Changing the World Through Socially Conscious Art”
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Television Academy Awards
2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth. -
Objects in Tom Stoppard's Arcadia
Cercles 22 (2012) ANIMAL, VEGETABLE OR MINERAL? OBJECTS IN TOM STOPPARD’S ARCADIA SUSAN BLATTÈS Université Stendhal—Grenoble 3 The simplicity of the single set in Arcadia1 with its rather austere furniture, bare floor and uncurtained windows has been pointed out by critics, notably in comparison with some of Stoppard’s earlier work. This relatively timeless set provides, on one level, an unchanging backdrop for the play’s multiple complexities in terms of plot, ideas and temporal structure. However we should not conclude that the set plays a secondary role in the play since the mysteries at the centre of the plot can only be solved here and with this particular group of characters. Furthermore, I would like to suggest that the on-stage objects play a similarly vital role by gradually transforming our first impressions and contributing to the multi-layered meaning of the play. In his study on the theatre from a phenomenological perspective, Bert O. States writes: “Theater is the medium, par excellence, that consumes the real in its realest forms […] Its permanent spectacle is the parade of objects and processes in transit from environment to imagery” [STATES 1985 : 40]. This paper will look at some of the parading or paraded objects in Arcadia. The objects are many and various, as can be seen in the list provided in the Samuel French acting edition (along with lists of lighting and sound effects). We will see that there are not only many different objects, but also that each object can be called upon to assume different functions at different moments, hence the rather playful question in the title of this paper (an allusion to the popular game “Twenty Questions” in which the identity of an object has to be guessed), suggesting we consider the objects as a kind of challenge to the spectator, who is set the task of identifying and interpreting them. -
1 Introduction It Is My Goal in This Paper to Offer a Strategy For
Three Archetypes for the Clarification Christopher Yorke Of Utopian Theorizing University of Glasgow Introduction It is my goal in this paper to offer a strategy for translating universal statements about utopia into particular statements. This is accomplished by drawing out their implicit, temporally embedded, points of reference. Universal statements of the kind I find troublesome are those of the form ‘Utopia is x’, where ‘x’ can be anything from ‘the receding horizon’ to ‘the nation of the virtuous’. To such statements, I want to put the questions: ‘Which utopias?’; ‘In what sense?’; and ‘When was that, is that, or will that be, the case for utopias?’ Through an exploration of these lines of questioning, I arrive at three archetypes of utopian theorizing which serve to provide the answers: namely, utopian historicism, utopian presentism, and utopian futurism. The employment of these archetypes temporally grounds statements about utopia in the past, present, or future, and thus forces discussion of discrete particulars instead of abstract universals with no meaningful referents. Given the vague manner in which the term ‘utopia’ is employed in discourse—whether academic or non-academic—confusion frequently, and rightly, ensues. There are various possible sources for this confusion, the first of which is the sheer volume and wide variety of socio-political schemes that have been regarded as utopian, by utopian theorists, historians, or authors of fiction. Bibliographers of utopian literature (such as Lyman Tower Sargent) face the onerous task of sorting out those visions of other worlds that belong in the utopian canon from those that do not. However, utopian bibliographies generally err on the side of inclusiveness, and a sufficient range and number of utopias remain in the realm of discourse to make the practice of distinguishing a utopia from a non-utopia (or even a dystopia) challenging at best and baffling at worst. -
LILI HAYDN BIO ~Rolling Stone Called Her Music “Fiery and Virtuosic...” George Clinton Called Her "The Jimi Hendrix of the Violin."
"Bliss-inducing original music by violinist/vocalist/composer Lili Haydn ...My response was the reviewer’s equivalent of a spiritual visitation." - L.A. Times LILI HAYDN BIO ~Rolling Stone called her music “fiery and virtuosic...” George Clinton called her "the Jimi Hendrix of the violin." GRAMMY winner Lili Haydn has released six critically acclaimed major label recordings as an artist, and appeared on numerous TV shows, including the Tonight Show with Jay Leno and the HBO hit Californication. Also known for her legendary collaborations; she has played with, sung with, and opened for everyone from Roger Waters, Herbie Hancock, Sting, Jimmy Page and Robert Plant, the Los Angeles Philharmonic, and George Clinton's P-Funk All Stars to name a few. In addition to Lili's extensive recording and touring career, Lili’s music has been licensed for TV, film, and commercials, and she is the featured voice and violin on several films with Hans Zimmer, Marco Beltrami, and other illustrious composers. It was after a friend asked her to score what became the award winning documentary The Horse Boy in 2009, that Lili embarked on a career as a film composer, with 15 feature films/documentaries to her credit, additional music credits on several films, and a Film Composing Fellowship to the Sundance Film Institute. Her film’s have been festival favorites, with credits that include Somewhere Between (2012) The Sublime and Beautiful (2015), The House That Jack Built (2015), Broken Kingdom (2016), ANITA by Academy Award winner Freida Lee Mock (2014), Netflix’s hit Feminists: What Were They Thinking? (2018) with Jane Fonda and Lily Tomlin, and Sundance Selects’ release of DriverX starring Better Call Saul’s Patrick Fabian (2018). -
Starlog Magazine
—' 'IV \ j, ! t ''timmffy* STAR WARS Christopher Lee vs. Yoda! REIGN OF FIRE Total future dragon war! EIGHT LEGGED FREAKS Spider nightmare fun! Discover the power af the dark side with the Star Wars Trading Card Game. The tempting new Sith Rising card set lets you crush your enemies with weapons, ships, and villains from The Star Wars saga. Or refuse to give in to your anger, and thwart those who would tyrannize the galaxy. Once you learn to control the Force, take your battle into a new arena the Star Wars TCG League. You will embark on Jedi training, and even a Sith Lord can't stop you from earning exclusive promo cards and learning Jedi secrets. Rules only available in: Two-Player Starter Game Advanced Starter Decks Dfficial Star Wars Web Site www.starwars.CDm © 2002 Lucasfilm Ltd. & TM. All rights resen/ed. Wizards of the Coast is a registered trademark of Wizards of the Coast, Inc. BACK IN BLACK Barry Sonnenfeld directs the scum of the universe again FILING MINORITY REPORT i { Producer Bonnie Curtis takes a reel view of future paranoia TOM CRUISE ON THE RUN He's desperate to prove he's an innocent guilty man SECRETS OF FARSCAPE Pssst! David Kemper reveals all—or not—on the series' new year MISSION: ODYSSEY 5 Only creator Manny Coto knows why the world ends MY PET KILLER ALIEN watercolor Lilo's world with thoughts of Elvis & Stitch WEBS OF SPIDER DEATH Producer Dean Devlin Preeds Eight Legged Freaks HERE THERE BE DRAGONS Director RoP Bowman readies Earth for a Reign of Fire CHRISTOPHER LEE SPEAKS Now, the legend in starlight can talk aPout Star Wars MIND READER Anthony Michael Hall predicts success for The Dead Zone NIGHT, ARES Not content with munching GOOD SWEET STARLOG's indicia The late Kevin Smith recalled life with (see the replacement on xena & Hercules page 6), Stitch taste-tests the logo. -
History and Vision in Byron, the Shelleys, and Keats Timothy Ruppert
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2008 "Is Not the Past All Shadow?": History and Vision in Byron, the Shelleys, and Keats Timothy Ruppert Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Ruppert, T. (2008). "Is Not the Past All Shadow?": History and Vision in Byron, the Shelleys, and Keats (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1132 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. “IS NOT THE PAST ALL SHADOW?”: HISTORY AND VISION IN BYRON, THE SHELLEYS, AND KEATS A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy By Timothy Ruppert March 2008 Copyright by Timothy Ruppert 2008 “IS NOT THE PAST ALL SHADOW?”: HISTORY AND VISION IN BYRON, THE SHELLEYS, AND KEATS By Timothy Ruppert Approved March 25, 2008 _____________________________ _____________________________ Daniel P. Watkins, Ph.D. Jean E. Hunter , Ph.D. Professor of English Professor of History (Dissertation Director) (Committee Member) _____________________________ _____________________________ Albert C. Labriola, Ph.D. Magali Cornier Michael, Ph.D. Professor of English Professor of English (Committee Member) (Chair, Department of English) _____________________________ Albert C. Labriola, Ph.D. Dean, McAnulty College and Graduate School of Liberal Arts Professor of English iii ABSTRACT “IS NOT THE PAST ALL SHADOW?”: HISTORY AND VISION IN BYRON, THE SHELLEYS, AND KEATS By Timothy Ruppert March 2008 Dissertation Supervised by Professor Daniel P. -
“The Social Cut of Black and Yellow Female Hip Hop” Erick Raven
“The Social Cut of Black and Yellow Female Hip Hop” Erick Raven University of Texas at Arlington May 2020 Abstract Korean female hip hop artists are expanding the definition of femininity in South Korea through hip hop. In doing so, they are following a tradition first established by Black female musical performers in a new context. Korean artists are conceiving and expressing, through rap and dance, alternative versions of a “Korean woman,” thus challenging and attempting to add to the dominant conceptions of “woman.” This Thesis seeks to point out the ways female Korean hip hop artists are engaging dominant discourse regarding skin tone, body type, and expression of female sexuality, and creating spaces for the development of new discourses about gender in South Korean society. Contents Introduction – Into the Cut ................................................ 1 Chapter I – Yoon Mi-rae and Negotiating the West and East of Colorism ............................................................. 12 Chapter II – The Performing Black and Yellow Female Body ................................................................................ 31 Chapter III – Performing Sexuality ................................. 47 Chapter IV – Dis-Orientation .......................................... 59 Conclusion .................................................................... 67 Works Cited .................................................................... 70 Introduction – Into the Cut Identities are performed discourse; they are formed when those who identify as a particular personality perform and establish a discourse in a particular social context. As George Lipsitz states, “improvisation is a site of encounter” (61). In South Korea, female Korean hip hop is the site of a social cut in dominant culture and has become a space of improvisation where new, counter-hegemonic identities are constructed and performed. In this Thesis, I argue that Korean female hip hop artists are enacting a social rupture by performing improvised identities. -
Azam Ali Loga Ramin Torkian Carmen Rizzo Satnam Ramgotra James Mahlis
Friday, November 3 at 8pm, 2006 Bowker Auditorium NIYAZ Azam Ali Loga Ramin Torkian Carmen Rizzo Satnam Ramgotra James Mahlis Program will be announced from the stage Sponsored by Apple Computer, the Valley Advocate, The River 93.9FM and the UMass Amherst Campus Center Hotel About the Artists Three prominent artists, Azam Ali, best known as the vocalist of the successful world music group Vas, Loga Ramin Torkian, the multi-instrumentalist and composer for the critically acclaimed group Axiom of Choice, and Carmen Rizzo, a two time Grammy Award nominee producer/ remixer, have joined forces to create a globe-spanning sound that the trio calls "world music for the 21st century." Known collectively as Niyaz, which means yearning in both Farsi and Urdu, the trio's first eponymous release is a hypnotic, ecstatic, and eminently danceable album that represents the best of both traditional world music and electronic music. All three of these musicians have built impressive individual careers. Iranian born, Indian raised Azam Ali is internationally recognized for her work with Vas, the best- selling world music duo she co-founded in 1996 with percussionist Greg Ellis. In a career which spans over a decade and includes eight collaborative and solo albums, Azam Ali has confirmed her place as one of the most prolific, versatile, and gifted singers on the world music stage today. Billboard magazine has described her voice as, “a glorious, unforgettable instrument." Azam's dedication to defying cultural specificity in music, her unwillingness to settle into one form of musical expression, and her emotive performances on each of her albums have earned her not only the respect of her piers, but much critical acclaim and have solidified her place as a highly respected singer in the World music scene. -
87Th Academy Awards Reminder List
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 87TH ACADEMY AWARDS ABOUT LAST NIGHT Actors: Kevin Hart. Michael Ealy. Christopher McDonald. Adam Rodriguez. Joe Lo Truglio. Terrell Owens. David Greenman. Bryan Callen. Paul Quinn. James McAndrew. Actresses: Regina Hall. Joy Bryant. Paula Patton. Catherine Shu. Hailey Boyle. Selita Ebanks. Jessica Lu. Krystal Harris. Kristin Slaysman. Tracey Graves. ABUSE OF WEAKNESS Actors: Kool Shen. Christophe Sermet. Ronald Leclercq. Actresses: Isabelle Huppert. Laurence Ursino. ADDICTED Actors: Boris Kodjoe. Tyson Beckford. William Levy. Actresses: Sharon Leal. Tasha Smith. Emayatzy Corinealdi. Kat Graham. AGE OF UPRISING: THE LEGEND OF MICHAEL KOHLHAAS Actors: Mads Mikkelsen. David Kross. Bruno Ganz. Denis Lavant. Paul Bartel. David Bennent. Swann Arlaud. Actresses: Mélusine Mayance. Delphine Chuillot. Roxane Duran. ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Actors: Steve Carell. Ed Oxenbould. Dylan Minnette. Mekai Matthew Curtis. Lincoln Melcher. Reese Hartwig. Alex Desert. Rizwan Manji. Burn Gorman. Eric Edelstein. Actresses: Jennifer Garner. Kerris Dorsey. Jennifer Coolidge. Megan Mullally. Bella Thorne. Mary Mouser. Sidney Fullmer. Elise Vargas. Zoey Vargas. Toni Trucks. THE AMAZING CATFISH Actors: Alejandro Ramírez-Muñoz. Actresses: Ximena Ayala. Lisa Owen. Sonia Franco. Wendy Guillén. Andrea Baeza. THE AMAZING SPIDER-MAN 2 Actors: Andrew Garfield. Jamie Foxx. Dane DeHaan. Colm Feore. Paul Giamatti. Campbell Scott. Marton Csokas. Louis Cancelmi. Max Charles. Actresses: Emma Stone. Felicity Jones. Sally Field. Embeth Davidtz. AMERICAN REVOLUTIONARY: THE EVOLUTION OF GRACE LEE BOGGS 87th Academy Awards Page 1 of 34 AMERICAN SNIPER Actors: Bradley Cooper. Luke Grimes. Jake McDorman. Cory Hardrict. Kevin Lacz. Navid Negahban. Keir O'Donnell. Troy Vincent. Brandon Salgado-Telis. -
Promoting Paradise: Utopianism And
New Zealand Journal of History, 42, 1 (2008) Promoting Paradise UTOPIANISM AND NATIONAL IDENTITY IN NEW ZEALAND, 1870–1930 A NUMBER OF COMMENTATORS have identified a correlation between aspects of utopianism and New Zealand’s past. Miles Fairburn, for example, has emphasized the power of an arcadian myth in nineteenth-century New Zealand.1 James Belich entitled the second volume of his history of New Zealand Paradise Reforged.2 And Lucy Sargisson and Lyman Tower Sargent’s work on intentional communities (or communes) argued that New Zealand ‘has a special place in the history of utopianism’.3 As Sargisson and Sargent note, though, there has not been any extended discussion of the association between utopianism and New Zealand’s national identity. Fairburn’s work comes closest, but the ‘governing category’ of his landmark study was ‘the colony’s social organisation’ rather than arcadian myths.4 Furthermore, Fairburn’s work stops in the 1890s, ignores ideal visions of cities and towns, disregards utopian fiction, and does not take into account ‘race’ and politics and the impact which these had on images of arcadia. While ‘race’ and politics are central to Belich’s work his study remains first and foremost a general history. The use of the descriptor ‘paradise’, like his term ‘recolonization’ (which is used to signify New Zealand’s apparent return to the British imperial fold), works primarily as ‘a heuristic device … to give pattern’.5 Belich also overlooks utopian and science fiction (SF) literature, focuses on the printed word and skips over ‘booster’ sources, namely those civic and commercial publications produced locally to promote settlement and investment. -
Composting Arcadia Stories from Pākehā Women “Of the Land” in Wairarapa, Aotearoa New Zealand by Rebecca L Ream
Composting arcadia Stories from Pākehā women “of the land” in Wairarapa, Aotearoa New Zealand by Rebecca L Ream A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington (2020) Abstract I suggest that this thesis is a compost pile from Wairarapa that slowly turns over harmful but potentially fertile tales of arcadia. I narrate this thesis drawing on the fleshly stories of ten Pākehā (colonial settler) women “of the land’ and the ethico-onto-epistemology of Donna Haraway’s compost making. Composting is Haraway’s (2016) latest feminist call to trouble and queer the self-contained secular humanism of Western1 modernity. Uprooting the Western separation of ‘nature’ from culture, Haraway’s philosophy provides an earthly foundation in which to compost arcadia. Arcadia is an antique ‘nature’ myth that has been enmeshed in the process of Western world making from Classical Greece to the European ‘Age of Discovery’. Arcadia was used by the British to colonise Aotearoa New Zealand2 in the nineteenth century. As a Pākehā, I have been compelled to explore this myth because of the way it has seeped into transcendent understandings of land for descendants of colonial settlers like myself. Commonly known as a rural paradise, arcadia was a strategy for ‘normalising’ and ‘naturalising’ European occupancy in New Zealand (Evans, 2007; Fairburn, 1989). British arcadianism arrived on the shores of New Zealand, Victorian and romantic. Therefore, in this thesis I posit that through both settler and romantic ideals, Pākehā continue to use arcadianism to relate to land. -
The Eden Project – Gardens, Utopia and Heterotopia
Heterotopian Studies The Eden Project – gardens, utopia and heterotopia To reference this essay: Johnson, P. (2012) ‘The Eden Project – gardens, utopia and heterotopia’ Heterotopian Studies [http://www.heterotopiastudies.com] Gardens and utopia Utopias have ‘frequently invoked the special and resonant spaces of gardens, just as gardens have often been utopian in impulse, design and meaning’ (Hunt, 1987: 114): The garden provides an image of the world, a space of simulation for paradise-like conditions, a place of otherness where dreams are realised in an expression of a better world. (Meyer, 2003: 131) The garden features strongly in Thomas More’s original account of utopia. The conversations that form the basis of the book take place in a garden in Antwerp (1965: 17); the narrative suggests that the founder of utopia must have had a ‘special interest’ in gardening; and the inhabitants of utopia are said to be particularly fond of their gardens (53). Bloch goes so far as to suggest that in More’s utopia, ‘life is a garden’ (1986a: 475). Mosser and Teyssot assert that ‘nostalgia for the Garden of Eden has provided garden designers throughout history with a model of perfection to aspire to’ (1990: 12). Elsewhere, Mosser claims that garden enthusiasts seem ‘devoted to creating the impossible’ (1990: 278). Bauman asserts that gardeners ‘tend to be the most ardent producers of utopias’ (2005: 4). A recent exhibition at the National Art Museum of China (2008) entitled ‘Garden Utopia’ articulates the traditional perspective of a Chinese garden as a space for ‘contemplation, a borderland between reality and fantasy to escape the trappings of the modern world and reconnect humanity with nature’.