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I'm Your Biggest Fan (I╎ll Follow
Western University Scholarship@Western Digitized Theses Digitized Special Collections 2011 "I'M YOUR BIGGEST FAN (I’LL FOLLOW YOU UNTIL YOU LOVE ME)”: SOCIAL NETWORKING SITES, FANS, AND AFFECT Meghan R. Francis Follow this and additional works at: https://ir.lib.uwo.ca/digitizedtheses Recommended Citation Francis, Meghan R., ""I'M YOUR BIGGEST FAN (I’LL FOLLOW YOU UNTIL YOU LOVE ME)”: SOCIAL NETWORKING SITES, FANS, AND AFFECT" (2011). Digitized Theses. 3233. https://ir.lib.uwo.ca/digitizedtheses/3233 This Thesis is brought to you for free and open access by the Digitized Special Collections at Scholarship@Western. It has been accepted for inclusion in Digitized Theses by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. “I’M YOUR BIGGEST FAN (I’LL FOLLOW YOU UNTIL YOU LOVE ME)” SOCIAL NETWORKING SITES, FANS, AND AFFECT (Spine title: Social Networking Sites, Fans, and Affect) (Thesis Format: Monograph) by Meghan Francis Graduate Program in Popular Music and Culture 9 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Meghan Francis 2011 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION Supervisor Examiners Dr. Norma Coates Dr. Susan Knabe 1 Supervisory Committee Dr. Keir Keightley Dr. Susan Knabe Dr. Jonathan Burston The thesis by Meghan Ruth Francis entitled: “I'm Your Biggest Fan (I'll Follow You Until You Love Me)”: Social Networking Sites, Fans and Affect is accepted in partial fulfillment of the requirements for the degree of Master of Arts Date _______________________ _____ ____________ ■ __________ Chair of the Thesis Examination Board 11 L Abstract: This thesis explores the way that music fandom has changed on sites like Twitter. -
EDWARD GOREY's PLAY with GENERIC FORM by EDEN LEE LACKNER a Thesis Submitted to the Victoria University of Wellingt
GENRE GAMES: EDWARD GOREY'S PLAY WITH GENERIC FORM BY EDEN LEE LACKNER 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 2015 Page 1 of 216 Page 2 of 216 ABSTRACT Genre Games: Edward Gorey's Play with Generic Form This thesis examines Edward Gorey's play with form and content across five literary genres, how that play results in the style that has come to be known as the "Goreyesque" and how the Goreyesque has influenced later artists and writers. Gorey consistently places style ahead of thematic and moral considerations, removing the purpose of each genre to reveal what remains in its absence. In doing so, Gorey maps out the boundaries of each form, providing genre- and period-specific details that act as signposts to how his audience should approach each narrative. With these markers in place, Gorey's readers are thus made aware of which genre expectations rule each piece. These expectations, however, are undermined as Gorey removes the audience-understood literary endgame, so that the work appears in all respects to be an accurate representation of the chosen genre, yet is missing the central heart. Gorey's melodramas present scenarios in which deep familial loss and suffering are at the forefront of each narrative, yet as a result of the distance that Gorey places between the text and his readers, these works ultimately lack sentimentality. His Dickensian narratives, while populated with virtuous orphans and embittered, isolated men, lack moral pronouncements and just rewards, resulting in exceptionally bleak, nihilistic endings that provide little or no social commentary. -
The Sandman: Endless Nights
THE SANDMAN: ENDLESS NIGHTS Presentation by Jason Moore Heather Morgan Orion Petitclerc http://files.g4tv.com/ImageDb3/249655_S/TV‐Series‐Planned‐For‐The‐Sandman‐Can‐It‐Work.jpg KEYWORDS •Graphic Novel •Endless •Perception/Variation •Sigil •Subculture •Artistic Style GRAPHIC NOVELS 101: A NEW LITERARY ARTFORM! •Graphic Novel –A medium in which text is both accompanied and complimented by art, oftentimes to a degree in which neither elements can stand alone and tell a story. (Exception: “‘Nuff Said” comics) The “Graphic Novel” Controversy: •According to Alan Moore (Watchmen, V for Vendetta), graphic novel is merely “a marketing term…[that] just came to mean ‘expensive comic book’”. http://images.wikia.com/marveldatabase/images/9/91/Amazing_Spider‐Man_Vol_2_39.jpg THE GRAPHIC NOVEL FORMAT American Comic Book Format: •Dimensions: 6 5/8” x 10 ¼“ (17 x 26 cm) •Scaled up or down for graphic novels or trade collections. •Length: 32 pages, 21‐24 pages of story and art plus 8 pages of advertisements •Read from left‐to‐right, top‐to‐bottom (unless otherwise dictated by the artistic Types of Publications: arrangement on the pages). •The Standard comic book •Published as an Ongoing Series (Amazing Spider‐Man, Batman, etc.), Annual, One‐Shot, or Limited Series. •Graphic Novels •Trade Paperbacks (TPB’s), Anthologies, and Omnibuses ENDLESS NIGHTS FORMAT •American Graphic Novel •Largely traditional paneled pages and directional flow http://upload.wikimedia.org/wikipedia/en/thumb/4/4f/Endless_Nights_cover.jpg/250px-Endless_Nights_cover.jpg NOTE! Endless Nights was only published as a Graphic Novel, whereas the original Sandman series was published as a standard monthly Comic Book later collected in TPB’s. -
The Construction of Female Gender in Amanda Palmer's Lyrics (1995-2009)
Jenni Piik “IF THE SLIPPER FITS, YOU WEAR IT, WHORE”: THE CONSTRUCTION OF FEMALE GENDER IN AMANDA PALMER'S LYRICS (1995-2009) A Pro Gradu Thesis Department of English University of Jyväskylä April 2011 HUMANISTINEN TIEDEKUNTA ENGLANNIN LAITOS Jenni Piik “IF THE SLIPPER FITS, YOU WEAR IT, WHORE”: THE CONSTRUCTION OF FEMALE GENDER IN AMANDA PALMER’S LYRICS (1995-2009). Englannin kieli Pro Gradu –tutkielma Huhtikuu 2011 91 sivua Tarkastelen tässä pro gradu –tutkielmassa naissukupuolen rakentumista Yhdysvaltalaisen laulaja-lauluntekijän Amanda Palmerin sanoituksissa vuosina 1995-2009. Palmer esiintyy Bostonissa 2000-luvun alussa perustetussa yhtyeessä The Dresden Dolls rumpali Brian Viglionen kanssa ja toimii myös sooloartistina. Tutkin naissukupuolta Palmerin sanoituksissa kolmen kategorian kautta: naisten ja miesten väliset suhteet; väkivalta; sekä raskaus, abortti, ja raiskaus. Tarkastelen sukupuolta kaksijakoisena; sukupuoli jakaantuu biologiseen sukupuoleen sekä sosiaalisesti rakentuneeseen, opittuun sukupuoleen. Tutkin sukupuolen rakentumista läntisen maailman mieshegemonian näkökulmasta; miessukupuolella on yhteiskunnallinen, sosiaalinen, ja kulttuurinen valta-asema ja sitä vastoin naissukupuolella alisteinen asema. Mieshegemoniassa olemassa olevia valta-asemia tuotetaan ja pidetään yllä mm. sukupuolen sosiaalisella rakentamisella ja ymmärtämällä sukupuoli vastakohtaparin nainen-mies kautta. Sekä naiset että miehet tiedostaen tai tietämättään tukevat tai vastustavat mieshegemoniaa sillä, miten he tuottavat sukupuolta. Naissukupuolen -
The Tim Ferriss Show Transcripts Episode 67: Amanda Palmer Show Notes and Links at Tim.Blog/Podcast
The Tim Ferriss Show Transcripts Episode 67: Amanda Palmer Show notes and links at tim.blog/podcast Tim Ferriss: All right. So I'm gonna click "record," and then we're just gonna take a couple of seconds of silence, and then we'll jump right into it. Hello, boys and girls. This is Tim Ferriss, and welcome to another episode of the Tim Ferriss Show where I deconstruct world-class performers, whether they be billionaire hedge-fund managers, early-stage investors, like Peter Thiel, or celebrities, Arnold Schwarzenegger, musicians, chess prodigies, and so on. They have commonalities, and they do have tools and tricks and routines that you can use. This episode, I am interviewing Amanda Palmer, who is a musician, but also a social media virtuoso and innovator as a musician, from the standpoint of both music and business models. Some of you, I'm sure, have seen her hit TED presentation, "The Art of Asking," which has been viewed more than six million times. But her story goes much, much deeper, and we will plumb the depths. We will talk about, of course, perhaps the Dresden Dolls where she first rose to prominence as one-half of that acclaimed punk cabaret duo, then the journey from solo album to leaving her record label altogether and experimenting with things like Kickstarter. She made international news in 2012 when she raised nearly $1.2 million preselling her new album, "Theatre is Evil," which went on to debut in the Billboard Top 10. It's one hell of a story. -
Amanda Palmer and the #LOFNOTC: How Online Fan Participation Is Rewriting Music Labels
. Volume 9, Issue 2 November 2012 Amanda Palmer and the #LOFNOTC: How online fan participation is rewriting music labels Liza Potts, Michigan State University, USA Summary Recent events in digital culture are changing the ways in which artists and fans are able to interact. By resisting traditional labels as a musician and performer, Amanda Palmer has set out to redefine the ways in which artists and their audiences connect. Through her early work as a street performer, Palmer understood the need for a bond between artist and audience. With an ability to embrace participatory culture, in her live performances, blog, and Twitter stream, Palmer’s actions are unconventional and often provocative. In this article, I trace these interactions, arguing that Palmer and her participatory fans are rewriting traditional norms about recording artists and their audiences. Keywords: Participation, fans, music, recording industry, social media, Amanda Palmer, Neil Gaiman. Introduction In her 2010 blog post entitled ‘Why I am Not Afraid to Take Your Money,’ musician Amanda Palmer called for a radical move away from traditional recording industry strategies for production and distribution. In Palmer’s manifesto, she describes how artists will be bypassing their labels and going to their audience: ‘coming straight to you (yes, YOU, you who want their music, their films, their books) for their paychecks’ (2010). Rather than keeping them at arm’s length, Palmer works to include her fans in her work. Her fans have embraced this role, communicating with her through various online channels and participating in her work. Palmer’s recent success in raising over $1M on Kickstarter (Palmer, 2012a) is just one indication of how her fans are helping her reinvent funding models for artists. -
Joking About the Darkness Affect, Queerness, and Politics in the Work of Amanda Palmer
Joking About the Darkness Affect, Queerness, and Politics in the Work of Amanda Palmer Jackson Brooks Flesher Schulich School of Music Music Research McGill University, Montreal December 2018 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts in Musicology – Gender, Sexuality, and Feminist Studies ©Jackson Flesher 2018 Table of Contents Title Page ____________________________________________________________________ i Table of Contents ______________________________________________________________ ii Abstract _____________________________________________________________________ iii Résumé _____________________________________________________________________ iv Acknowledgements____________________________________________________________ v Introduction__________________________________________________________________ 1 Chapter 1: Amanda Palmer’s Aesthetic and Philosophy _______________________________________________________14 (Figure 1.1) __________________________________________________________________ 26 Chapter 2: Comparative Analyses of Emotional Politics and Affective Performance Practices _______________________________________ 55 Conclusion __________________________________________________________________ 97 Appendix (Palmer’s Discography) _______________________________________________100 Bibliography ________________________________________________________________104 ii Abstract Amanda “Fucking” Palmer began her musical career in 2000 as half of The Dresden Dolls -
Amanda Palmer - Who Killed Amanda Palmer? Pdf
FREE AMANDA PALMER - WHO KILLED AMANDA PALMER? PDF Amanda Palmer | 112 pages | 01 Feb 2009 | Cherry Lane Music Company | 9781603781237 | English | United States who killed amanda palmer As the story goes, what was originally intended to be a mere piano and vocal bedroom recording of material that was deemed too balladic for Dresden Dolls ' albums became an epic project by twist of fate. After Ben Folds contacted Amanda Palmer by email to randomly tell her that he was a fan of her music, they made plans to play some shows in Australia, where, upon meeting, the two wry-humored piano bashers found Amanda Palmer - Who Killed Amanda Palmer? shared a lot in common. He offered her future use of his Nashville studio, and once she accepted, he put on the producer hat and started taking the once raw songs to new heights with extensive layering. Vincenta horn section, cellist Zoe Keatingand a children's choir were all recruited to help round out the songs. While Folds ' collaboration with the more animated half of the Dresden DollsAmanda Palmerisn't quite as intriguing as his team-up Amanda Palmer - Who Killed Amanda Palmer? William Shatner on 's Has Beenit still comes as a bit of a surprise. Considering the potential of having these two different sides of the same coin dark piano goth, and peppy piano pop face Amanda Palmer - Who Killed Amanda Palmer? in the same room, it also Amanda Palmer - Who Killed Amanda Palmer? off as a slight disappointment. Now, despite what this might lead you to believe, the disappointment of the album doesn't come from overproduction, and it's not because Who Killed Amanda Palmer is a hugely drastic departure from the established Dresden Dolls formula with Brian Viglione ; strangely, even with the added orchestrated bells and whistles, it's actually very similar sounding to their stripped sound as a two-piece. -
Super ACRONYM 2 - Round 10
Super ACRONYM 2 - Round 10 1. This woman tells a doctor that her lying friend takes "seconal, Dexedrine, cocaine" just before that friend starts having a heart attack. This woman bemoans how her project is being turned into "a Saturday morning cartoon" in a scene that, per on-screen text, occurs with "16 months left." After Michael interrupts this woman during a quick-change in (*) Can-Can, she returns to the stage in little more than a towel to greet a standing ovation. To comfort her friend before surgery, this woman reminds him how, in just one night, they created the "Who's Got the Pain?" dance for Damn Yankees. Michelle Williams plays, for 10 points, what Broadway dancer from an FX series about her relationship with Bob Fosse? ANSWER: Gwen Verdon (or Gwyneth Evelyn Verdon; accept either name; do not accept or prompt on "Fosse/Verdon") <Vopava> 2. In P.T., both the opening text and a talking brown bag tell the player to "watch out" for "a separate reality" found in a "gap" in one of these objects, which provide the only way to kill or stun cats in the arcade game Mappy. Professor Frankly aids the player in discovering the secrets of one of these objects in a namesake 2004 GameCube game. Locations of Top Secret packets in Elevator Action are indicated by bright red versions of these things. Players choose this thing (*) "on the left" if obeying the narrator in the first major decision of The Stanley Parable. The second Paper Mario game is titled for a Thousand-Year variety of, for 10 points, what objects that players typically move through by using keys? ANSWER: doors (accept more specific answers identifying a doorway) <Vopava> 3. -
Univerzita Palackého V Olomouci Filozofická
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA MUZIKOLOGIE BAKALÁŘSKÁ DIPLOMOVÁ PRÁCE Kabaret a vaudeville v soudobé nonartificiální hudbě Cabaret and Vaudeville in Contemporary Non-artificial Music Robert Hanus Vedoucí práce: Doc. PhDr. Lenka Křupková, Ph.D. Olomouc 2013 Prohlašuji, ţe jsem bakalářskou práci na téma Kabaret a vaudeville v soudobé nonartificiální hudbě vypracoval zcela samostatně, výhradně s pouţitím uvedených pramenů. V Olomouci 1. 8. 2013 Poděkování Na tomto místě bych velmi rád poděkoval vedoucí mé práce Doc. PhDr. Lence Křupkové, Ph.D. za její vlídný přístup, cenné rady a pomoc při konzultacích. V poslední řadě bych také rád poděkoval některým vybraným spolubydlícím za empatii a nezištnou podporu. Obsah Úvod ................................................................................................................................................... 6 1. Prvopočátky kabaretu a vaudeville ................................................................................................ 8 1.1 Předchůdci s kabaretními prvky ............................................................................................... 8 1.2 Přímá historická podoba kabaretu, francouzská a německá linie.......................................... 11 1.3 Historická podoba vaudeville, americká linie......................................................................... 21 1.4 Speciální podkapitola doplňku inspirací: Le Théâtre du Grand Guignol – krvavá kolébka naturalistického hororu .............................................................................................................. -
Masterarbeit
MASTERARBEIT Titel der Masterarbeit „Business Model Experimentation in the Recorded Music Industry“ Verfasser Kai Kirkkopelto, BSc angestrebter akademischer Grad Master of Science (MSc) Wien, 2013 Studienkennzahl lt. Studienblatt: A 066 914 Studienrichtung lt. Studienblatt: Masterstudium Internationale Betriebswirtschaft Betreuer: O.Univ.-Prof. Dr. Kurt Heidenberger Eidesstattliche Erklärung Ich versichere, dass ich diese Masterarbeit selbständig verfasst und nur die angeführten Quellen und Hilfsmittel verwendet habe. Die Masterarbeit wurde von mir an keiner anderen Universität weder im In- noch im Ausland in irgendeiner Form als Prüfungsarbeit vorgelegt. Wien, Februar 2013 _________________________________ (Kai Kirkkopelto) II There is no happiness except in the realisation that we have accomplished something. (Henry Ford) First, and foremost, I would like to thank my parents for their endless support throughout my studies. I would also like to thank my sister and my girlfriend for being there for me. Furthermore, I am very grateful for the invaluable help that I received from MMag. Waldner and O.Univ.-Prof. Dr. Heidenberger during the writing process. Last but not least, I would like to thank Mr. Niemi, Mr. Pereira and Mr. Pöyhönen for participating in the research and sharing their insights. IVI II Abstract This research examined business model experimentation in recorded music industry. The purpose of the study was not only to describe the phenomenon but also to provide a multidimensional analysis of the complex subject by demonstrating: what caused the necessity for business model experimentation in the recorded music industry; who are the early adopters in terms of experimentation; and how one can successfully implement a business model experiment in the recorded music industry. -
Media Kit Kabarett Haus
MEDIA KIT KABARETT HAUS PERTH CONCERT HALL, CITY OF LIGHTS THURS 20 FEB – SAT 22 FEB TICKETS: $39 -$89 Click here for images KABARETT HAUS International siren and comedienne extraordinaire Meow Meow opens the Kabarett Haus accompanied by the full force of West Australian Symphony Orchestra. Join the spectacular queen of song for an unforgettable evening of exquisite music and much mayhem. Prepare for Piazzolla tangos, Weill, Brecht, Brel – even Radiohead – alongside original chansons by Meow Meow, Iain Grandage and Pink Martini’s Thomas M Lauderdale as this post-post-modern diva showcases her glorious brand of subversive and sublime entertainment. PERFORMANCES: MEOW MEOW PANDEMONIUM (WITH THOMAS M LAUDERDALE) | THU 20 FEB RUFUS WAINWRIGHT DOWN SOLO WAINWRIGHT | FRI 21 FEB AMANDA PALMER, THERE WILL BE NO INTERMISSION | SAT 22 FEB MEOW MEOW Post-post-modern diva Meow Meow has hypnotised, inspired, and terrified audiences globally with unique creations and sell-out seasons from New York’s Lincoln Center and Berlin’s Bar Jeder Vernunft to London’s West End and the Sydney Opera House. Named One of the Top Performers of the Year by The New Yorker, the spectacular crowd-surfing tragi-comedienne has been called “Sensational” (TheTimes), “diva of the highest order” (New York Post), “The Queen of Chanson” by the Berliner Zeitung, and “a phenomenon” by the Australian press. Her award-winning solo works have been curated by David Bowie, Pina Bausch, and Mikhail Baryshnikov and numerous international arts festivals . As well as being a prolific music and theatre creator she specialises in the Weimar repertoire and French chanson, and recently appeared as Titania in Emma Rice's revolutionary A Midsummer Night's Dream season at Shakespeare's Globe.