Devil, Trickster and Fool
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Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
III. Discussion Questions A. Individual Stories Nathaniel Hawthorne
III. Discussion Questions a. Individual Stories Nathaniel Hawthorne, “Rappaccini’s Daughter” (1844) 1. As an early sf tale, this story makes important contributions to the sf megatext. What images, situations, plots, characters, settings, and themes do you recognize in Hawthorne’s story that recur in contemporary sf works in various media? 2. In Hawthorne’s The Scarlet Letter, the worst sin is to violate, “in cold blood, the sanctity of the human heart.” In what ways do the male characters of “Rappaccini’s Daughter” commit this sin? 3. In what ways can Beatrice be seen as a pawn of the men, as a strong and intelligent woman, as an alien being? How do these different views interact with one another? 4. Many descriptions in the story lead us to question what is “Actual” and what is “Imaginary”? How do these descriptions function to work both symbolically and literally in the story? 5. What is the attitude toward science in the story? How can it be compared to the attitude toward science in other stories from the anthology? Jules Verne, excerpt from Journey to the Center of the Earth (1864) 1. Who is narrator of this tale? In your opinion, why would Verne choose this particular character to be the narrator? Describe his relationship with the other members of this subterranean expedition. Many of Verne’s early novels feature a trio of protagonists who symbolize the “head,” the “heart,” and the “hand.” Why? How does this notion apply to the protagonists in Verne’s Journey to the Center of the Earth? 2. -
Stallings Book 4 Print.Pdf (3.603Mb)
Black Performance and Cultural Criticism Valerie Lee and E. Patrick Johnson, Series Editors Stallings_final.indb 1 5/17/2007 5:14:41 PM Stallings_final.indb 2 5/17/2007 5:14:41 PM Mutha ’ is half a word Intersections of Folklore, Vernacular, Myth, and Queerness in Black Female Culture L. H. Stallings The Ohio State University Press Columbus Stallings_final.indb 3 5/17/2007 5:14:42 PM Copyright © 2007 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Horton-Stallings, LaMonda. Mutha’ is half a word : intersections of folklore, vernacular, myth, and queerness in black female culture / L.H. Stallings. p. cm.—(Black performance and cultural criticism) Includes bibliographical references and index. ISBN-13: 978-0-8142-1056-7 (cloth : alk. paper) ISBN-10: 0-8142-1056-2 (cloth : alk. paper) ISBN-13: 978-0-8142-9135-1 (cd-rom) ISBN-10: 0-8142-9135-X (cd-rom) 1. American literature—African American authors—History and criticism. 2. American literature—women authors—History and criticism. 3. African American women in literature. 4. Lesbianism in literature. 5. Gender identity in literature. 6. African American women— Race identity. 7. African American women—Intellectual life. 8. African American women— Folklore. I. Title. II. Series PS153.N5H68 2007 810.9'353—dc22 2006037239 Cover design by Jennifer Shoffey Forsythe. Cover illustration by Michel Isola from shutterstock.com. Text design and typesetting by Jennifer Shoffey Forsythe in Adobe Garamond. Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. -
Resistance Through 'Robber Talk'
Emily Zobel Marshall Leeds Beckett University [email protected] Resistance through ‘Robber Talk’: Storytelling Strategies and the Carnival Trickster The Midnight Robber is a quintessential Trinidadian carnival ‘badman.’ Dressed in a black sombrero adorned with skulls and coffin-shaped shoes, his long, eloquent speeches descend from the West African ‘griot’ (storyteller) tradition and detail the vengeance he will wreak on his oppressors. He exemplifies many of the practices that are central to Caribbean carnival culture - resistance to officialdom, linguistic innovation and the disruptive nature of play, parody and humour. Elements of the Midnight Robber’s dress and speech are directly descended from West African dress and oral traditions (Warner-Lewis, 1991, p.83). Like other tricksters of West African origin in the Americas, Anansi and Brer Rabbit, the Midnight Robber relies on his verbal agility to thwart officialdom and triumph over his adversaries. He is, as Rodger Abrahams identified, a Caribbean ‘Man of Words’, and deeply imbedded in Caribbean speech-making traditions (Abrahams, 1983). This article will examine the cultural trajectory of the Midnight Robber and then go on to explore his journey from oral to literary form in the twenty-first century, demonstrating how Jamaican author Nalo Hopkinson and Trinidadian Keith Jardim have drawn from his revolutionary energy to challenge authoritarian power through linguistic and literary skill. The parallels between the Midnight Robber and trickster figures Anansi and Brer Rabbit are numerous. Anansi is symbolic of the malleability and ambiguity of language and the roots of the tales can be traced back to the Asante of Ghana (Marshall, 2012). -
Vulpes Vulpes) Evolved Throughout History?
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Environmental Studies Undergraduate Student Theses Environmental Studies Program 2020 TO WHAT EXTENT HAS THE RELATIONSHIP BETWEEN HUMANS AND RED FOXES (VULPES VULPES) EVOLVED THROUGHOUT HISTORY? Abigail Misfeldt University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/envstudtheses Part of the Environmental Education Commons, Natural Resources and Conservation Commons, and the Sustainability Commons Disclaimer: The following thesis was produced in the Environmental Studies Program as a student senior capstone project. Misfeldt, Abigail, "TO WHAT EXTENT HAS THE RELATIONSHIP BETWEEN HUMANS AND RED FOXES (VULPES VULPES) EVOLVED THROUGHOUT HISTORY?" (2020). Environmental Studies Undergraduate Student Theses. 283. https://digitalcommons.unl.edu/envstudtheses/283 This Article is brought to you for free and open access by the Environmental Studies Program at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Environmental Studies Undergraduate Student Theses by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. TO WHAT EXTENT HAS THE RELATIONSHIP BETWEEN HUMANS AND RED FOXES (VULPES VULPES) EVOLVED THROUGHOUT HISTORY? By Abigail Misfeldt A THESIS Presented to the Faculty of The University of Nebraska-Lincoln In Partial Fulfillment of Requirements For the Degree of Bachelor of Science Major: Environmental Studies Under the Supervision of Dr. David Gosselin Lincoln, Nebraska November 2020 Abstract Red foxes are one of the few creatures able to adapt to living alongside humans as we have evolved. All humans and wildlife have some id of relationship, be it a friendly one or one of mutual hatred, or simply a neutral one. Through a systematic research review of legends, books, and journal articles, I mapped how humans and foxes have evolved together. -
Nationalism, Primitivism, & Neoclassicism
Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets -
Revisiting the Etymology of Zanni
REVISITING THE ETYMOLOGY OF ZANNI Anna Moro It has long been maintained that the etymology of zani, zanni – the servant or buffoon of the commedia dell’arte – is a northern Italian variant of the proper noun Giovanni, or its shortened form, Gianni. In Tommaseo and Bellini’s Dizionario della lingua italiana , published in Turin between 1865 and 1879, it is stated that the term is “voce bergamasca, accorciata dall’intero nome Giovanni, che rappresenta un Servo semplice e goffo bergamasco.” 1 Tommaseo and Bellini’s explanation of the origin of the term is basically what is found in modern etymological dictionaries, such as Battisti and Alessio’s Dizionario etimologico italiano (DEI) and Cortelazzo and Zolli’s Dizionario etimologico della lingua italiana (DELI). The earliest attestation of the term appears to be the 15th century, according to Battisti and Alessio, but a precise reference is not given. 16th century attestations of zani / zanni corresponding to the servant character of the commedia dell’arte , of course, abound. There is no doubt that the term zani was widely used in the 16th century in Italy to designate the servant character of the commedia dell’arte ; and it is during the 16th century that the term spread outside of Italy: it is found in French, for example, as zani from 1550, and in English, as zany , later in the century (Migliorini 1983: 426). In the Oxford English Dictionary (OED) , the noun zany (with various spellings), which preceded the use of term as 1 Cited in M. Cortelazzo and P. Zolli, Dizionario etimologico della lingua italiana (DELI), Bologna: Zanichelli, 1992 (1980): 1463. -
Hero, Shadow and Trickster; Three Archetypes in the Kingkiller Chronicle
Hero, Shadow and Trickster; Three Archetypes in The Kingkiller Chronicle Tapio Tikkanen Master’s Thesis English Philology Faculty of Humanities University of Oulu Autumn 2018 Table of contents 1 Introduction.............................................................................................................................1 2 The History of Archetypes.........................................................................................................2 2.1 Carl Jung and the Collective Unconscious...........................................................................2 2.2 James Frazer’s Anthropological Examinations....................................................................4 2.3 Maud Bodkin’s Application of Jungian Archetypes to Poetry..............................................6 2.4 Northrop Frye and the Archetypes of Literature.................................................................9 3 Outlining the Archetypes........................................................................................................11 3.1 The Hero.........................................................................................................................11 3.2 The Shadow....................................................................................................................14 3.3 The Trickster...................................................................................................................15 4 Archetypes and Fantasy...…………….........................................................................................17 -
JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. -
Holy Fools, Secular Saints, and Illiterate Saviors in American Literature and Popular Culture
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 5 (2003) Issue 3 Article 4 Holy Fools, Secular Saints, and Illiterate Saviors in American Literature and Popular Culture Dana Heller Old Dominion University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Heller, Dana. "Holy Fools, Secular Saints, and Illiterate Saviors in American Literature and Popular Culture." CLCWeb: Comparative Literature and Culture 5.3 (2003): <https://doi.org/10.7771/1481-4374.1193> This text has been double-blind peer reviewed by 2+1 experts in the field. -
Dr. Harlequin, Script
DR. HARLEQUIN, Or, THE IMAGINARY AUTOPSY by Marco Luly characters Dottore, doctor in medicine Pantalone, his friend Laura, wife of Dottore Isabella, daughter of Dottore Colombina, servant in the house of Dottore Lelio, son of Pantalone Arlecchino, servant of Lelio Capitano, foreigner soldier Zanni, villain Hand Servant Prompter 0 Pre-Pre-Prologue Everyone ALL: warm-up improve, crossing SR // SL, never leaving Dottore alone. DOTTORE: 5 min. to places. ALL: Thank you five. (Dottore exits. HS. & P. enter ) HAND SERVANT Unbelievable. PROMPTER Ridiculous. HAND SERVANT Preposterous. PROMPTER Impossible. HAND SERVANT Orazio is an imbecile, how does he expect us to buy 11 costumes with a budget of $23 dollars. PROMPTER ( pulling a quarter from his pocket ) $23 and a quarter. HAND SERVANT You found a quarter? PROMPTER Yeah. HAND SERVANT Gimme that. PROMPTER With that little money, we could only rent them. HAND SERVANT Well at lest were set for tonight. PROMPTER What about tomorrow? HAND SERVANT I don’t know. PROMPTER Maybe they can do the show naked, we’ll sell more seats. HAND SERVANT I don’t know about that: have you seen the girls in the show? PROMPTER 11 costumes… HAND SERVANT …and on top of that… S & PROMPTER …A MONKEY! HAND SERVANT Where are we going to find a monkey? PROMPTER Maybe we can get one from ... HAND SERVANT Yeah, … is full of monkeys. PROMPTER Seriously, they raise our tuition, lower our budgets and don’t even have the decency to get us a healthy monkey. DOTTORE: Curtain in 1 min. HAND SERVANT Hey, we forgot the curtain. -
Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 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]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature 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 © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films.