Dawson's Creek Season III
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A Thesis Submitted to the Honors College in Partial Fulfil
I LOVE YOU; NOT ENOUGH Item Type text; Electronic Thesis Authors Romano, Avery Elizabeth Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 23:11:59 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/637016 I LOVE YOU; NOT ENOUGH By AVERY ELIZABETH ROMANO ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors degree With Honors in Creative Writing THE UNIVERSITY OF ARIZONA D E C E M B E R 2 0 1 9 Approved by: ____________________________ Ted McLoof Department of English ABSTRACT I Love You; Not Enough is an exploration of family dynamic, relationship dysfunction, secret pasts, and the manner in which individuals handle a drastic shift in their current realities. The story of this family begins in the summer after Janie’s first year at college, when she comes home only to find that their dynamic has been uprooted by her father’s affair. Following are five short stories, a mixture of experimental and traditional fiction, that explore the summer following Janie’s return. Though it begins with a simple view of the family as a whole, as time progresses it is revealed that there is much more to this family than meets the eye. As the collection progresses, it seeks to examine the differences in relationships, the underlying factors in how those act in them, boundaries crossed and limits reached, and what brings a relationship to it’s end. -
Satan's Sibling - Poems
Poetry Series Satan's Sibling - poems - Publication Date: 2008 Publisher: Poemhunter.com - The World's Poetry Archive Satan's Sibling(15/03/1990) I am a poetry enthusiast with a variety of poetry styles. Some are love poems, some are hate poems. But I guess that love and hate are the basis of life, Aren't they? (My motto for life is 'There is no God, he is a figment of our imagination. There is no Karma, we punish ourselves. No destiny, we choose our own path. No freedom. We are bound by our own laws. For now.) www.PoemHunter.com - The World's Poetry Archive 1 1 Million Years Bc (Lyrics) They're calling me, the creatures of the nigh, Beautiful music, Animal instincts survived, the serpent tongue, so ancient before the dawn of time, Spread throughout the ages, On the blood of mankind. I've seen it all. From grace man falls, Babylon, curse of all creation, Winged serpent of the pit, Monstrosity. Ten thousand centuries ago, Cast down from heaven, To pillage below, The serpents eye, Still watching for it's easy prey, Feed upon the hopeless, the weak and afraid. I've seen it all. From grace men fall, Babylon, curse of all creation. Winged serpent of the pit, Monstrosity. 1 million yeasr bc x3 Satan's Sibling www.PoemHunter.com - The World's Poetry Archive 2 8 Line Poem (Lyrics) The tactful cactus by your window Surveys the prairie of your room The mobile spins to its collision Clara puts her head between her paws They've opened shops down West side Will all the cacti find a home But the key to the city Is in the sun that pins the branches to the sky Satan's Sibling www.PoemHunter.com - The World's Poetry Archive 3 A Desirable Complication I sit here in anguish, Silently suffering. -
FOR COLORED BOYZ on the Verge of Nervous Breakdown/ When Freedom Aint Enuff
FOR COLORED BOYZ on the verge of nervous breakdown/ when freedom aint enuff __________________ A choreopoem in 2 Acts by Bryan-Keyth Wilson © April 30, 2020 (979) 877-1040 P.O. Box 374 La Marque, TX 77568 [email protected] FOR COLORED BOYZ ACT I Lights fade up on a bare stage with five silhouetted figures scattered in space. Lights come up at different times with the actors dancing reflecting movement from different time periods. “DNA” by Kendrick Lamar begins to play. man in black in the beginning there was me running barefoot on the ivory coast man in orange skin black as onyx/ hair soft as lambs wool a careless disposition… man in blue free from judgment/ labels and phylums my likeness is described in the holy book but its my true identity you took man in green i am here in the present 2 FOR COLORED BOYZ looking back theres resentment pride and strength whipped outta me man in red your slave training and brainwashing affects us today in the present i draw strength from the ancestors so here i am man in green outside baltimore man in red outside north charleston man in black outside ferguson man in orange im in sanford man in blue im in houston man in green im your son man in blue your father 3 FOR COLORED BOYZ man in red your brother man in orange your husband man in black your lover all your friend The dancers walk aggressively in a circle. Each actor runs off one by one. Two actors remain on stage. -
Eat. Sleep. Watch Dawson's Creek: Teenagers
EAT. SLEEP. WATCH DAWSON’S CREEK: TEENAGERS’ PERCEPTIONS OF TEENAGE LIFE ON DAWSON’S CREEK by AMANDA STEWART HALL (Under the Direction of MARIA CAROLINA ACOSTA-ALZURU) ABSTRACT Drawing on cultural studies, especially Hall’s theory of encoding and decoding of texts (1973), this study examines how a sample of the audience of Dawson’s Creek, a Warner Brothers’ Television show, interpret and relate to the show and whether they incorporate these meanings in their lives. Ten in-depth interviews were conducted with females aged 15- to 21-years-old to discern the reality of representations on the show of teenage life and how these participants engage with the show. Findings suggest the show enables its viewers to identify with the portrayal of the teenage experience, especially when examining the show’s characters. Limitations of the study include the diversity of the sample used. Future research suggestions include an examination of how the show’s messages are encoded by the show’s creative team. In addition, future research should include a more in-depth examination into how Dawson’s Creek has changed the nature of teenage television. INDEX WORDS: Cultural Studies, Popular Culture, Dawson’s Creek, Stuart Hall, Teenagers and Television, Consumption of Television, Encoding and Decoding Texts. EAT. SLEEP. WATCH DAWSON’S CREEK: TEENAGERS’ PERCEPTIONS OF TEENAGE LIFE ON DAWSON’S CREEK by AMANDA STEWART HALL B.A., University of North Carolina Charlotte, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2002 © 2002 Amanda Stewart Hall All Rights Reserved EAT. -
Gender Make-Up Shows Shift Ml Parkes of the Passaic County Women's Center Will Be Speaking at 11 A.M
eacon October 2,1995 • WILLIAM PATERSON COLLEGE tupc CAMPUS CORNER An SGA "Meet the Candidates" Student Government Association nominations have now come to a close. In a program entitled "Meet the Candidate," the SGA will give stu- dents the opportunity to meet the individuals running for legislative positions. "Meet the Candidate" will be held during common hour on Oct. 3,5,10 and 12 in the Student Center. "We feel that this will enable the students with to vote with a better sense of who the can- didates are," stated Scott Carlson, SGA Vice President. Elections will be held throughout the day on ' 1 both Oct. 17 and 18. Center sponsors Awareness Day The WPC Women's Center is hosting their third annual Sexual Assault Awareness Day on Thursday Oct. 5. WPC student Sally Stroff works with second grade students at PS 30. SEE STORY PAGE 3 GENA ZAK/THE BEACON Activities will be held throughout the day in the Student Center Ballroom, including speak- p^jCarmgtta Parkes and Jill Greenbaum. Gender make-up shows shift Ml Parkes of the Passaic County Women's Center will be speaking at 11 a.m. regarding recovering from sexual assault and Male population at college continues to decline Greenbaum's lecture entitled, "Fighting Sexual By Pamela Langan were 5,928 undergraduate males Department of Accounting, suggested Violence: The Personal Meets the Political" will NEWS CONTRIBUTOR enrolled at WPC, and 5,558 under- that the demand for jobs in the be given at 12:30 p.m. graduate females, or 52% and 48% in accounting field was an influential Sexual Assault Awareness Day is a cross- Ever look around during class or favor of males. -
How Female Musicians Are Treated Differently in Music
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 10x The Talent = 1/3 Of The Credit: How Female Musicians Are Treated Differently In Music Meggan Jordan University of Central Florida Part of the Sociology 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 Jordan, Meggan, "10x The Talent = 1/3 Of The Credit: How Female Musicians Are Treated Differently In Music" (2006). Electronic Theses and Dissertations, 2004-2019. 946. https://stars.library.ucf.edu/etd/946 10X THE TALENT = 1/3 OF THE CREDIT HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC by MEGGAN M. JORDAN B.A. University of Central Florida, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology in the College of Sciences at the University of Central Florida Orlando, Florida Summer Term 2006 © 2006 Meggan M. Jordan ii ABSTRACT This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. -
As We Forgive Those
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2013 As We Forgive Those Therese O'Neil CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/401 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] As We Forgive Those By Tracy O’Neill Mentor: Salar Abdoh April 30, 2013 Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at the City College of the City University of New York. 1 CUT HIM Most all the stories Ted tells are quoting movies, and some of the movies are even movies we’ve seen together, but I don’t let on that I know. Problems are intrepid to all of us. Like last month, we’re at the Silver Dollar Stack pancake house, when bang! We’ve reared right back into this guy’s minivan. Guy gets out real steamed, saying he’s going to call 911 and get the police over. My mind is spinning like bicycle pedals on a downhill. I’ve got a D‐Dub from driving home from a high school party nine months back, and here we are in the parking lot not having learned our lesson, Ted drinking rum in his orange juice. I can see the whole scenario in cop eyes. “Dump it,” I told Ted. -
Between the Darkness & the Light Track Listing 1. (The
Wild Carrot – Between the Darkness & the Light Track Listing 1. (the Power of a) Pancake Breakfast 2. Stones & Feathers 3. Blue Bottle Tree 4. A Case of You* 5. Red Dirt Girl* 6. Flycatcher Jack & the Whippoorwhill’s Song* 7. Talking with Ghosts 8. Objects of Virtue 9. Now I Fly (Esme’s Song) 10. The Robin’s Song 11. Train to Babylon * Lyrics not included in this file Lyrics (the power of a) Pancake Breakfast My name is Ivy Mornin’s you’ll find me Behind the counter at this ol’ diner Waitin’ on the regulars & nine-to-fivers At first it was a job, you know Just a little steppin’ stone Till I got my feet back on the ground Never thought it’d turn a life around He was at a table in the back Nursin’ coffee, black How much is just one breakfast taco I’d never served just one, said, “Don’t know” His dirty clothes and empty eyes Broke me up and so I lied, “I messed up this order, gonna throw it away Unless you want it. No charge today. No charge” Chorus: I believe, I believe, I believe in the power of a pancake breakfast Guess it was a-bout three weeks When he came back to see me and he said, “I know what you did for me, honey Wanna pay you back. This time it’s on me.” “I found a job and place to stay I almost ended it that day But you gave me hope when I was down I’m gonna spread that love around. -
"She's Gone, Boys": Vernacular Song Responses to the Atlantic Fisheries Crisis
"She's Gone, Boys": Vernacular Song Responses to the Atlantic Fisheries Crisis Peter Narváez Abstract: In July 1992 a moratorium on the commercial fishing of cod, the staple of the North Atlantic fisheries, urns enacted by the Government of Canada. Because of the continued decline in fish stocks, the moratorium has been maintained, and fishing for domestic personal consumption has also been prohibited. Various compensation programs have not atoned for the demise of what is regarded as a “way of life." Responding to the crisis, vernacular verse, mostly in song form from Newfoundland, reflects the inadequacies of such programs. In addition, these creations assign causes and solutions while revealing a common usage of musical style, language and signifiers which combine to affirm an allegiance to traditional collective values of family, community and province through nostalgic experience. Some of the versifiers have turned to the craft for the first time during this disaster because they view songs and recitations as appropriate vehicles for social commentary. Traditions of songmaking and versifying (NCARP, The Northern Cod Adjustment and responsive to local events (Mercer 1979; O'Donnell Recovery Program, August 1, 1992 to May 15, 1994, 1992: 132-47; Overton 1993; Sullivan 1994) continue and TAGS, The Atlantic Groundfish Strategy, May to thrive in Atlantic Canada, especially in 16, 1994 to May 15, 1999), these have not offset what Newfoundland. As with the sealing protests and is widely perceived as the loss of a traditional counter-protests of the 1970s (Lamson 1979), area "way of life." This study examines expressive residents view as a tragedy the latest event to responses to the fisheries crisis, largely in prompt vernacular poetics and music (i.e., elements Newfoundland, by analysing the lyrics of, at this of expressive culture the people of a particular point, 43 songs and 6 "recitations" (i.e., monologues: region identify as their own: cf. -
The Queerness of Straight Masculinity:Men's Emotional
THE QUEERNESS OF STRAIGHT MASCULINITY:MEN’S EMOTIONAL INTIMACIES WITH OTHER MEN IN BOY MEETS WORLD AND DAWSON’S CREEK by David Powers Corwin A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Interdisciplinary Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2016 George Mason University Fairfax, VA The Queerness of Straight Masculinity: Men’s Emotional Intimacies with Men in Boy Meets World and Dawson’s Creek A Thesis submitted in Partial fulfillment of the requirements for the Master of Arts in Interdisciplinary Studies at George Mason University. By David Powers Corwin Bachelor of Arts Milligan College, 2013 Director: Dr. Rachel Lewis, Assistant Professor Women and Gender Studies Program Spring Semester 2016 George Mason University Fairfax VA Dedication To my best friend, Jordan, this project is an attempt to make sense of our friendship that seemed to differ from all of our other male peers. Thank you for your enduring support of me and for providing me with an unconditional friendship for the last seven years. ii Acknowledgements Many people both professionally and personally made contributions to my success in the completion of this thesis. First, I would like to thank my committee chair, Dr. Rachel Lewis, for her mentoring role in my graduate school experience from my first semester in the MAIS program. Almost every semester, I had at least one if not more courses with Rachel and she continues to mentor my scholarship and support my work by giving me constructive criticism and talking me through all my moments of discouragement I had throughout the process. -
Dawson's Creek, of Course!
Still Buffering 215: “Dawson’s Creek” (1998-2003) Published June 20th, 2020 Listen here at themcelroy.family [theme music plays] Rileigh: Hello, and welcome to Still Buffering: a cross-generational guide to the culture that made us. I am Rileigh Smirl. Sydnee: I'm Sydnee McElroy. Teylor: And I'm Teylor Smirl. Rileigh: Was that tagline right? Sydnee: Yep. Rileigh: Okay. [snorts] Sydnee: I think! Teylor: [laughs] Rileigh: Sorry, it's been a while since we've actually done it, and it just kinda came out before I could think about it, and I was just hoping it was right. And no one said anything, so I assumed it was. Sydnee: I was, uh—I wasn't paying strict attention, 'cause I was thinking about how I should've peed before we started. Rileigh: Mm-hmm. Sydnee: But, um, maybe that's the energy that I need for this. Rileigh: Holding your pee energy? Sydnee: [laughs quietly] Rileigh: That energy? Sydnee: [laughs] Don't you think that's— Teylor: Is that—is that good? Sydnee: I mean, maybe not—not—no, it's not great for your body. But, like, for your energy. Rileigh: Where you're just kind of, like, clenching. Like, "[quietly] Oh, okay." Sydnee: [laughs] Rileigh: "Yeah. Yeah." Sydnee: It doesn’t have to be that bad. [laughs] I was just k—I was—I was pondering that. Rileigh: Yeah. Sydnee: We're gonna see. Maybe this show will be better. Rileigh: We'll see, yeah. Teylor: Sydnee's conducting a scientific experiment. She has a—she has a hypothesis. -
Representing Disempowerment on Teen Drama Television
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-5-2012 12:00 AM Watching High School: Representing Disempowerment on Teen Drama Television Sarah M. Baxter The University of Western Ontario Supervisor Paulette Rothbauer The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sarah M. Baxter 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Recommended Citation Baxter, Sarah M., "Watching High School: Representing Disempowerment on Teen Drama Television" (2012). Electronic Thesis and Dissertation Repository. 644. https://ir.lib.uwo.ca/etd/644 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WATCHING HIGH SCHOOL: REPRESENTING DISEMPOWERMENT ON TEEN DRAMA TELEVISION (Spine title: Watching High School) (Thesis format: Monograph) by Sarah Mae Baxter Graduate Program in Media Studies 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 © Sarah Mae Baxter 2012 i THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________