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Story Spark Activity-Fun Crazy Weird Hair Store V4
Word Salon Menu Story Sparks Season 3, Episode 12: Fun Crazy Weird Hair Store/The Mountain Fart Creating silly hair looks with your own Word Salon menu! Your Creator Club Notebook, blank paper to draw your looks, markers Welcome to our Word Salon In the song “Fun Crazy Weird Hair Store,” based on a story by a kid named Sylvia from New Jersey, there is a salon with a menu of options for hairstyles that are all super silly. It sounds like a place we definitely want to go, but we can’t picture what the hairstyles look like! Let's think of ways to be even more descriptive with a Word Salon Menu! What EXACTLY makes these styles SILLY? Is it the color? The length? The style? Color Menu blue, teal, red, orange, green, rainbow, rose gold, copper, glitter, platinum blonde, ultraviolet, infrared, grey, lavender, mermaid, silver, highlights, frosted tips, balayage, SOMETHING ELSE TOTALLY FUN? Length Menu buzz cut, bob, chin length, as long as a football field, one millimeter, foot length, giraffe neck length, as long as a lion's mane, as tall as the Empire State Building, SOMETHING ELSE TOTALLY WILD? Style Menu bangs, mullet, bouffant, flat top, braid, French twist, bowl cut, crown braid, spiky, mohawk, double buns, finger waves, mop top, ringlets, slicked back, updo, bouncy curl, SOMETHING ELSE TOTALLY WEIRD? To create your look, combine these words to create a SILLY style from your own imagination! It's easy to do: 1. Pick one color, one length, and one style. Take words from our lists, or make up your own! 2. -
Designing for the Machine-Centered World 1 Innovation HUB Innogy
Designing For The Machine-Centered World 1 © Copyright innogy Innovation GmbH innogy Innovation HUB Venture Idea Designing for the Machine-Centered World As machines drive more buying choices, we must accept them as a new customer group and change how we design, describe, communicate, price and present products and services to them. innogy Innovation Hub GmbH Lysegang 11 45139 Essen Germany innovationhub.innogy.com Venture Idea GmbH Kurze Strasse 6 40213 Düsseldorf Germany www.venture-idea.com/english [email protected] © Copyright innogy Innovation GmbH Designing For The Machine-Centered World 3 Introduction In late 2016, a child in Dallas asked her family’s Amazon Echo “Can you play dollhouse with me and get me a dollhouse?” The device ordered a dollhouse for her. When a news anchor repeated the story, the phrase “Alexa ordered me a dollhouse” triggered Amazon virtual personal assistants (VPAs) in the homes of viewers to also order dollhouses for their unwitting owners. In spring 2017, an advertisement for Burger King included the line “OK Google, what is the Whopper burger?” Which prompted any Google Home VPAs within earshot to begin describing the burgers to their owners? In the future – perhaps the near future – your autonomous car will not only decide when it needs maintenance, but shop for the best price, schedule an appointment and drive itself to the shop. If it is an electric vehicle, it will shop for charging stations and drive itself to the location with the best price and the most open charging poles. A little further in the future it might even own itself and run its own ride-sharing service. -
Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22). -
“My” Hero Or Epic Fail? Torchwood As Transnational Telefantasy
“My” Hero or Epic Fail? Torchwood as Transnational Telefantasy Melissa Beattie1 Recibido: 2016-09-19 Aprobado por pares: 2017-02-17 Enviado a pares: 2016-09-19 Aceptado: 2017-03-23 DOI: 10.5294/pacla.2017.20.3.7 Para citar este artículo / to reference this article / para citar este artigo Beattie, M. (2017). “My” hero or epic fail? Torchwood as transnational telefantasy. Palabra Clave, 20(3), 722-762. DOI: 10.5294/pacla.2017.20.3.7 Abstract Telefantasy series Torchwood (2006–2011, multiple production partners) was industrially and paratextually positioned as being Welsh, despite its frequent status as an international co-production. When, for series 4 (sub- titled Miracle Day, much as the miniseries produced as series 3 was subti- tled Children of Earth), the production (and diegesis) moved primarily to the United States as a co-production between BBC Worldwide and Amer- ican premium cable broadcaster Starz, fan response was negative from the announcement, with the series being termed Americanised in popular and academic discourse. This study, drawn from my doctoral research, which interrogates all of these assumptions via textual, industrial/contextual and audience analysis focusing upon ideological, aesthetic and interpretations of national identity representation, focuses upon the interactions between fan cultural capital and national cultural capital and how those interactions impact others of the myriad of reasons why the (re)glocalisation failed. It finds that, in part due to the competing public service and commercial ide- ologies of the BBC, Torchwood was a glocalised text from the beginning, de- spite its positioning as Welsh, which then became glocalised again in series 4. -
Parent Student-Handbook-2020.Pdf
To our Parents: Welcome to the Parkway family! You have made an important decision for your child's education and we are happy to be a part of that decision! Parkway Christian Academy was founded 45 years ago by members of Temple Baptist Church who were convinced of the need for a Bible-centered education. The school was founded on the principles of academic excellence, with a mature and disciple - oriented Christian faculty. The purpose of the school is to come alongside the church and assist young people to think and behave in a Christian manner. This approach dictates a high level of expectation in every area of the school's program. The school is very supportive of parents and realizes that in the area of character, they are the major influence. For the school to do its job well, we select families that have the same goals for their children as the school. In that way we can be mutually supportive and effective. We consider the supervision of your child and your involvement with the school as essential ingredients in his or her success. In order to help and guide your child, the school has set some specific expectations of its parent community. Listed below are some of the most important expectations: • That my child needs a biblically centered home. Deuteronomy 6:7 • That our family is to be consistent in our attendance and involvement with a Bible-preaching and teaching church. Hebrews 10:23-25 • That I am responsible for the education of my child. I will commit my child, including his education, to the Lord. -
Ipsos MORI: Men's Grooming and the Beard of Time
MEN’S GROOMING IN NUMBERS Men spend 8 days 57% a year on grooming themselves Men currently have 5 personal care of men don’t style their hair at all products on their bathroom shelf, on average 26% of men shave their face Of those men every day, 19% once a week 18% who have used a women’s razor, or less and 10% do not ever of men have used 20% said they did it because the women’s shave their face a women’s razor product was more effective (but most did it because of availability/convenience) Most commonly men 53% 20% spend 4-5 minutes (23%) of men don’t of men 74% of men have used shaving moisturise their moisturise each time they shave foam/gels, 29% face scrubs, 81% face at all their face daily razors Source: Ipsos MORI, fieldwork was conducted online between 29 July and 2 August 2016, with 1,119 GB adults aged 16-75. HAIR AND FACIAL TRENDS THROUGH THE BEARD OF TIME 3000bc 400bc Ancient Egyptians Greeks perceived the beard were always clean shaved. as a sign of high status & False beards were worn as wisdom. Men grew, groomed a sign of piety and after death. and styled their beards to imitate the Gods Zeus and Hercules. 340bc Alexander the Great encouraged his soldiers to shave their beards 1 AD – 300 AD before battle to avoid the enemies Both Greeks and Romans started pulling them off their horses. shaving their beards claiming they’re “a creator of lice and not of brains”. -
Romance in Dollhouse Lorna Jowett
‘I love him... Is that real?’ Interrogating Romance in Dollhouse Lorna Jowett A Dollhouse Confession (not mine!), website Because of Joss Whedon’s commitment to what he regularly calls feminism in interviews and commentaries, the Whedon creations have consistently interrogated the myth of heterosexual romance. Long-running TV shows like Buffy and Angel offered wide scope for examining romance alongside other aspects of gender and sexuality. The mix of conventions in these earlier shows also lend themselves to negotiating romance from different angles, whether this is about characters growing up and changing their own ideas about romantic and sexual relationships, or what you can ‘get away with’ in a fantasy show about vampires. Firefly featured both a happily married couple and a sex-worker, neither common-place in network TV drama, allowing that shorter-lived series to move away from obvious conventions of romance. And then there’s Dollhouse, where almost all of the characters are either prostitutes or pimps. Melissa Milavec and Sharon Kaye suggest that Buffy ‘owes much of its popularity to making erotic love a dominant theme’ (2003: 174): Dollhouse may owe its lack of popularity to the way it treats much the same theme in a more disturbing fashion. ‘Like every good fairy tale, the story grows more intricate, and more divisive, every decade,’ says a reporter of Dollhouse rumours in ‘The Man on the Street’ (Dollhouse 1.6). His words are equally applicable to the myth of heterosexual romance as tackled by the Whedonverses on TV. The Whedon shows offer a sustained interrogation of gender, but are complicated by the demands of mainstream entertainment. -
Galatea's Daughters: Dolls, Female Identity and the Material Imagination
Galatea‘s Daughters: Dolls, Female Identity and the Material Imagination in Victorian Literature and Culture Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Maria Eugenia Gonzalez-Posse, M.A. Graduate Program in English The Ohio State University 2012 Dissertation Committee: David G. Riede, Advisor Jill Galvan Clare A. Simmons Copyright by Maria Eugenia Gonzalez-Posse 2012 Abstract The doll, as we conceive of it today, is the product of a Victorian cultural phenomenon. It was not until the middle of the nineteenth century that a dedicated doll industry was developed and that dolls began to find their way into children‘s literature, the rhetoric of femininity, periodical publications and canonical texts. Surprisingly, the Victorian fascination with the doll has largely gone unexamined and critics and readers have tended to dismiss dolls as mere agents of female acculturation. Guided by the recent material turn in Victorian studies and drawing extensively from texts only recently made available through digitization projects and periodical databases, my dissertation seeks to provide a richer account of the way this most fraught and symbolic of objects figured in the lives and imaginations of the Victorians. By studying the treatment of dolls in canonical literature alongside hitherto neglected texts and genres and framing these readings in their larger cultural contexts, the doll emerges not as a symbol of female passivity but as an object celebrated for its remarkable imaginative potential. The doll, I argue, is therefore best understood as a descendant of Galatea – as a woman turned object, but also as an object that Victorians constantly and variously brought to life through the imagination. -
List of Hairstyles
List of hairstyles This is a non-exhaustive list of hairstyles, excluding facial hairstyles. Name Image Description A style of natural African hair that has been grown out without any straightening or ironing, and combed regularly with specialafro picks. In recent Afro history, the hairstyle was popular through the late 1960s and 1970s in the United States of America. Though today many people prefer to wear weave. A haircut where the hair is longer on one side. In the 1980s and 1990s, Asymmetric asymmetric was a popular staple of Black hip hop fashion, among women and cut men. Backcombing or teasing with hairspray to style hair on top of the head so that Beehive the size and shape is suggestive of a beehive, hence the name. Bangs (or fringe) straight across the high forehead, or cut at a slight U- Bangs shape.[1] Any hairstyle with large volume, though this is generally a description given to hair with a straight texture that is blown out or "teased" into a large size. The Big hair increased volume is often maintained with the use of hairspray or other styling products that offer hold. A long hairstyle for women that is used with rich products and blown dry from Blowout the roots to the ends. Popularized by individuals such asCatherine, Duchess of Cambridge. A classic short hairstyle where it is cut above the shoulders in a blunt cut with Bob cut typically no layers. This style is most common among women. Bouffant A style characterized by smooth hair that is heightened and given extra fullness over teasing in the fringe area. -
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. -
Monstrosity and Motherhood: Visions of the Terrible Mother Ruby Jean Dudasik This Thesis Has Been Submitted on This Day of April
Monstrosity and Motherhood: Visions of the Terrible Mother Ruby Jean Dudasik This thesis has been submitted on this day of April 30, 2020 in partial fulfillment of the degree requirements for the NYU Global Liberal Studies Bachelor of Arts degree. 2 Abstract This thesis attempts to answer the “Medea question”: what is it about monstrous mothers, starting with Medea and reappearing in countless other places, that is so continually relevant over the years, and in many different societies? Through examining the Greek Medea, Marina Carr’s By The Bog of Cats, and Ibsen’s A Doll’s House, I analyze anti-maternal women within their respective social contexts. I contend that the character of the monstrous mother has dual functionality. Firstly, she represents an attempt by female playwrights and contributors to reclaim a role that has been historically imposed upon them: the idea of motherhood as an obligation and a sacred duty. Secondly, to those in positions of privilege, these terrible mothers are an explosive threat to the very power structures they depend on to maintain that privilege. I utilize feminist theory, dramatic analysis, and historical and sociocultural frameworks to deconstruct - and then reconstruct - the terrible mother, and the enduring popularity and adaptability of the murderous Medea. Keywords: anti-motherhood, Euripides, feminism, theater, monstrosity, patriarchy, By the Bog of Cats, A Doll’s House, Medea 3 Table of Contents Acknowledgements 4 Preface: The Medea Question 5 Chapter I: The Early Antimother 9 The Monstrous Maternal in Euripides’ Medea Chapter II: The Adapted Antimother 28 Reclaiming Maternal Agency in By the Bog of Cats Chapter III: Beyond Medea 49 Anti-motherhood in Ibsen’s A Doll’s House Coda: To Face the Unthinkable 71 Appendix 77 References 83 4 Acknowledgements This thesis would not exist without the invaluable support of the following people, who I am lucky to call my mentors and friends. -
Sexual Orientation, Gender, & Self-Styling
University of Vermont UVM ScholarWorks UVM Honors College Senior Theses Undergraduate Theses 2021 Sexual Orientation, Gender, & Self-Styling: An Exploration of Visual Identity-Signaling Julian Ash Barritt The University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/hcoltheses Recommended Citation Barritt, Julian Ash, "Sexual Orientation, Gender, & Self-Styling: An Exploration of Visual Identity-Signaling" (2021). UVM Honors College Senior Theses. 384. https://scholarworks.uvm.edu/hcoltheses/384 This Honors College Thesis is brought to you for free and open access by the Undergraduate Theses at UVM ScholarWorks. It has been accepted for inclusion in UVM Honors College Senior Theses by an authorized administrator of UVM ScholarWorks. For more information, please contact [email protected]. Sexual Orientation, Gender, & Self-Styling: An Exploration of Visual Identity-Signaling Julian A. Barritt Undergraduate Honors College Thesis University of Vermont Spring 2021 Under the Advisement of Paul Deslandes Ph.D., History Committee Chair: Emily Manetta Ph.D., Linguistics Faculty Mentor: Mary Burke Ph.D., Sociology Introduction 1 Table of Contents Introduction……………………………………………………………………………………….3 Part I - Reflections on Understandings of Identity & Self-Presentation……………………21 Chapter 1: Gender and Sexual Orientation Fluidity & Subcultural Association…….…………..22 Chapter 2: The Privilege to Present as You Wish………………………………………………..47 Part II: Survey Results, Interviewee Testimony, and Identity Analysis…………………….72 Chapter