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Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama
e Interdisciplinary Journal of Popular Culture and Pedagogy Bad Girls: Agency, Revenge, and Redemption in Contemporary Drama Courtney Watson, Ph.D. Radford University Roanoke, Virginia, United States [email protected] ABSTRACT Cultural movements including #TimesUp and #MeToo have contributed momentum to the demand for and development of smart, justified female criminal characters in contemporary television drama. These women are representations of shifting power dynamics, and they possess agency as they channel their desires and fury into success, redemption, and revenge. Building on works including Gillian Flynn’s Gone Girl and Netflix’s Orange is the New Black, dramas produced since 2016—including The Handmaid’s Tale, Ozark, and Killing Eve—have featured the rise of women who use rule-breaking, rebellion, and crime to enact positive change. Keywords: #TimesUp, #MeToo, crime, television, drama, power, Margaret Atwood, revenge, Gone Girl, Orange is the New Black, The Handmaid’s Tale, Ozark, Killing Eve Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy 37 Watson From the recent popularity of the anti-heroine in novels and films like Gone Girl to the treatment of complicit women and crime-as-rebellion in Hulu’s adaptation of The Handmaid’s Tale to the cultural watershed moments of the #TimesUp and #MeToo movements, there has been a groundswell of support for women seeking justice both within and outside the law. Behavior that once may have been dismissed as madness or instability—Beyoncé laughing wildly while swinging a baseball bat in her revenge-fantasy music video “Hold Up” in the wake of Jay-Z’s indiscretions comes to mind—can be examined with new understanding. -
UC Merced UC Merced Undergraduate Research Journal
UC Merced UC Merced Undergraduate Research Journal Title Gender, Sexuality, and Inter-Generational Differences in Hmong and Hmong Americans Permalink https://escholarship.org/uc/item/29q2t238 Journal UC Merced Undergraduate Research Journal, 8(2) Author Abidia, Layla Publication Date 2016 DOI 10.5070/M482030778 Undergraduate eScholarship.org Powered by the California Digital Library University of California Differences in Hmong and Hmong Americans Gender, Sexuality, and Inter-Generational Differences in Hmong and Hmong Americans Layla Abidia University of California, Merced Author Notes: Questions and comments can be address to [email protected] 1 Differences in Hmong and Hmong Americans Abstract Hmong American men and women face social and cultural struggles where they are expected to adhere to Hmong requirements of gender handed down to them by their parents, and the expectations of the country they were born in. The consequence of these two expectations of contrasting values results in stress for everyone involved. Hmong parents are stressed from not having a secure hold on their children in a foreign environment, with no guarantee that their children will follow a “traditional” route. Hmong American men are stressed from growing up in a home environment that grooms them to be a focal point of familial attention based on gender, with the expectation that they will eventually be responsible for an entire family; meanwhile, they are living in this American national environment that stresses that the ideal is that gender is irrelevant in the modern world. Hmong American women are stressed and in turn hold feelings of resentment that they are expected to adhere to traditional familial roles by their parents in addition to following a path to financial success the same as men. -
Bad Girls to the Rescue an Exhibition of Feminist Art from the 1990S Has Much to Teach Us Today
PERSPECTIVES Bad Girls to the Rescue An exhibition of feminist art from the 1990s has much to teach us today By Maura Reilly n my new book Curatorial Activism: Towards an Ethics did just that—and within a lineage worth revisiting as the present of Curating (Thames & Hudson), I devoted a chapter to adjusts for oversights of the past. I exhibitions that have lingered in the historical record for their Though most commonly associated with a notorious run at the commitment to “Resisting Masculinism and Sexism.” As what New Museum in 1994—in a tradition that would directly influence constitutes sexual prejudice continues to evolve, it’s imperative “Trigger” decades later—the first iteration of a series of shows titled that curators continually query and challenge the gender norms “Bad Girls” was organized separately the year before for the Institute by which we are all confined. “Trigger: Gender as a Tool and a of Contemporary Arts in London (followed by a presentation at the Weapon,” a recent exhibition at the New Museum in New York, Centre for Contemporary Arts in Glasgow). Curated by Kate Bush, NEW YORK. ART, NEW MUSEUM OF CONTEMPORARY FRED SCRUTON/COURTESY THIS PAGE: RIGHTS SOCIETY/ARS ARTIST OPPOSITE: ©DEBORAH KASS/PHOTO COURTESY 32 ARTNEWS Perspectives.indd 1 2/16/18 5:12 PM Emma Dexter, and Nicola White, the exhibition celebrated a new spirit of playfulness, tactility, and perverse humor in the work of six British and American women artists: Helen Chadwick, Dorothy Cross, Nicole Eisenman, Rachel Evans, Nan Goldin, and Sue Williams—each of whom was represented by several works. -
Sexuality Is Fluid''[1] a Close Reading of the First Two Seasons of the Series, Analysing Them from the Perspectives of Both Feminist Theory and Queer Theory
''Sexuality is fluid''[1] a close reading of the first two seasons of the series, analysing them from the perspectives of both feminist theory and queer theory. It or is it? An analysis of television's The L Word from the demonstrates that even though the series deconstructs the perspectives of gender and sexuality normative boundaries of both gender and sexuality, it can also be said to maintain the ideals of a heteronormative society. The [1]Niina Kuorikoski argument is explored by paying attention to several aspects of the series. These include the series' advertising both in Finland and the ("Seksualność jest płynna" - czy rzeczywiście? Analiza United States and the normative femininity of the lesbian telewizyjnego "The L Word" z perspektywy płci i seksualności) characters. In addition, the article aims to highlight the manner in which the series depicts certain characters which can be said to STRESZCZENIE : Amerykański serial telewizyjny The L Word stretch the normative boundaries of gender and sexuality. Through (USA, emitowany od 2004) opowiada historię grupy lesbijek this, the article strives to give a diverse account of the series' first two i biseksualnych kobiet mieszkających w Los Angeles. Artykuł seasons and further critical discussion of The L Word and its analizuje pierwsze dwa sezony serialu z perspektywy teorii representations. feministycznej i teorii queer. Chociaż serial dekonstruuje normatywne kategorie płci kulturowej i seksualności, można ______________________ również twierdzić, że podtrzymuje on ideały heteronormatywnego The analysis in the article is grounded in feminist thinking and queer społeczeństwa. Przedstawiona argumentacja opiera się m. in. na theory. These theoretical disciplines provide it with two central analizie takich aspektów, jak promocja serialu w Finlandii i w USA concepts that are at the background of the analysis, namely those of oraz normatywna kobiecość postaci lesbijek. -
REALLY BAD GIRLS of the BIBLE the Contemporary Story in Each Chapter Is Fiction
Higg_9781601428615_xp_all_r1_MASTER.template5.5x8.25 5/16/16 9:03 AM Page i Praise for the Bad Girls of the Bible series “Liz Curtis Higgs’s unique use of fiction combined with Scripture and modern application helped me see myself, my past, and my future in a whole new light. A stunning, awesome book.” —R OBIN LEE HATCHER author of Whispers from Yesterday “In her creative, fun-loving way, Liz retells the stories of the Bible. She deliv - ers a knock-out punch of conviction as she clearly illustrates the lessons of Scripture.” —L ORNA DUECK former co-host of 100 Huntley Street “The opening was a page-turner. I know that women are going to read this and look at these women of the Bible with fresh eyes.” —D EE BRESTIN author of The Friendships of Women “This book is a ‘good read’ directed straight at the ‘bad girl’ in all of us.” —E LISA MORGAN president emerita, MOPS International “With a skillful pen and engaging candor Liz paints pictures of modern sit u ations, then uniquely parallels them with the Bible’s ‘bad girls.’ She doesn’t condemn, but rather encourages and equips her readers to become godly women, regardless of the past.” —M ARY HUNT author of Mary Hunt’s Debt-Proof Living Higg_9781601428615_xp_all_r1_MASTER.template5.5x8.25 5/16/16 9:03 AM Page ii “Bad Girls is more than an entertaining romp through fascinating charac - ters. It is a bona fide Bible study in which women (and men!) will see them - selves revealed and restored through the matchless and amazing grace of God.” —A NGELA ELWELL HUNT author of The Immortal “Liz had me from the first paragraph. -
February/March/April/May Schedule: Attention Parents of Pre K to 5Th Grade Students
TEAM CLETE Our Week in Review: February 12 The Elliott Family is raising money for the Tuberous Sclerosis Walk Attendance: 463 Contribution: $12,312. Forward for a Cure. The date is May 12 and the walk is 1.5 miles. The event will be held in Roswell, Georgia. Anyone who wants to be on Team Clete and walk can sign up. Here is the link to make a monetary donation. A Day of Refreshment and Guidance for THE WANDERING SONS OF GOD http://my.e2rm.com/personalPage.aspx?SID=3247384&langPref=en -CA Men’s Day @ Fort Yargo State Park, Winder, GA on March 10, 2010 9AM-2PM My name is Clete Elliott. I am 11 years old. I was born with TSC. I have had 2 brain surgeries and I take Chemo. I have seizures. I suffer from a http://barkingdogsmin.wordpress.com/2012/01/29/the -wandering-sons-of-god/ heart condition. I take a lot of medicine. I have spent a lot of time in Heartfelt Worship. Honest Conversation. Simple Prayer. Clearer Vision. Bright hospitals. I have had hip surgery. I have tumors in my brain, heart, kidneys, and mouth. I am a boy. I love trains. I love to sing. I love my Hope. Quiet Determination. Firm Intention. Strong Connection. Solid Change. family. I would love a CURE. On May 12 you can support me and walk for a cure and help raise money. Will you be with me? February/March/April/May Schedule: Attention Parents of Pre K to 5th grade students: Just wanted to pass along some dates to put on your calendar for this Every Sunday 10am Worship Service year. -
Bad Girls Kindle
BAD GIRLS PDF, EPUB, EBOOK Jacqueline Wilson,Nick Sharratt | 192 pages | 09 Nov 2009 | Random House Children's Publishers UK | 9780440867623 | English | London, United Kingdom Bad Girls PDF Book Pinkerton Detective Graves Nick Chinlund External Reviews. This run of the series concluded on 6 September , and a third run will not be screened. And what a sad movie. Bad Girls gained international success in countries including the United States, Australia, Ireland and several European countries. Get push notifications with news, features and more. Helen Stewart : You had no right taking advantage of me. Where Are They Now? Close View image. A musical comedy adaptation, based on the characters and storylines of series 1, including the events of the death of inmate, Rachel Hicks, and the relationship between Wing Governor Helen Stewart and lifer, Nikki Wade. The show achieved critical acclaim, becoming immensely popular throughout the course of its first three years. Already have an account? McCoy stages a one-man rescue attempt and is captured, but Lilly escapes. Colonel Clayborne. I guess they did a small amount of that, but not enough for my tastes. Top Box Office. Pat had already managed to develop a feud with Fenner over his treatment of Sheena Williams Laura Rogers and her son, Dylan. There is good news for Denny, who is transferred to an open prison. Bad Girls was that rare beast: a hugely popular soapy drama which was also a critical success. Sign up here. It may not be politically correct to admit it, but these brooding, macho men can be compellingly attractive, with their downright seductive swagger. -
Catering Menu by CONNOISSEUR
Catering Menu BY CONNOISSEUR To all of our current and future clients, welcome. We look forward to providing memorable experiences through unparalleled service in our exceptional venue. Enjoy using the Interactive Catering Menu by simply clicking on the menu item you are interested in. s GET STARTED WELCOME | BREAKFAST | LUNCH | PLATED MEALS | BREAK | RECEPTION | BAR DETAILS | STANDARDS AND GUIDELINES © 2017 Aramark – All Rights Reserved WELCOME | BREAKFAST | LUNCH | PLATED MEALS | BREAK | RECEPTION | BAR DETAILS | STANDARDS AND GUIDELINES 832.667.2420 OR 832.667.2426 Reintroduce yourself to the fine art of dining – the pleasure of leisurely sharing a great meal. Savor the tastes, textures and aromas of the food and beverage, admire the presentation and be surrounded by pleasant conversation and laughter. Reunite by coming together in an age old tradition built on a foundation of community and comfort. To break bread together and share a meal is to share a moment in time with comrades and to nourish the body and soul. Reconnect with the land and the origins of food. Our commitment to preparing the best meal extends beyond production and presentation to include the entire food purchasing process. By partnering with local farmers, growers, ranchers and producers and by expanding our supply chain to include diverse vendors we have access to the best available ingredients, and a network of suppliers that share our dedication to sourcing sustainable menus. The best events are successful when conversations are open, participants are engaged and the experience exceeds expectations. The best meals are prepared from the freshest, seasonal ingredients. Simple, honest food should excite the senses, tempt the palette and enhance the atmosphere. -
Sue Williams
SUE WILLIAMS BORN 1954 Chicago Heights, Illinois EDUCATION 1972, 1975 -1976 B.F.A, California Institute of the Arts 1973 Cooper Union SOLO EXHIBITIONS 2020 303 Gallery, New York, NY Galerie Eva Presenhuber, Zurich, Switzerland 2018 “Sue Williams: New Paintings”, Skarstedt Gallery, London, UK Regen Projects, Los Angeles, CA “Sue Williams: Paintings 1997-98”, Skarstedt Gallery, New York, NY 2017 303 Gallery, New York, NY 2016 Galerie Eva Presenhuber, Zurich, Switzerland 2014 303 Gallery, New York, NY James Cohen, Shanghai, China 2013 Maruani & Noirhomme, Brussels, Belgium 2011 Regen Projects, Los Angeles, CA 2010 “Al-Qaeda is the CIA”, 303 Gallery, New York, NY Galerie Eva Presenbuber, Zurich, Switzerland 1 2008 “Sue Williams: Project for the New American Century”, David Zwirner, New York, NY [catalogue] Ormeau Baths Gallery OBG, Belfast, Ireland 2006 Regen Projects, Los Angeles, CA Galerie Eva Presenhuber, Zurich, Switzerland Glynn Vivian Art Gallery, Swansea, Wales Oriel Mostyn Gallery, Liandudno, Wales 2005 303 Gallery, New York, NY 2004 Bernier / Eliades Gallery, Athens, Greece Kukje Gallery, Seoul, Korea Addison Gallery of American Art, Andover, MA 2003 Regen Projects, Los Angeles, CA Carpenter Center, Harvard, Cambridge, MA Galeria Il Capricorno, Venice, Italy Institut Valencia d’Art Modern, Valencia, Spain 2002 Secession, Vienna, Austria, and IVAM, Valencia, Spain (in 2003) Galerie Hauser, Wirth & Presenhuber, Zurich, Switzerland 303 Gallery, New York, NY Palm Beach Institute of Contemporary Art, Palm Beach, FL Staatliche Kunsthalle -
Tailgate Playbook
T A I L G A T E P L A Y B O O K STEP ONE Show your team spirit STEP TWO Claim your spot, plant your chairs, turn up your tailgate tunes and deck out your decor STEP THREE Fire up the grill STEP FOUR Get your game on (set-up an d play games) STEP FIVE Watch a classic game or timeless sports movie STEP SIX Trophy presentation! Send us your pics #Livingwellconnected #LOtogether # L I V I N G W E L L C O N N E C T E D T A I L G A T E C H E C K L I S T GRILL, GRILLING GLOVES, CHARCOAL, CHARCOAL CHIMNEY, LIGHTER, NEWSPAPER GRILLING UTENSILS RADIO FOLDING TABLE AND CHAIRS SPORTS DECOR NAPKINS, PLATES AND FORKS TRASH BAGS /CANS COOLER WITH ICE AND BEVERAGES BOTTLE OPENER APPETIZERS, SALADS, SNACKS MAIN COURSE FOOD HAND SANITIZER/WIPES D E C O R A T E Y O U R T A I L G A T E WE DON'T WANT YOU TO HAVE TO SPEND TOO MUCH MONEY ON YOUR TAILGATE AND THE GOOD NEWS IS THAT YOU DON'T HAVE TO. HERE ARE SOME DIY CONSTRUCTION PAPER DECORATION IDEAS THAT ARE FUN TO MAKE WITH THE FAMILY: GRIDIRON GARLAND YARD LINE TABLE COVERS TEAM PENNANTS SPIRAL STREAMERS WHO SAYS YOU CAN'T USE FOOD AS DECORATIONS? A N D O N E A P P E T I Z E R S P I G S K I N S I N A B L A N K E T G A M E D A Y G U A C A M O L E 13 oz package kielbasa 3 medium ripe avocados Flour 1 garlic clove 1 package puff pastry 1/4 to 1/2 tsp salt 1 large egg 2 medium tomatoes 1 small onion 1.Split kielbasa in half 1 or 2 TBSP lime juice lengthwise & cut each half into 6 1 TBSP chopped fresh cilantro pieces. -
An Early History of Southern Barbecue
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 Smokin' Out the Truth: An Early History of Southern Barbecue Morgan Vivianne Di Santo Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the American Material Culture Commons, and the United States History Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Di Santo, Morgan Vivianne, "Smokin' Out the Truth: An Early History of Southern Barbecue" (2016). Senior Projects Spring 2016. 131. https://digitalcommons.bard.edu/senproj_s2016/131 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Smokin’ Out the Truth: An Early History of Southern Barbecue Senior Project Submitted to The Division of Social Studies of Bard College by Morgan Di Santo Annandale-on-Hudson, New York May 2016 In loving memory of James Gregan. Acknowledgements I would first like to express my deep gratitude to my advisor, Christian Crouch. I am forever grateful for her patience, compassion, and wisdom. She believed in me and reminded me to have confidence in my own abilities. -
Fashioning the Executive (Look)
Fashioning the Executive (Look): Australian Women, Fashion and the rise of the New Work Order Submitted for the Degree of Doctor of Philosophy by Angela Thomas-Jones School of Media, Communication and Culture Murdoch University 2006 Declaration I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. Angela Thomas-Jones 05/06/2006 ii Copyright June 2006 Angela Thomas-Jones iii Acknowledgements I would like to thank my family for their encouragement throughout my research. I am also indebted to my friends for all of their love, support and laughs when I really needed it. My Murdoch University friends and staff also provided me with an academically energetic and sociable environment to complete what otherwise could have been a lonely research. I would also like to thank Kareen – you know what you did. I would especially like to thank my husband David and daughter Lilith who provided me with a tremendous amount of personal and professional support. These two people saw me through some very difficult times and made this journey an enjoyable one. Finally, of mammoth importance has been the mentoring and academic support of my supervisor Associate Professor Tara Brabazon. I could not have wished for a better supervisor. She has helped me to develop my writing and sustain my focus in order to see this project come to fruition. iv List of ContContentsents Declaration………………………………………………………………………………….....ii Copyright……………………………………………………………………………..……....iii