Contagious Theaters from Modernism to the Digital Age
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Cambridge University Press 978-1-107-13504-8 — Insurgencies and Counterinsurgencies Edited by Beatrice Heuser , Eitan Shamir Index More Information
Cambridge University Press 978-1-107-13504-8 — Insurgencies and Counterinsurgencies Edited by Beatrice Heuser , Eitan Shamir Index More Information Index 9/11 Attacks, 45, 148, 360 Al-Dawla al-Islamiyya fi al-`Iraq, 299 Abbas, Ferhat, 196 Alderson, Alexander, 29, 41 Abbas, Mahmoud, 242 Aleppo, 289, 294–6, 300–1, 303–4, 307 Aberystwyth University, 10 Algeria, 20, 47–54, 57–73, 126–7, 136, Abu Ghraib prison, 144 193–9, 202, 204–5, 207–9, 211, 226–7, Abu Marzuq, Mousa, 238 285, 326, 328, 337–9, 347–8, 354, Abu-Mazen. See Abbas, Mahmoud 356–8, 365 Adams, Gerry, 218 Autonomous Zone of Algiers, 205 Aden, 26, 30, 38 Nationalist uprisings 1945, 197 Acheson, Dean, 322 Palestro, 199 Aerial Rocket Artillery, 132 Tribal uprisings of 1845, 1871, 1864, Aeschylus, 2 1881 and 1916, 196 Afghan National Army, 261–2 Algerian Front de Libération nationale. Afghan war, 89 See FLN Afghanistan, 20, 25–6, 30, 41, 46, 74, 76, 81, Algerian National Liberation Army. 88, 136–44, 146–8, 246–8, 251–2, 254– See ALN 6, 259–61, 263–5, 306, 348, 354, 356–7, Algerian National Movement. See MNA 359, 362, 365–6, 370 Algerian People’s Party, 198 Herat, 262 Algerian War 1954–1962, 19, 126, 193–5, Soviet withdrawal 1989, 261 211, 314, 330, 336, 349, 361 Africa, 28, 47, 51, 53, 73, 223, 334, 341, Algerian wars, 366 346, 364 Algiers, 65–7, 193, 199, 204–5 African slave trade, 114 Al-Haraka al-Tashihiyya, 294 Afrika Korps, 171 Allard, General Robert, 66 Age of Battles, 10 Alloush, Zahran, 305 Agent Orange, 131 ALN, 49, 63, 65–6, 194–211, 354 Agitprop, 229 Alon, Yigal, 170 AGM-114 Hellfire, 145 Al-Qaeda, 45, 88, 141, 147, 240–1, 264 Aguinaldo, Emilio, 119–20 Al-Qaeda in the Sinai Peninsula, 240 Air France, 176 Al-Qaeda, 299 AirLand Battle, 135 Al-Qaeda in Iraq, 299 Aït Ahmed, Hocine, 198–9 Al-Quds Brigades, 235 AKP, 306 American Civil War, 5, 114–15, 120–2, Al Aqsa Martyrs’ Brigades, 218 223, 337 Al Qaeda, 221, 338 American Revolution, 113–16, 145 Kidnapping Manual 2004, 344 Amir ul Moomineen. -
Eye Juggling: a Methodology for Interpreting Stories
Eye Juggling: A Methodology for Interpreting Stories Eye Juggling Outline With modifications and additions, as an excerpt from: Rodney Frey. 1995. Eye Juggling: Seeing the World Through a Looking Glass and a Glass Pane. University Press of America: London, and other sources. The Eye Juggler There is an old man, with long, black braids. He stands there, beside that tall cedar tree, singing a song. As he sings that song, what should happen..., his eyes pop out of his head. He continues singing that song and his eyes go up the side of the tree to the top branch. There those eyes look to the east. Then they turn and look to the south. The old man with empty sockets in his head continues that song. From the top of the tree the eyes look to the west. And then the eyes turn once more and look to the north, the fourth direction. As the old man with long, black braids sings that song, who should come along the path there but Coyote, down on his luck. He sees the old man standing there and decides to pay him a visit. He's been out there in those hills a long time. But as Coyote gets a little closer he realizes that there is something odd about this old man. He's seen some strange things out there in those hills but nothing like this. The old man is singing his eyes to the sky! Now Coyote, who's been down on his luck, realizes a good thing when he sees it. -
Universidade De São Paulo Faculdade De Educação Programa De Pós-Graduação Em Educação
UNIVERSIDADE DE SÃO PAULO FACULDADE DE EDUCAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM EDUCAÇÃO DIRCE HELENA BENEVIDES DE CARVALHO Cena contemporânea e escola básica: experimentos teatrais realizados com alunos do ensino médio da Escola de Aplicação da Faculdade de Educação da Universidade de São Paulo Versão revisada SÃO PAULO 2016 DIRCE HELENA BENEVIDES DE CARVALHO Cena contemporânea e escola básica: experimentos teatrais realizados com alunos do ensino médio da Escola de Aplicação da Faculdade de Educação da Universidade de São Paulo Tese apresentada à Faculdade de Educação da Universidade de São Paulo para obtenção do título de Doutor em Educação. Linha de Pesquisa: Psicologia e Educação. Orientador: Profª. Drª. Rosa Iavelberg. SÃO PAULO 2016 AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL OU PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE ESTUDO E PESQUISA, DESDE QUE CITADA A FONTE. Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Educação da Universidade de São Paulo 375.77 Carvalho, Dirce Helena Benevides de C331c Cena contemporânea e escola básica: experimentos teatrais realizados com alunos do ensino médio da Escola de Aplicação da Faculdade de Educação da Universidade de São Paulo / Dirce Helena Benevides de Carvalho; orientação Rosa Iavelberg. São Paulo: s.n., 2016. 206 p. ils.; anexos Tese (Doutorado – Programa de Pós-Graduação em Educação. Área de Concentração: Psicologia eEducação) - - Faculdade de Educação da Universidade de São Paulo. 1.Cena contemporânea2. Escola básica 3. Ensino de teatro 4. Espaço5. Coletivo6. Texto-palavra-performance textI. Iavelberg, Rosa, orient. 2 Nome: CARVALHO, Dirce Helena Benevides de Título: Cena contemporânea e escola básica: experimentos teatrais realizados com alunos do ensino médio da Escola de Aplicação da Faculdade de Educação da Universidade de São Paulo Tese apresentada à Faculdade de Educação da Universidade de São Paulo para obtenção do título de Doutor em Educação. -
Activism and Ironic Identities Amber Day Bryant University, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@Bryant University Bryant University DigitalCommons@Bryant University English and Cultural Studies Faculty Publications English and Cultural Studies Journal Articles and Research 2008 Are They for Real? Activism and Ironic Identities Amber Day Bryant University, [email protected] Follow this and additional works at: https://digitalcommons.bryant.edu/eng_jou Part of the Civic and Community Engagement Commons, Mass Communication Commons, and the Rhetoric Commons Recommended Citation Day, Amber, "Are They for Real? Activism and Ironic Identities" (2008). English and Cultural Studies Journal Articles. Paper 86. https://digitalcommons.bryant.edu/eng_jou/86 This Article is brought to you for free and open access by the English and Cultural Studies Faculty Publications and Research at DigitalCommons@Bryant University. It has been accepted for inclusion in English and Cultural Studies Journal Articles by an authorized administrator of DigitalCommons@Bryant University. For more information, please contact [email protected]. Amber Day 1 Are They For Real? Activism and Ironic Identities Political activists have not historically been known for their fun-loving sense of humor and playfulness. Nor do they have a reputation for communicating in riddles, deliberately speaking the opposite of what they mean. However, as the realities of mass media communication have evolved, so too have the tactics employed by activists for capturing the media spotlight. More and more groups are now building their actions around a playfully ironic sensibility, creating attention-getting stunts, graphics, and slogans, along with pre-packaged media sound-bites. Within this larger trend, one particular tactic involves a form of masquerade, as groups very deliberately assume the identities of their opponents. -
The Sixties Counterculture and Public Space, 1964--1967
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
~Mqltltrsity of Hawaif Librar?
~ID ~mqltltRSITY OF HAWAIf lIBRAR? MISSING PONO A TIlESIS SUBMITTED TO THE GRADUATE DIVISION OF TIlE UNIVERSITY OF HAWAn PARTIAL FULFILLMENT OF TIlE REQUIREMENTS FOR TIlE DEGREE OF MASTER OF ARTS IN ENGLISH MAY 2003 By Christopher R. Kelsey Thesis Committee: Ian McMillan, Chairperson Robert Shapard Paul Lyons Rodney Morales iii TABLE OF CONTENTS Haole Boss............. 1 Missing Pono.......................................................................................... 17 The Clearing................. 33 Rock of Ages.... 52 The Risk.................................................................................................. 69 Or ItMight Be you................................................................................ 85 1 Haole Boss Pale pink hydraulic fluid splattered across the inside of Taylor Beck's left wrist, bounced off the bib of his mocha-brown Carhart overalls, and plopped on the toe of his dirty boots. He imagined it looked like haole blood. But it wasn't his or anyone else's. He'd struggled all his life to avoid being labeled a haole. He knew everybody's blood was the same color, though it looked like it could've been spilled from a white man's veins. But the machine didn't bleed, it leaked. Taylor squinted up at the greasy stainless-steel mast of the stand-up fork lift. His forearm shielded his eyes from the drips but blocked his vision, and he brushed the graying blonde strands off his forehead. A tightly banded braid kept his shoulder-length hair from sticking in his moustache and beard like velcro. He rolled his tight neck muscles, shrugged his husky shoulders and stepped out of the machine to get away from the harsh glare of the big halogen light. He figured it must be that hose clamp again. -
The History and Philosophy of the Postwar American Counterculture
The History and Philosophy of the Postwar American Counterculture: Anarchy, the Beats and the Psychedelic Transformation of Consciousness By Ed D’Angelo Copyright © Ed D’Angelo 2019 A much shortened version of this paper appeared as “Anarchism and the Beats” in The Philosophy of the Beats, edited by Sharin Elkholy and published by University Press of Kentucky in 2012. 1 The postwar American counterculture was established by a small circle of so- called “beat” poets located primarily in New York and San Francisco in the late 1940s and 1950s. Were it not for the beats of the early postwar years there would have been no “hippies” in the 1960s. And in spite of the apparent differences between the hippies and the “punks,” were it not for the hippies and the beats, there would have been no punks in the 1970s or 80s, either. The beats not only anticipated nearly every aspect of hippy culture in the late 1940s and 1950s, but many of those who led the hippy movement in the 1960s such as Gary Snyder and Allen Ginsberg were themselves beat poets. By the 1970s Allen Ginsberg could be found with such icons of the early punk movement as Patty Smith and the Clash. The beat poet William Burroughs was a punk before there were “punks,” and was much loved by punks when there were. The beat poets, therefore, helped shape the culture of generations of Americans who grew up in the postwar years. But rarely if ever has the philosophy of the postwar American counterculture been seriously studied by philosophers. -
Pdf at OAPEN Library
Tweets and the Streets Gerbaudo T02575 00 pre 1 30/08/2012 11:04 Gerbaudo T02575 00 pre 2 30/08/2012 11:04 TWEETS AND THE STREETS Social Media and Contemporary Activism Paolo Gerbaudo Gerbaudo T02575 00 pre 3 30/08/2012 11:04 First published 2012 by Pluto Press 345 Archway Road, London N6 5AA www.plutobooks.com Distributed in the United States of America exclusively by Palgrave Macmillan, a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010 Copyright © Paolo Gerbaudo 2012 The right of Paolo Gerbaudo to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978 0 7453 3249 9 Hardback ISBN 978 0 7453 3248 2 Paperback ISBN 978 1 8496 4800 4 PDF eBook ISBN 978 1 8496 4802 8 Kindle eBook ISBN 978 1 8496 4801 1 EPUB eBook Library of Congress Cataloging in Publication Data applied for This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental standards of the country of origin. 10 9 8 7 6 5 4 3 2 1 Designed and produced for Pluto Press by Chase Publishing Services Ltd Typeset from disk by Stanford DTP Services, Northampton, England Simultaneously printed digitally by CPI Antony Rowe, Chippenham, UK and Edwards Bros in the United States of America Gerbaudo T02575 00 pre 4 30/08/2012 11:04 -
French Theory
FLUSSER STUDIES 31 Martha Schwendener Flusser and French Theory “Saussure did not impress me.”1 So wrote Flusser in the 1969 essay “In Search of Meaning (Philosoph- ical Self-portrait),” before he returned to Europe and settled for the last decades of his life in France. Rather than Francophone writers – and particularly Saussure, the linguist and figurehead of a strain of language philosophy that would guide French thought in the twentieth century – Flusser acknowledged a host of other thinkers: Kant, Camus, José Ortega y Gasset, Nietzsche, Cassirer, Cohen, Hartmann, the entire Marburg School, the Viennese School, Bertrand Russell, Wittgenstein, and Heidegger, Joyce, Pound, Eliot, Goethe, Thomas Mann, and particularly Kafka and Rilke. In other words, practically anything but French writers. However, the last two decades of Flusser’s life brought him in close con- tact with French thinkers, from Abraham Moles to Jean Baudrillard. Moreover, his increasing contact with German media theory and the U.S. art world, which was besotted with French “theory” (a desig- nation I will explain in a moment) were crucial to his legacy. Paradoxically, even though Flusser’s reception lagged in France, I would argue that his importance is in large part due to the avenues opened up by French theory and the “model” – one of Flusser’s favorite terms – for his own visionary thinking. First, French “theory.” Anaël Lejeune, Olivier Mignon, and Raphaël Pirenne write that French theory refers “roughly to the structuralist and post-structuralist thought that developed in France from the 1960s to the 1980s” and which should be differentiated from “French thought.”1 French theory, as opposed to French thought, offered a degree of heterogeneity and intellectual freedom – which is why it was largely adopted by radical thinkers, in the vein of Flusser. -
Arte Callejero Vs. Street Marketing Un Estudio Comparado De La Difusión
FACULTAD DE CIENCIAS SOCIALES, JURÍDICAS Y DE LA COMUNICACIÓN. GRADO EN PUBLICIDAD Y RELACIONES PÚBLICAS TRABAJO FIN DE GRADO Arte callejero vs. Street Marketing Un estudio comparado de la difusión en internet de casos de éxito. Autora: Soraya López García Tutora: Susana de Andrés del Campo Segovia, 2015 1 2 AUTORA: Soraya López García TUTORA: Susana de Andrés del Campo TÍTULO: Arte callejero vs. Street marketing. Un estudio comparado de la difusión en internet de casos de éxito. RESUMEN: Actualmente, vivimos en un mundo donde el bombardeo publicitario ha hecho que los consumidores lleguen a inmunizarse contra estos estímulos, por lo que cada vez se vuelve más difícil conseguir captar la atención del público al que queremos dirigirnos. Es por esto que hacen falta nuevas formas de dirigirnos a ellos, de manera que se genere un impacto positivo y que, a la vez, tenga unos buenos resultados, tanto a corto como a largo plazo. El street marketing es una de esas estrategias diferentes, que sale a la calle en busca de los consumidores e irrumpiendo en sus rutinas causando una gran impresión. Además, las redes sociales permiten que este tipo de acciones puedan convertirse en virales llegando a cualquier rincón del planeta sin suponer grandes costes y utilizando como arma la creatividad y la originalidad. Pero el street marketing, al igual que hace la publicidad en su forma más pura, tiene como referencia otras ramas de las que se vale, como es el arte, el cual toma como inspiración hasta tal punto de que muchas veces se lleguen a cuestionar las fronteras entre ambas. -
From Shadow Citizens to Teflon Stars
From shadow citizens to teflon stars cultural responses to the digital actor L i s a B o d e A thesis submitted in fulfillment of the requirements for the degree of Doctor of Philosophy September 2004 School of Theatre, Film and Dance University of New South Wales Abstract This thesis examines an intermittent uncanniness that emerges in cultural responses to new image technologies, most recently in some impressions of the digital actor. The history of image technologies is punctuated by moments of fleeting strangeness: from Maxim Gorky’s reading of the cinematographic image in terms of “cursed grey shadows,” to recent renderings of the computer-generated cast of Final Fantasy: The Spirits Within as silicon-skinned mannequins. It is not merely the image’s unfamiliar and new aesthetics that render it uncanny. Rather, the image is received within a cultural framework where its perceived strangeness speaks allegorically of what it means to be human at that historical moment. In various ways Walter Benjamin, Anson Rabinbach and N. Katherine Hayles have claimed that the notion and the experience of “being human” is continuously transformed through processes related to different stages of modernity including rational thought, industrialisation, urbanisation, media and technology. In elaborating this argument, each of the four chapters is organized around the elucidation of a particular motif: “dummy,” “siren,” “doppelgänger” and “resurrection.” These motifs circulate through discourses on different categories of digital actor, from those conceived without physical referents to those that are created as digital likenesses of living or dead celebrities. These cultural responses suggest that even while writers on the digital actor are speculating about the future, they are engaging with ideas about life, death and identity that are very old and very ambivalent. -
The MIT Press Spring 2021 Dear Friends and Readers, Contents
The MIT Press Spring 2021 Dear Friends and Readers, Contents Books are carriers of civilization. Without books, history is silent, literature dumb, science crippled, thought and speculation at a standstill. They are engines of change, windows to the world, “lighthouses” (as a poet said) Trade 1-32 “erected in the sea of time.” Paperback Reprints 33-36 —Barbara W. Tuchman, American historian Distributed by the MIT Press University presses are critical to the academy’s core purpose to create and share knowledge. In these extraordinary times, scholars and scientists are racing to overcome a pandemic, Boston Review 37 combat climate change, and protect civil liberties even as Goldsmiths Press 38-39 they are forced to engage in escalating information warfare. With expanding misinformation and shrinking public trust in Semiotext(e) 40-43 news media, in science and academia, and in expertise more Sternberg Press 44-58 broadly, it falls to universities and mission-driven publishers to uphold sense-making and the spreading of facts—to share Strange Attractor Press 59-61 and translate credible, research-based information in ways that Terra Nova Press 62 maximize its impact on decisions that will shape the future of humanity. University presses have a central role to play in this Urbanomic 63 cause, and the MIT Press continues to be a guiding light. As Director, I am reminded daily of the power of books for posi- Academic Trade 64-68 tive change—to create more beauty, knowing, understanding, Professional 69-91 justice, and human connection in our vast and complex world. www.dianalevine.com Amy Brand All of us at the MIT Press feel a profound responsibility to use Journals 92-94 our privileged perch for good wherever we can.