THE OHRISTIAN INSORIPTIONS of LYOAONIA. the Following Epitaph
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A Journal for Critical Debate Vol. 27 (2018)
Connotations A Journal for Critical Debate Volume 27 (2018) Connotations Society Connotations: A Journal for Critical Debate Published by Connotations: Society for Critical Debate EDITORS Inge Leimberg (Münster), Matthias Bauer (Tübingen), Burkhard Niederhoff (Bochum) and Angelika Zirker (Tübingen) Secretary: Eva Maria Rettner Editorial Assistants: Mirjam Haas, Tobias Kunz, Alia Luley, Sara Rogalski EDITORIAL ADDRESS Professor Matthias Bauer, Eberhard Karls Universität Tübingen, Department of English, Wilhelmstr. 50, 72074 Tübingen, Germany Email: [email protected] http://www.connotations.de EDITORIAL BOARD Judith Anderson, Indiana University Bloomington Åke Bergvall, University of Karlstad Christiane Maria Binder, Universität Dortmund Paul Budra, Simon Fraser University Lothar Černý, Fachhochschule Köln Eleanor Cook, University of Toronto William E. Engel, The University of the South Bernd Engler, Eberhard Karls Universität Tübingen David Fishelov, The Hebrew University of Jerusalem John P. Hermann, University of Alabama Lothar Hönnighausen, Rheinische Friedrich-Wilhelms-Universität Bonn Arthur F. Kinney, University of Massachusetts, Amherst Frances M. Malpezzi, Arkansas State University J. Hillis Miller, University of California, Irvine Angela Alaimo O’Donnell, Fordham University Martin Procházka, Charles University, Prague Alan Rudrum, Simon Fraser University Michael Steppat, Universität Bayreuth Leona Toker, The Hebrew University of Jerusalem John Whalen-Bridge, National University of Singapore Joseph Wiesenfarth, University of Wisconsin-Madison Connotations is a peer-reviewed journal that encourages scholarly communication in the field of English Literature (from the Middle English period to the present), as well as American and other Literatures in English. It focuses on the semantic and stylistic energy of the language of literature in a historical perspective and aims to represent different approaches. Connotations publishes articles and responses to articles, as well as to recent books. -
2018 – Volume 6, Number
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 2 & 3 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor KEVIN CALCAMP Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Bump in the Night” by Brent Jones © 2018 Courtesy of Pixabay/Kellepics EDITORIAL ADVISORY BOARD ANTHONY ADAH PAUL BOOTH Minnesota State University, Moorhead DePaul University GARY BURNS ANNE M. CANAVAN Northern Illinois University Salt Lake Community College BRIAN COGAN ASHLEY M. DONNELLY Molloy College Ball State University LEIGH H. EDWARDS KATIE FREDICKS Florida State University Rutgers University ART HERBIG ANDREW F. HERRMANN Indiana University - Purdue University, Fort Wayne East Tennessee State University JESSE KAVADLO KATHLEEN A. KENNEDY Maryville University of St. Louis Missouri State University SARAH MCFARLAND TAYLOR KIT MEDJESKY Northwestern University University of Findlay CARLOS D. MORRISON SALVADOR MURGUIA Alabama State University Akita International -
Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan Marquette University, [email protected]
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 1-1-2012 Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan Marquette University, [email protected] Published version. "Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work," in Joss Whedon: The Complete Companion: The TV Series, The Movies, The Comic Books and More. Ed. PopMatters Media. London: Titan Books, 2012: 285-297. Publisher Link. © 2012 Titan Books. Used with permission. FIREFLY 3.10 3.10 Zombies, Reavers, Butchers, and Actuals in Joss Whedon's Work Gerry Canavan For all the standard horror movie monsters Joss Whedon took up in Buffy and Angel-vampires, of course, but also ghosts, demons, werewolves, witches, Frankenstein's monster, the Devil, mummies, haunted puppets, the Creature from the Black Lagoon, the "bad boyfriend," and so on-you'd think there would have been more zombies. In twelve years of television across both series zombies appear in only a handful of episodes. They attack almost as an afterthought at Buffy's drama-laden homecoming party early in Buffy Season 3 ("Dead Man's Party" 3.2); they completely ruin Xander's evening in "The Zeppo" (3.13) later that same season; they patrol Angel's Los Angeles neighborhood in "The Thin Dead Line" (2.14) in Angel Season 2; they stalk the halls of Wolfram & Hart in "Habeas Corpses" (4.8) in Angel Season 4. A single zombie comes back from the dead to work things out with the girlfriend who poisoned him in a subplot in "Provider" (3.12) in Angel Season 3; Adam uses science to reanimate dead bodies to make his lab assistants near the end of Buffy Season 4 ("Primeval" 4.21); zombies guard a fail-safe device in the basement of Wolfram & Hart in "You're Welcome" (3.12) in Angel Season 5. -
TV Finales and the Meaning of Endings Casey J. Mccormick
TV Finales and the Meaning of Endings Casey J. McCormick Department of English McGill University, Montréal A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Casey J. McCormick Table of Contents Abstract ………………………………………………………………………….…………. iii Résumé …………………………………………………………………..………..………… v Acknowledgements ………………………………………………………….……...…. vii Chapter One: Introducing Finales ………………………………………….……... 1 Chapter Two: Anticipating Closure in the Planned Finale ……….……… 36 Chapter Three: Binge-Viewing and Netflix Poetics …………………….….. 72 Chapter Four: Resisting Finality through Active Fandom ……………... 116 Chapter Five: Many Worlds, Many Endings ……………………….………… 152 Epilogue: The Dying Leader and the Harbinger of Death ……...………. 195 Bibliography ……………………………………………………………………………... 199 Primary Media Sources ………………………………………………………………. 211 iii Abstract What do we want to feel when we reach the end of a television series? Whether we spend years of our lives tuning in every week, or a few days bingeing through a storyworld, TV finales act as sites of negotiation between the forces of media production and consumption. By tracing a history of finales from the first Golden Age of American television to our contemporary era of complex TV, my project provides the first book- length study of TV finales as a distinct category of narrative media. This dissertation uses finales to understand how tensions between the emotional and economic imperatives of participatory culture complicate our experiences of television. The opening chapter contextualizes TV finales in relation to existing ideas about narrative closure, examines historically significant finales, and describes the ways that TV endings create meaning in popular culture. Chapter two looks at how narrative anticipation motivates audiences to engage communally in paratextual spaces and share processes of closure. -
Liminal Identity in Contemporary American Television Science Fiction
Liminal Identity in Contemporary American Television Science Fiction Rhys Owain Thomas Submitted for the degree of Doctor of Philosophy School of Film, Television and Media Studies University of East Anglia August 2014 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Rhys Owain Thomas Student Number 4566211 Film (Research) R1W62012 Abstract This thesis examines the foregrounding of a particular type of liminal human protagonist in contemporary American television Science Fiction. These protagonists, which I have termed the ‘unliving,’ exist in-between the realms of life and death, simultaneously both alive and dead whilst occupying an indistinct middle- ground. I examine how the liminal nature of these protagonists has been used as a means of exploring various aspects of personal identity during the early years of the twenty-first century. Developing anthropologist Victor Witter Turner’s work, in which he argued for the universal occurrence of liminality in cultural, political, economic and social contexts, I argue that the use of liminal protagonists in American television Science Fiction constitutes a demonstrable trend. Although they are to be found in ever-increasing numbers in (and outside) the genre, their growing presence and significance have yet to be properly discerned, studied and appreciated. I analyse the use of these unliving protagonists in four key texts: Terminator: The Sarah Connor Chronicles (The Halcyon Company/Warner Bros. -
Dollhouse Volume 1: Epitaphs Free Download
DOLLHOUSE VOLUME 1: EPITAPHS FREE DOWNLOAD Andrew Chambliss,Jed Whedon,Maurissa Tancharoen,Michelle Madsen,Cliff Richards,Andy Owens | 168 pages | 24 Apr 2012 | Dark Horse Comics,U.S. | 9781595828637 | English | Milwaukie, United States Dollhouse Volume 1 And that would probably be my only complaint. But first they need to find Echo who has gone missing. Dollhouse is an American science fiction television series created by writer and director Joss Whedon under Mutant Enemy Productions. Dushku also served as series producer. View all 9 comments. The technology used to create dolls has been fully weaponized. I can't even recall why Rossum brought about this apocalypse. Hidden categories: Articles with short description Short description matches Wikidata Use mdy dates from April As Echo continues to evolve and learns to work beyond the limits of each temporary personality imprint or default " tabula rasa " programming, she runs the risk of being sent to "the Attic", a permanent resting place for "broken" dolls and Dollhouse employees who cause problems. Additional details. Episode 1. Only now we have back stories for Maggie, Trevor, Zone, etc. Continue series: Yes, absolutely. Enlarge cover. See our disclaimer. Covers are accurate to the actors from the series and the interior art is fine, if nothing to write home about. Please enter a valid email address. Retrieved April 28, Average rating 3. That said, I Dollhouse Volume 1: Epitaphs a huge fan of Dollhouse and am currently doing some scholarly work on the show. This book makes me want to watch the show all over again - guess what I'm watching on Netflix tonight? The comic starts after Echo takes dow Dollhouse was a Dollhouse Volume 1: Epitaphs. -
Zombies and Zombis in Firefly/Serenity and Dollhouse Gerry Canavan Marquette University, [email protected]
Marquette University e-Publications@Marquette English Faculty Research and Publications English, Department of 10-1-2011 Fighting a War You've Already Lost: Zombies and Zombis in Firefly/Serenity and Dollhouse Gerry Canavan Marquette University, [email protected] Accepted version. Science Fiction Film and Television, Vol. 4, No. 2 (Fall 2011): 173-204. DOI. © 2011 Liverpool University Press. Used with permission. Marquette University e-Publications@Marquette English Faculty Research and Publications/College of Arts and Sciences This paper is NOT THE PUBLISHED VERSION; but the author’s final, peer-reviewed manuscript. The published version may be accessed by following the link in the citation below. Science Fiction Fil and Television, Vol. 4, No. 2 (2011): 173-204. DOI. This article is © Liverpool University Press and permission has been granted for this version to appear in e- Publications@Marquette. Liverpool University Press does not grant permission for this article to be further copied/distributed or hosted elsewhere without the express permission from Liverpool University Press. Fighting a War You’ve Already Lost: Zombies and Zombis in Firefly/Serenity and Dollhouse Gerry Canavan Department of English, Marquette University, Milwaukee, WI Abstract This article explores the use of zombie imagery in sf narratives created by Joss Whedon: Firefly (US 2002–3), Serenity (US 2005) and Dollhouse (US 2009–10). The translation of the zombie from its traditional horror-movie context to the far-future space opera of Firefly/Serenity and the near-future cyberpunk of Dollhouse reveals the zombie’s allegorisation of the consequences of biopolitical governmentality and neoliberal capitalism. In both series zombies function as a figure for both the dehumanisation caused by state and market forces and the possibility of Utopian resistance to these forces. -
Interview with Robert S. Pastorino
Library of Congress Interview with Robert S. Pastorino Association for Diplomatic Studies and Training Foreign Affairs Oral History Project AMBASSADOR ROBERT S. PASTORINO Interviewed by: Charles Stuart Kennedy and David Fischer Initial interview date: March 6, 1998 Copyright 1999 ADST INTRODUCTION: BEFORE THE FOREIGN SERVICE Q: To begin with, today is the sixth of March 1998. This is an interview with Ambassador Robert S. Pastorino. It's being done in San Francisco. It's on behalf of Diplomatic Studies and Training, and I'm Charles Stuart Kennedy. So, to begin with, could you tell me when and where you were born and something about your family? PASTORINO: I was born in San Francisco, California, March 16, 1940 in North Beach, an Italian Community. I was the first born. I have a sister, Karen, who was born in 1941, also in San Francisco. She now lives in Oakland, is a school psychologist, and has three children living in Michigan, Yosemite and the Bay Area. My parents, Adolph and Florence. were both born in California, my Dad in San Francisco, and my mother in Korbel, a tiny lumber town near Arcata in Humboldt County. My grandparents came to California directly from Northern Italy from a farming village neaCuneo in Piedmonte, and from the small Tuscan village of Colognora near Florence in Central Italy. My father's parents settled in Sebastopol, California where they grew apples and cherries; unfortunately not enough grapes, they could have been wealthy! My mother's side came to Korbel. My maternal grandfather worked in a sawmill. Korbel was a company Interview with Robert S. -
Entire Issue (PDF)
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 114 CONGRESS, SECOND SESSION Vol. 162 WASHINGTON, THURSDAY, SEPTEMBER 22, 2016 No. 144 House of Representatives The House met at 10 a.m. and was could be denied coverage due to a pre- necessary fixes to the law. It is time, called to order by the Speaker pro tem- existing condition; the so-called once and for all, for Congress to accept pore (Mr. WEBSTER of Florida). ‘‘doughnut hole,’’ or gap in Medicare the ACA as the law of the land and f part D coverage, was forcing many sen- begin working to improve the law, not iors to choose between buying food to repeal it. DESIGNATION OF SPEAKER PRO put on the table or livesaving prescrip- TEMPORE Now, I understand there are chal- tion pills; women were charged more lenges as the law continues to take The SPEAKER pro tempore laid be- than men for coverage simply for being deeper roots throughout the healthcare fore the House the following commu- women; insurance companies could set industry. As they prepared for ACA, annual or lifetime dollar caps on bene- nication from the Speaker: some insurance companies set prices fits, sticking American families with WASHINGTON, DC, too low, and they are now adjusting the remainder of the bill. September 22, 2016. them in response; but I want to remind Thankfully, in the 6 years since the I hereby appoint the Honorable DANIEL everyone that the insurance market- WEBSTER to act as Speaker pro tempore on ACA was enacted, 20 million Americans place was dynamic before the ACA and this day. -
Genre and Gender in Joss Whedon's Dr. Horrible's
THESIS “LOVINGLY TWEAKED”: GENRE AND GENDER IN JOSS WHEDON’S DR. HORRIBLE’S SING-ALONG BLOG Submitted by Jessica I. Cox Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Summer 2013 Master’s Committee: Advisor: Hye Seung Chung David Scott Diffrient Sarah Sloane ABSTRACT “LOVINGLY TWEAKED”: GENRE AND GENDER IN JOSS WHEDON’S DR. HORRIBLE’S SING-ALONG BLOG1 This thesis explores genre and gender in Joss Whedon’s web miniseries, Dr. Horrible’s Sing-Along Blog. The plot of the web miniseries follows Billy, whose alter ego is the wannabe villain, Dr. Horrible. He spends the majority of the miniseries attempting to commit villainous crimes that will, he hopes, get him placed into the Evil League of Evil, falling for the woman he has a crush on, Penny, and avoiding his arch nemesis, the hero Captain Hammer. The web miniseries is representative of elements of Joss Whedon’s auteur signature, also holding implications for the director’s self-declared “feminist agenda.” This thesis utilizes genre theory and conversations about the musical genre to analyze how Dr. Horrible revises the musical genre. Furthermore, the differences between the musical and non-musical sequences serve to illustrate the duality of Billy’s character. The analysis also delves into the tensions between civilized, primitive, hysterical and hegemonic masculinities, as Billy/Dr. Horrible ultimately struggles with all of these forms. Although Billy/Dr. Horrible’s struggle with masculinity is central to the narrative of the web miniseries, the depiction of femininity and Penny’s character is also explored. -
'Televisivo' De Netflix
La serialidad ergódica en Arrested Development: el espectador/usuario en el medio digital ! Jaime Costas Nicolás ! ! ! ! ! ! ! Tutor: Manuel Garin Boronat ! Curso: 2013/2014 ! Trabajo de Investigación del Máster en Estudios de Cine y Audiovisual Contemporáneos ! Departamento de Comunicación ! Universitat Pompeu Fabra Resumen ! El medio digital, concretamente la plataforma Netflix, ofrece un nuevo set de herramientas listo para revolucionar las ficciones seriales. En este nuevo contexto, el espectador adquiere el total control sobre el modo de consumir sus series favoritas, el cuándo, dónde y cuántos. Siete años después de ser cancelada, Arrested Development es resucitada para una cuarta temporada dentro de este ecosistema digital. Consciente de las posibilidades del medio, esta sitcom adopta una estructura serial inédita en la que nosotros, los espectadores, debemos interactuar con las imágenes con el fin de reconstruir el relato: nace el espectador activo dentro de una serialidad que denominaremos ergódica. ! Abstract ! The digital medium, specially in the case of Netflix, offers a new set of tools ready to revolutionize the world of serial fiction. In this new context, the audience acquires total control over the consumption habits of TV shows: when, where and how many. After being canceled for seven years, Arrested Development is brought back to life within this digital ecosystem. Aware of the possibilities of the medium, this sitcom displays a unique serial structure in which we, the audience, need to interact with the images in order to reconstruct the story: the active viewer is born within a new type of seriality we will refer to as ergodic. ! ! Palabras Clave ergódico serialidad digital Arrested Development comedia televisión estructuras ! Keywords ergodic seriality digital Arrested Development comedy television structures ! ! !Índice Introducción: el final de la televisión comienza con una comedia………………………….Pág. -
Valérie Éliane Savard
Technologized Representations of Labour and Class from the Man in the Machine to the Machine (Wo)man in Science Fiction Film and Television by Valérie Éliane Savard A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Film Studies Department of English and Film Studies University of Alberta © Valérie Éliane Savard, 2018 ii Abstract This dissertation is about the implications, and iterations, of “the machine” as a tool and metaphor in science fiction (sf) — particularly within the media of film and television. Beginning with Karl Marx’s depiction of an anthropomorphized, metaphorical, and, expressly, capitalist machine in “The Fragment on Machines,” I take up the machine as a symbol of humanity at work, trapped in the various nodes and mechanisms of capitalism. The machine is described by Marx as a controlling force that mechanises the worker as much as it is itself personified: “[T]he machine which possesses skill and strength in place of the worker, is itself the virtuoso,” writes Marx, “with a soul of its own in the mechanical laws acting through it; and it consumes coal, oil etc. … just as the worker consumes food, to keep up its perpetual motion” (693). Marx’s description is of an overbearing, physically present machine that sources its power from human labour as though that labour were a living organ of the machine’s body. A move toward immaterial labour in the 1960s intensified capitalism’s consumption of the human body and of human subjectivity. Around the same time, this immateriality began to be reflected in sf in virtual and cyber worlds, presenting the labourer as a mere fragment of code within the capitalist system.