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Comic Strips and the American Family, 1930-1960 Dahnya Nicole Hernandez Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2014 Funny Pages: Comic Strips and the American Family, 1930-1960 Dahnya Nicole Hernandez Pitzer College Recommended Citation Hernandez, Dahnya Nicole, "Funny Pages: Comic Strips and the American Family, 1930-1960" (2014). Pitzer Senior Theses. Paper 60. http://scholarship.claremont.edu/pitzer_theses/60 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. FUNNY PAGES COMIC STRIPS AND THE AMERICAN FAMILY, 1930-1960 BY DAHNYA HERNANDEZ-ROACH SUBMITTED TO PITZER COLLEGE IN PARTIAL FULFILLMENT OF THE BACHELOR OF ARTS DEGREE FIRST READER: PROFESSOR BILL ANTHES SECOND READER: PROFESSOR MATTHEW DELMONT APRIL 25, 2014 0 Table of Contents Acknowledgements...........................................................................................................................................2 Introduction.........................................................................................................................................................3 Chapter One: Blondie.....................................................................................................................................18 Chapter Two: Little Orphan Annie............................................................................................................35 -
The Complete Peanuts Volume I by Charles M. Schulz
NACAE National Association of Comics Art Educators STUDY GUIDE: THE COMPLETE PEANUTS by Charles M. Schulz Volume One: 1950-1952 Study guide written by Art Baxter Introduction America was in the throes of post-war transition in 1950. Soldiers had returned home, started families and abandoned the cities for the sprawling green lawns of newly constructed suburbia. They had sacrificed during the Great Depression and subsequent war effort and this was their reward. Television was beginning to replace the picture-less radio not to mention live theater, supper clubs and dance halls, as Americans stayed home and raised families. Despite all this “progress” an empty feeling still resided in the pit of the American soul. Psychology, that new science that had recently gone mainstream, tried to explain why. Then, Charles M. Schulz’s little filler comic strip, Peanuts, appeared in the funny pages. Schulz was born in 1922, the solitary child of a barber and his wife, in St. Paul, Minnesota. Sparky, his lifelong nickname, was given to him when he was an infant, by an uncle, after the comic strip character Barney Google’s racehorse Spark Plug. Schulz had an early love and talent for drawing. He enjoyed famous comic strips like Roy Crane’s Wash Tubbs/Captain Easy (1924- 1943), the prototype of the adventure strip; E. C. Segar’s Thimble Theater (1919-1938), and its diverse cast of colorful characters going in and out rollicking adventures; and Percy Crosby’s Skippy (1925-1945) with its wise-for-his-age perceptive child protagonist. Schulz was a bright student and skipped several grades, making him the youngest and smallest in his class. -
Hair: the Performance of Rebellion in American Musical Theatre of the 1960S’
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Winchester Research Repository University of Winchester ‘Hair: The Performance of Rebellion in American Musical Theatre of the 1960s’ Sarah Elisabeth Browne ORCID: 0000-0003-2002-9794 Doctor of Philosophy December 2017 This Thesis has been completed as a requirement for a postgraduate research degree of the University of Winchester MPhil/PhD THESES OPEN ACCESS / EMBARGO AGREEMENT FORM This Agreement should be completed, signed and bound with the hard copy of the thesis and also included in the e-copy. (see Thesis Presentation Guidelines for details). Access Permissions and Transfer of Non-Exclusive Rights By giving permission you understand that your thesis will be accessible to a wide variety of people and institutions – including automated agents – via the World Wide Web and that an electronic copy of your thesis may also be included in the British Library Electronic Theses On-line System (EThOS). Once the Work is deposited, a citation to the Work will always remain visible. Removal of the Work can be made after discussion with the University of Winchester’s Research Repository, who shall make best efforts to ensure removal of the Work from any third party with whom the University of Winchester’s Research Repository has an agreement. Agreement: I understand that the thesis listed on this form will be deposited in the University of Winchester’s Research Repository, and by giving permission to the University of Winchester to make my thesis publically available I agree that the: • University of Winchester’s Research Repository administrators or any third party with whom the University of Winchester’s Research Repository has an agreement to do so may, without changing content, translate the Work to any medium or format for the purpose of future preservation and accessibility. -
Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood Kevin Mercer University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mercer, Kevin, "Hippieland: Bohemian Space and Countercultural Place in San Francisco's Haight-Ashbury Neighborhood" (2017). Electronic Theses and Dissertations, 2004-2019. 5540. https://stars.library.ucf.edu/etd/5540 HIPPIELAND: BOHEMIAN SPACE AND COUNTERCULTURAL PLACE IN SAN FRANCISCO’S HAIGHT-ASHBURY NEIGHBORHOOD by KEVIN MITCHELL MERCER B.A. University of Central Florida, 2012 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2017 ABSTRACT This thesis examines the birth of the late 1960s counterculture in San Francisco’s Haight-Ashbury neighborhood. Surveying the area through a lens of geographic place and space, this research will look at the historical factors that led to the rise of a counterculture here. To contextualize this development, it is necessary to examine the development of a cosmopolitan neighborhood after World War II that was multicultural and bohemian into something culturally unique. -
The Vietnam War in the American Mind, 1975-1985 Mark W
University of Richmond UR Scholarship Repository Master's Theses Student Research 8-1989 Half a memory : the Vietnam War in the American mind, 1975-1985 Mark W. Jackley Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Recommended Citation Jackley, Mark W., "Half a memory : the Vietnam War in the American mind, 1975-1985" (1989). Master's Theses. Paper 520. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Half A Memory: The Vietnam War In The American Mind, 1975 - 1985 Mark W. Jackley Submitted for the Degree of Master of Arts in History University of Richmond, 1989 Dr. Barry Westin, Thesis Director This study attempts to show how Americans in general remembered the Vietnam War from 1975 to 1985, the decade after it ended. A kind of social history, the study concentrates on the war as remembered in the popular realm, examining novels as well as nonfiction, poetry, plays, movies, articles in political journals, songs, memorials, public opinion polls and more. Most everything but academic history is discussed. The study notes how the war's political historY. was not much remembered; the warrior, not the war, became the focus of national memory. The study argues that personal memory predominated over political memory for a number of reasons, the most important being the relative unimportance of the nation of Vietnam to most Americans. -
Travelling Law
Draft: cite only with authors permission Craig Jones1 Department of Geography, University of British Columbia, Vancouver. Travelling Law Targeted Killing, Lawfare and the Deconstruction of the Battlefield Striking Origins Above the Palestinian village of Beit Sahour on the morning of November 9th 2000 an Israeli Air Force (IAF) helicopter could be heard. Then, an explosion. The Jeep of Hussein Abiyat went up in flames, and with it the senior member of Fatah. The anti-tank missile killed Abiyat and two innocent elderly women. Collateral damage. Later that day, two months after the outbreak of the second Intifada, the Israeli military publically assumed responsibility for the strike: “During an operation initiated by the IDF, in the area of the village of Beit Sahour, missiles were launched from Air Force helicopters towards the vehicle of a senior activist of the Fatah Tanzim. The pilots reported the target was accurately hit. The activist was killed and his deputy, who was with him, was injured."1 The announcement marked the beginning of Israel’s official assassination policy. The justification and legal contention was that Israel had entered what IDF lawyers called “an armed conflict short of war”2 and Israel was thus entitled to target and kill enemy individuals as permitted by the rules of war. Though it might now seem difficult to believe, the European Union and the U.S. condemned the attacks and rejected the Israeli legal justification. British Foreign Secretary Jack Straw claimed that the assassinations were "unlawful, unjustified and self-defeating"3. The E.U. said the policy amounted to "extrajudicial killings", while U.S. -
California Hard Core
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title California Hard Core Permalink https://escholarship.org/uc/item/0g37b09q Author Duong, Joseph Lam Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California California Hard Core By Joseph Lam Duong A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Waldo E. Martin, Chair Professor Kerwin Lee Klein Professor Linda Williams Spring 2014 Copyright 2014 by Joseph Lam Duong Abstract California Hard Core by Joseph Lam Duong Doctor of Philosophy in History University of California, Berkeley Professor Waldo E. Martin, Chair California Hard Core is a narrative history of the pornographic film industry in California from 1967 to 1978, a moment when Americans openly made, displayed, and watched sexually explicit films. Two interrelated questions animate this project: Who moved the pornographic film from the margins of society to the mainstream of American film culture? What do their stories tell us about sex and sexuality in the U.S. in the last third of the twentieth century? The earlier academic literature concentrates on pornographic film and political debates surrounding it rather than industry participants and their contexts. The popular literature, meanwhile, is composed almost entirely of book-length oral histories and autobiographies of filmmakers and models. California Hard Core helps to close the divide between these two literatures by documenting not only an eye-level view of work from behind the camera, on the set, and in the movie theater, but also the ways in which consumers received pornographic films, placing the reader in the viewing position of audience members, police officers, lawyers, judges, and anti-pornography activists. -
Volume XV, Issue 1 February 2021 PERSPECTIVES on TERRORISM Volume 15, Issue 1
ISSN 2334-3745 Volume XV, Issue 1 February 2021 PERSPECTIVES ON TERRORISM Volume 15, Issue 1 Table of Content Welcome from the Editors...............................................................................................................................1 Articles Bringing Religiosity Back In: Critical Reflection on the Explanation of Western Homegrown Religious Terrorism (Part I)............................................................................................................................................2 by Lorne L. Dawson Dying to Live: The “Love to Death” Narrative Driving the Taliban’s Suicide Bombings............................17 by Atal Ahmadzai The Use of Bay’ah by the Main Salafi-Jihadist Groups..................................................................................39 by Carlos Igualada and Javier Yagüe Counter-Terrorism in the Philippines: Review of Key Issues.......................................................................49 by Ronald U. Mendoza, Rommel Jude G. Ong and Dion Lorenz L. Romano Variations on a Theme? Comparing 4chan, 8kun, and other chans’ Far-right “/pol” Boards....................65 by Stephane J. Baele, Lewys Brace, and Travis G. Coan Research Notes Climate Change—Terrorism Nexus? A Preliminary Review/Analysis of the Literature...................................81 by Jeremiah O. Asaka Inventory of 200+ Institutions and Centres in the Field of Terrorism and Counter-Terrorism Research.....93 by Reinier Bergema and Olivia Kearney Resources Counterterrorism Bookshelf: Eight Books -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
December 2016
Traditional Folk Song Circle goers to hear Potomac Accordion Ensemble December 10 December 2016 Inside this issue: From the President 2 Open Mics 3 Pics from Sunday Open Stage 4 Traditional Folk Song Circle 5 The Songs We Sing 6 Comfortable Concerts 7 Hill Chapel Concert 9 Gear of the Month 10 Pull up a Chair 12 Other Music Orgs of interest 13 Member Ads 14 Open Mic Photos 16 Board of Directors 18 F.A.M.E. Goals 18 Membership Renewal/App 18 Poster art courtesy of Todd C Walker Page 2 From the President I don’t know whose thought this is, but I read somewhere that “music is the wheels of a movement. I know that music made a tremendous difference in the anti- war movement of the 60s as well as the civil rights movement. Music is a powerful force that is often unrecognized. A song has a way of inspiring folks that nothing else comes even close to. We are in need of inspiring songs. One of the roles of a songwriter is not only to reflect on what is happening in the present but also to provide a vision of the future. What is your vision of the future? For some it is nihilistic bleakness – a very cynical response to our world. For others, it is filled with hope – we are somehow going to be able to figure out how we can live together and with all of creation. If you are a performer, I want to challenge you to get out of yourself and add songs that reflect your vision of the future to your repertoire. -
Screw" Collection Finding Aid & Guide
Sexual Representation Collection Will Sloan "Screw" Collection Finding Aid & Guide Will Sloan "Screw" Collection Sexual Representation Collection Mark S. Bonham Centre for Sexual Diversity Studies University College, University of Toronto Accession Number 2013.001 Dates 1974-1978 Extent 26 magazines; incomplete selection of issues published between 1976-1978 Source of Acquisition Donated to the Sexual Representation Collection by Will Sloan from his private collection in 2013. Arrangement & Housing TBD Finding Aids • Inventory spreadsheet (arranged by date) Related Material • Playboy Magazine Collection • Sex TV: erotic comic books . Restrictions on Access No restrictions on access. Format • Newsprint, 47-55 pages • 10 pages of classified ads • Paid advertisement appears throughout • Explicit pornographic B&W photo on the inside cover of each issue • Most issues include a pornographic centerfold spread Printed by Lisa Kadey - July 2014 Page I of! I Sexual Representation Collection Will Sloan "Screw" Collection Finding Aid & Guide Potential Areas of Interest for Researchers • Sex work, live sex shows, massage parlours • Obscenity trials in the US/Britain • Erotic comics/crossover between erotic and mainstream comic artists • History of the publication of erotic literature in the U.S. • 1970s racial politics • 1970s LGBT politics • Fetishes • BDSM Demographic The magazine was primarily aimed at straight men, although the content of some classified ads suggest that there was also a small female and gay male readership. Though the magazine was distributed nationally, much of the content, including news items and event reviews, was more directly relevant to New York readers. The majority of the writers and artists who published in Screw were male. Background Information Screw Magazine was a humorous pornographic magazine that published articles, photography, and comics, about sex. -
A Queer Analysis of the James Bond Canon
MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester A Dissertation Submitted to the Faculty of Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2019 Copyright 2019 by Grant C. Hester ii MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester This dissertation was prepared under the direction of the candidate's dissertation advisor, Dr. Jane Caputi, Center for Women, Gender, and Sexuality Studies, Communication, and Multimedia and has been approved by the members of his supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Khaled Sobhan, Ph.D. Interim Dean, Graduate College iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to Jane Caputi for guiding me through this process. She was truly there from this paper’s incubation as it was in her Sex, Violence, and Hollywood class where the idea that James Bond could be repressing his homosexuality first revealed itself to me. She encouraged the exploration and was an unbelievable sounding board every step to fruition. Stephen Charbonneau has also been an invaluable resource. Frankly, he changed the way I look at film. His door has always been open and he has given honest feedback and good advice. Oliver Buckton possesses a knowledge of James Bond that is unparalleled. I marvel at how he retains such information.