An Inside Analysis and Examination of the Prosecution of the Red Rose Stories & Obscenity Law Clay Calvert
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Ritreporter1987 Vol63no20.Pdf
R. I. T. COLLECTION RTER Look Who's BACK! R- I T Come To RiT's Graduate Fair And learn about the degree that works! Thursday, April 16 Talk to representatives from RU's 37 career-oriented graduate programs. Find out more about our scholarships, asslstantshlps, nationally-recognized programs, faculty and facilities. Prepare for your future with a graduate degree from RU... It's the degree that works! RIT Graduate Fair - Thursday, April 16 11 a.m. to 2 p.m. and 4 to 7 p.m. RiT's College-Alumni Union Rochester Institute of Technology Graduate Programs One Lomb Memorial Drive P.O. Box 9887 Rochester, N.Y. 14623 475-6768 April 10. 1987 CONTENTS Volume 63, Number 20 Reportage 4 Scoreboard 26 Departments Computer Science House receives Lacrosse puts together a team effort Letters 6 Clipper microprocessor from in the destruction of SUNY Alhany. Zodiac 12 Faircnild Corporation. Tough times for the men's team Tab Ads 28 Japanese Ambassador, Hideyoshi tennis, as their inexperience causes Bloom County 29 Ukawa, gave a sp>eech on U.S.Japan early season disappointments. What's Happening 30 relations and the economy of The nasty weather put an end to the Cover: Japan. 1987 RIT Invitational before it McFarlane visits for a third time begins. Season opens tomorrow at after an attempted suicide . Feature 16 Binghamton. Photos By: APO sponsored M.D.A. Dance .Steve Freeman MArathon which proved to be a great time for a great cause. Reproview 21 Ringling Brothers and Bamum and Bailey bring their clowns to town. -
Stand-Up Comedy and Progressive Social Change David M
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2015 Was It Something They Said? Stand-up Comedy and Progressive Social Change David M. Jenkins University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Communication Commons, Philosophy Commons, and the Sociology Commons Scholar Commons Citation Jenkins, David M., "Was It Something They aidS ? Stand-up Comedy and Progressive Social Change" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/5710 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Was It Something They Said? Stand-up Comedy and Progressive Social Change by David M. Jenkins A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a concentration in Performance Studies Department of Communication College of Arts and Sciences University of South Florida Co-Major Professor: Elizabeth Bell, Ph.D. Co-Major Professor: A. David Payne, Ph.D. Mahuya Pal, Ph.D. John Barnshaw, Ph.D. Date of Approval: June 26, 2015 Keywords: Culture, Humor, Performance, Rhetoric Copyright © 2015, David M. Jenkins DEDICATION This project is dedicated to many, all of whom are partially responsible for getting me here. First, the educators: Dr. Lee Beger, Dr. Patrick Finelli, David Frankel, Dr. Ralf Remshardt, Dr. Mikell Pinkney, Dr. David Shelton, Dr. Stacy Holman Jones, Dr. -
Self-Parody in Britain's Long Eighteenth Century A
A DOUBLE CAPACITY: SELF-PARODY IN BRITAIN’S LONG EIGHTEENTH CENTURY A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by William Joseph Cordeiro August 2014 © 2014 William Joseph Cordeiro A DOUBLE CAPACITY: SELF-PARODY IN BRITAIN’S LONG EIGHTEENTH CENTURY William Joseph Cordeiro, Ph. D. Cornell University 2014 Although parody has long been recognized in Swift, Sterne, and mock epic poetry, self-parody has received scant critical attention, despite its pervasive use in many types of eighteenth-century texts. My dissertation defines self-parody as a mode in which the multiple implied reader positions suggested by a text mutually critique each other. I argue that these incommensurable reader positions reveal the era’s divergent political valences encoded within—and contested through—the development of generic norms. Many eighteenth-century genres responded to a cultural context that witnessed the overlap of residual Christian ideals, still-dominant aristocratic paradigms of authority, and emerging structures of the early capitalist marketplace; as these ideologies displaced one another, they nonetheless inherited and revised previous social and literary formations. This overlap allowed formal cleavages in texts so that seemingly conservative works could be inscribed by and give expression to the values of new, often marginalized, communities of readers. Novels by Horace Walpole, Clara Reeve, and Jane Austen demonstrate that the merger of realist and romance traditions in Gothic opened a space for queer counter-narratives that defied a hetero-normative and increasingly positivistic judicial system. Similarly, pastoral poetry shifted the identification of its shepherd-figures from the upper- to the lower- classes in works by Alexander Pope, John Gay, and George Crabbe, producing irresolvable class-based subject positions that precipitated Romanticism’s protest against industrial exploitation. -
The 2 DTC Hall
Marketing ON THE EDGE The 2012 BY JONATHAN ISAACS Too Much Head. Not Enough Hips. DTC Hall of Fame With so much competition within the industry, how do you stand out to clients? Or – in looking at the larger picture – to patients? It’s all in how you tell the story. To paraphrase Maya Angelou, people may forget what you said, but they will remember you made them feel. It’s Time to Celebrate the Stars of the Industry… henever I try to explain the power of storytell- Now I’m not saying we shouldn’t be the most knowl- ing, I use a jaw-droppingly profane and surprising edgeable, articulate people we can be. We should. Or that W 2005 documentary called The Aristocrats. It features deep, elegant insights and business strategies aren’t pivotal. Of many famous comedians and actors discussing, deconstruct- course they are. But it’s not enough to be effective. We have ing and telling their versions of a very old, very transgressive to be sexy. We have to be pervasively creative. All of the dirty joke that goes something like this: A family act goes to time. In everything we do. see a talent agent. The agent asks what they do. The family As Eric Clapton, the legendary healthcare marketer and performs the act (and here, the joke teller is amateur guitarist, once said, “It’s in the way supposed to ad lib the most shocking acts of that you use it.” So in my opinion, you will debauchery they can imagine). The awed have more influence over a situation by agent asks the family what the act is called, being the most interesting than by being the and the punch line is delivered with gusto: smartest. -
Reversals and Dissolutions of Binaries in the Narrative Films of Eterp Greenaway
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2014 Undoings : reversals and dissolutions of binaries in the narrative films of eterP Greenaway. Kristina Sue Bohleber Groves 1978- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the English Language and Literature Commons Recommended Citation Groves, Kristina Sue Bohleber 1978-, "Undoings : reversals and dissolutions of binaries in the narrative films of eterP Greenaway." (2014). Electronic Theses and Dissertations. Paper 541. https://doi.org/10.18297/etd/541 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. UNDOINGS: REVERSALS AND DISSOLUTIONS OF BINARIES IN THE NARRATIVE FILMS OF PETER GREENAWAY By Kristina Sue Bohleber Groves B.A., University of Southern Indiana, 2001 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of English University of Louisville Louisville, Kentucky May 2014 ! ! UNDOINGS: REVERSALS AND DISSOLUTIONS OF BINARIES IN THE NARRATIVE FILMS OF PETER GREENAWAY By Kristina Sue Bohleber Groves B.A., University of Southern Indiana, 2001 A Thesis Approved on April 17, 2014 by the following Thesis Committee: ________________________________ Dr. -
Representations of Aasculinity in Theatre Dance with Special Reference to British New Dance
WEST SUSSEX INSTITUTE OF HIGHER EDUCATION Representations of aasculinity in theatre dance with special reference to British new dance. Rallsay Maxwell Barnes Burt Doctor of Philosophy, Dance Section March 1994 This thesis has been completed as a requirement for a higher degree of the University of southampton. WEST SUSSEX INSTITUTE OF HIGHER EDUCATION an accredited college of the UNIVERSITY OF SOUTHAMPTON ABSTRACT DANCE SECTION Doctor of Philosophy Representations of masculinity in theatre dance with special reference to British new dance. by Ramsay Maxwell Barnes Burt This thesis has been completed as a requirement for a higher degree of the University of Southampton. The phenomenon of 'new dance' has received little sustained study, either in terms of its own history or in terms of its efforts to reconstruct the representation of gender in dance. This study assesses the extent to which representations of masculinity in the work of British new dance artists have differed significantly from the ways in which masculinity has been represented in mainstream theatre dance. A theoretical framework is developed for analyzing dance which takes account of theories already in existence and examines them critically from an ideological perspective. Whereas almost all existing dance theories confine their examination of dance as art to an analysis of its formal and aesthetic properties, the framework developed in this study takes account of the social and historical conditions of production and reception of the dance. While there has been recent work on images of women, issues relating to the representation of masculinity in dance have not received attention. This study therefore examines the relationship between the social construction of masculinity and the conventions and traditions through which masculinity is represented in cultural forms including theatre dance. -
The Segmenting Spectator: Documentary Structure and the Aristocrats
The Segmenting Spectator: Documentary Structure and The Aristocrats GREG M. SMITH Abstract: This article argues that an emphasis on how spectators piece to- gether documentary structure is more useful than nonfiction film theory’s focus on epistemology and categorization. By examining individual texts such as The Aristocrats, critics can develop a set of devices that provide a better explanation of documentary comprehension at the local level. As an example, this article shows how a spectatorial position as an insider in the comedy world and the device of the “conversational turn” help us both segment the documentary flow and unify it. Keywords: The Aristocrats, comedy, documentary theory, genre, narration, segmentation, structure As a scholar primarily interested in narrative in fiction film and television, I approached The Aristocrats as a film having to deal with an exceptionally difficult narrative challenge: how do you maintain an audience’s interest in a one-joke film? When Paul Provenza and Penn Jillette had completed their interviews with various comedians, the filmmakers were faced with the daunt- ing challenge of structuring their footage in a way that doesn’t tire the audience with repetitions of the same gag. In this article I arrive at some limited explanations that are specific to the construction of The Aristocrats, but I use this particular case study to argue a more general assertion: that nonfiction film theory needs to focus more on local structures that viewers use to understand a documentary. In concentrating on broad categories of “mode,” “voice,” “function,” or “form” that can distinguish a whole documen- tary, we have not paid enough attention to the distinctive ways the documen- tary spectator assembles nonfiction pieces into a coherent whole. -
'The Thin Black Line': Black Comedy and Its Descent from Subversive
1 The Thin Black Line Black comedy and its descent from subversive comic provocation to mainstream inglorious offence By Chris Beck A thesis submitted for the Master of Arts (Research) Swinburne University 2017 1 2 ABSTRACT This thesis examines whether black comedy still lampoons influential institutions and probes social mores with sharp satire and strong language or simply aims to offend for its own sake. It questions whether the freedom of speech that comedians in the 1960s advocated to defend their social and political subversion is now assumed, as a right, by comedians for the less edifying practice of humiliating people and targeting the vulnerable. Black comedy in the 1960s questioned our attitudes to politics, religious power, and sexuality. While black comedy In the 21st Century addresses complex issues of social importance it tends to do so through humiliation, deception and mockery. Black comedy is inspired by politics, protest, provocation and the broad array of experiences that could be described as the human condition. The Thin Black Line explores the intersections between social acceptability and social outrage. This study concentrates on prolific exponents of black comedy and treats the terms dark and black comedy as interchangeable. This thesis argues the political agitation that characterised much of dark comedy in the 1960s and 1970s has been largely replaced in the 21st Century by what might be termed superficial abuse, in that the comedy does not seek to right perceived injustices or expose prejudice, but aims to do little more than cause offence. The common element in the comedy being examined is that it created controversy by taking on taboo subjects, including child abuse and the sensitivity of minorities, such as people with a disability and various religions. -
&Fears Fascinations
Thomas F. Haddox Fears& Fascinations::: Representing Catholicism in the American South FEARS AND FASCINATIONS ................. 11469$ $$FM 07-07-05 10:47:55 PS PAGE i ................. 11469$ $$FM 07-07-05 10:47:55 PS PAGE ii FEARS AND FASCINATIONS Representing Catholicism in the American South Thomas F. Haddox Fordham University Press New York 2005 ................. 11469$ $$FM 07-07-05 10:47:55 PS PAGE iii Copyright ᭧ 2005 Fordham University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Library of Congress Cataloging-in-Publication Data Haddox, Thomas F. (Thomas Fredrick) Fears and fascinations : representing Catholicism in the American South / Thomas F. Haddox.—1st ed. p. cm. Includes bibliographical references and index. ISBN 0-8232-2521-6 (hardcover) 1. American literature—Southern States—History and criticism. 2. American literature—Catholic authors—History and criticism. 3. Catholic Church—Southern States—Historiography. 4. Catholics— Southern States—Intellectual life. 5. Christianity and literature— Southern States. 6. Southern States—Religion—Historiography. 7. Catholic Church—In literature. 8. Catholics in literature. I. Title. PS261.H23 2005 810.9Ј92128275—dc22 2005016713 Printed in the United States of America 07 06 05 5 4 3 2 1 First edition ................. 11469$ $$FM -
In Stand-Up Comedy
THE DEVELOPMENT OF COMIC STAGE PERSONA (CSP) IN STAND-UP COMEDY: AN INTERDISCIPLINARY APPROACH TO AN INTERSUBJECTIVE PERFORMANCE PHENOMENON EDWARD DAVID NAESSENS BA, MPHIL (TCD) A THESIS SUBMITTED FOR DOCTOR OF PHILOSOPHY THE SCHOOL OF CREATIVE ARTS THE UNIVERSITY OF DUBLIN, TRINITY COLLEGE 2018 ii DECLARATION I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. Signed: __________________ Edward David Naessens Date: iii iv SUMMARY Given the multifaceted nature of the thesis subject (the formation of comic stage persona in stand-up comedy), the methodological approach taken sets out a circumstantial case for comic stage persona (CSP) formation through the multiple lenses of performance studies, sociology, psychology, humour studies, and cognitive science. This interdisciplinary approach captures and confirms the viability of the concept of CSP and establishes a matrix of coherence and compatibility. Under the umbrella of Daniel Dennett’s Heterophenomenological approach, first-person and theoretical accounts provide support for the central claim that the professional comedian’s CSP is formed through iterative processes and by engaging with the environment of stand-up comedy. It is this bridging of subjective folk theory and objective models that ensures the thesis is well-located in the intersubjective space between subjective/objective and folk/scientific accounts of the phenomena under research.