtenção do título de mestre em Comunicação. Área de concentração: Fotografia e Audiovisual. Orientador: Prof. Dr. Osmar Gonçalves dos Reis Filho Aprovada em: ___/___/______. BANCA EXAMINADORA ________________________________________ Prof. Dr. Osmar Gonçalves dos Reis Filho (Orientador) Universidade Federal do Ceará (UFC) _________________________________________ Prof. Dr. Henrique Codato Universidade Federal do Ceará (UFC) _________________________________________ Prof. Dr. Thiago Soares Universidade Federal de Pernambuco (UFPE) A meus pais, Francisca e Júlio. Ao meu sim-fim de corações, minhas irmãs. Aos meus amigos. A cada adolescente estranho no mundo. AGRADECIMENTOS Obrigado aos meus amigos que estiveram comigo durante esta jornada tão complicada. Obrigado por morarem em mim. Eu não posso numerar todos. Sou bom com afetos, não com palavras. Obrigado aos meus pais. À minha mãe, matriarca forte que soube me dar carinho e força. À meu pai, para que eu nunca esqueça de quem ele é. -
ORDER FORM FULL Pdfcd
JAZZ ARTIST TITLE LABEL RETAIL BILK, ACKER STRANGER ON THE SHORE-BEST OF GNP CRESCENDO RM59.00 CAINE, ELLIOTT - SEXTET HIPPIE CHICKS ON ACID (LIVE AT ALVA WONDERCAP RM63.00 DJ BONEBRAKE TRIO THE OTHER OUTSIDE WONDERCAP RM63.00 GRADY, KRAIG BEYOND THE WINDOWS PERHAPS AMONG TH TRANSPARENCY RM48.00 HARLEY, RUFUS BAGPIPES OF THE WORLD TRANSPARENCY RM61.00 HARLEY, RUFUS RE-CREATION OF THE GODS TRANSPARENCY RM61.00 JONES, NORAH COME AWAY WITH ME (BONUS DISC) BLUE NOTE RM132.00 LEONARDSON, ERIC & STEVE BARSOTTI RAREBIT TRANSPARENCY RM48.00 LOS ANGELES FREE MUSIC SOCIETY THE BLORP ESETTE GAZETTE VOL.1 (FAL TRANSPARENCY RM61.00 LOS ANGELES FREE MUSIC SOCIETY THE BLORP ESETTE GAZETTE VOL.2 (WIN TRANSPARENCY RM61.00 MINGUS, CHARLES THE LEAVES JAZZ CAT RM67.00 MONK, THELONIOUS SOULVILLE JAZZ CAT RM67.00 MORGAN, LEE AFTER THE LIGHTS JAZZ CAT RM67.00 OMER, PIERRE - SWING REVUE SWING CREMONA VOODOO RHYTHM RM78.00 PATCHEN, KENNETH READS HIS POETRY WITH JAZZ TWO-BEAT BEATNK RM61.00 PUSSYWARMERS, THE THE CHRONICLES OF... VOODOO RHYTHM RM78.00 ROACH, MAX & CLIFFORD BROWN IN CONCERT GNP CRESCENDO RM59.00 ROYAL CROWN REVUE KINGS OF GANGSTER BOP BYO RM53.00 SUN RA DANCE OF THE LIVING IMAGE (L.R. 4) TRANSPARENCY RM61.00 SUN RA LIVE AT THE ELECTRIC CIRCUS/NEWPORT TRANSPARENCY RM62.00 SUN RA THE CREATOR OF THE UNIVERSE TRANSPARENCY RM61.00 SUN RA THE ROAD TO DESTINY (LOST REEL 6) TRANSPARENCY RM55.00 SUN RA THE SHADOWS TOOK SHAPE (LOST REEL 3 TRANSPARENCY RM61.00 SUN RA THE UNIVERSE SENT ME (LOST REEL 5) TRANSPARENCY RM55.00 SUN RA UNTITLED RECORDINGS TRANSPARENCY -
Read the Following Text and Answer the Questions. the Riot
Read the following text and answer the questions. The riot grrrl returns Dan Hancox – October 3, 2013 – The National Among the various waves of western feminism and rebellious youth subcultures since the 1960s, riot grrrl stands out as one of the most provocative, but also one of the most thoughtful and deliberative. Its roots were in the punk and new wave music and attitude of the late 1970s and 1980s, but it was not until the early 1990s that the term emerged from the punk scenes of Washington DC and the north-western region of the United 5 States, drawing on a growing youth feminist movement and the DIY youth culture embodied in homemade, cut-and-paste fanzines. References to “revolution girl style now” and “riot girls” mutated into the punk growl not of docile girls but “grrrls”. It was quickly and substantially misunderstood by the very culture they were rebelling against: as bands like Bikini Kill and Bratmobile began to attract attention beyond the punk underground, so did the American 10 media’s excitement about this “new big thing”, in the aftermath of grunge. This excitement quickly manifested itself in a tendency to generalise, fetishise and trivialise the things the riot grrrls were singing about, and conveying through their broader aesthetics: in fanzines, onstage, or otherwise. “There were,” Sharon Cheslow said in the 11-part Riot Grrrl Retrospective documentary, “a lot of very important ideas that I think the mainstream media couldn’t handle, so it was easier to focus on the fact that these were girls who 15 were wearing barrettes in their hair or writing ‘slut’ on their stomach.” Covering issues like misogyny, abuse and patriarchy were considered too contentious or complex for the American mainstream, and instead, the movement was patronised in a way which confirmed much of their original anger.