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Wrestling Masks in Chicano and Mexican Performance Art
Studies in 20th Century Literature Volume 25 Issue 2 Article 6 6-1-2001 (Ef)Facing the Face of Nationalism: Wrestling Masks in Chicano and Mexican Performance Art Robert Neustadt Northern Arizona University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the American Literature Commons, Latin American Literature Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Neustadt, Robert (2001) "(Ef)Facing the Face of Nationalism: Wrestling Masks in Chicano and Mexican Performance Art ," Studies in 20th Century Literature: Vol. 25: Iss. 2, Article 6. https://doi.org/10.4148/ 2334-4415.1510 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. (Ef)Facing the Face of Nationalism: Wrestling Masks in Chicano and Mexican Performance Art Abstract Masks serve as particularly effective props in contemporary Mexican and Chicano performance art because of a number of deeply rooted traditions in Mexican culture. This essay explores the mask as code of honor in Mexican culture, and foregrounds the manner in which a number of contemporary Mexican and Chicano artists and performers strategically employ wrestling masks to (ef)face the mask- like image of Mexican or U.S. nationalism. I apply the label "performance artist" broadly, to include musicians and political figures that integrate an exaggerated sense of theatricality into their performances. -
THE THEME of the SHATTERED SELF in TONI MORRISON's The
THE THEME OF THE Shattered SELF IN TONI MORRISON’S THE BLUEST EYE AND A MERCY Manuela López Ramírez IES Alto Palancia de Segorbe, Castellón [email protected] 75 The splitting of the self is a familiar theme in Morrison’s fiction. All of her novels explore, to some extent, the shattered identity. Under traumatic circumstances, the individual may suffer a severe psychic disintegration. Morrison has shown interest in different states of dementia caused by trauma which, as Clifton Spargo asserts, “has come to function for many critics as a trope of access to more difficult histories, providing us with entry into a world inhabited by the victims of extraordinary social violence, those perspectives so often left out of rational, progressive narratives of history” (2002). In Morrison’s narratives, dissociated subjectivity, like Pecola’s in The Bluest Eye, is usually connected to slavery and its sequels and, as Linda Koolish observes, is frequently the consequence of the confrontation between the Blacks’ own definition of themselves and slavery’s misrepresentation of African Americans as subhumans (2001: 174). However, Morrison has also dealt with insanity caused by other emotionally scarring situations, such as war in Sula’s character, Shadrack, or as a result of the loss of your loved ones, sudden orphanhood, as in A Mercy’s Sorrow. In this paper I focus on Morrison’s especially dramatic depiction of the destruction of the female teenager’s self and her struggle for psychic wholeness in a hostile world. The adolescent’s fragile identity embodies, better than any other, the terrible ordeal that the marginal self has to cope with to become a true human being outside the Western discourse. -
Revue De Recherche En Civilisation Américaine, 6
Revue de recherche en civilisation américaine 6 | 2016 Les femmes et la bande dessinée: autorialités et représentations Women and Comics, Authorships and Representations Édition électronique URL : http://journals.openedition.org/rrca/723 ISSN : 2101-048X Éditeur David Diallo Référence électronique Revue de recherche en civilisation américaine, 6 | 2016, « Les femmes et la bande dessinée: autorialités et représentations » [En ligne], mis en ligne le 19 décembre 2016, consulté le 16 mars 2020. URL : http://journals.openedition.org/rrca/723 Ce document a été généré automatiquement le 16 mars 2020. © Tous droits réservés 1 SOMMAIRE Editorial Amélie Junqua et Céline Mansanti Women Comics Authors in France and Belgium Before the 1970s: Making Them Invisible Jessica Kohn L’autoreprésentation féminine dans la bande dessinée pornographique Irène Le Roy Ladurie Empowered et le pouvoir du fan service Alexandra Aïn Women W.a.R.P.ing Gender in Comics: Wendy Pini’s Elfquest as mixed power fantasy Isabelle L. Guillaume A 21st Century British Comics Community that Ensures Gender Balance Nicola Streeten Hors thème Book review Sabbagh, Daniel. L’égalité par le droit, les paradoxes de la discrimination positive aux Etats- Unis Paris, Economica, collection « Etudes Politiques », 2003 [2007], 458 p. Laure Gillot-Assayag Revue de recherche en civilisation américaine, 6 | 2016 2 Editorial Amélie Junqua and Céline Mansanti 1 Aux Etats-Unis, les utilisatrices de Facebook représentent aujourd’hui 53% des utilisateurs de Facebook qui lisent de la bande dessinée, 40% de plus qu’il y a trois ans. Pourtant, moins de 30% des personnages et des écrivains de BD sont des femmes, même si ces chiffres progressent également (http://www.ozy.com/acumen/the-rise-of-the- woman-comic-buyer/63314). -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
A Dark, Uncertain Fate: Homophobia, Graphic Novels, and Queer
A DARK, UNCERTAIN FATE: HOMOPHOBIA, GRAPHIC NOVELS, AND QUEER IDENTITY By Michael Buso A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida May 2010 ACKNOWLEDGMENTS This thesis would not have been possible without the fundamental assistance of Barclay Barrios, the hours of office discourse with Eric Berlatsky, and the intellectual analysis of Don Adams. The candidate would also like to thank Robert Wertz III and Susan Carter for their patience and support throughout the writing of this thesis. iii ABSTRACT Author: Michael Buso Title: A Dark, Uncertain Fate: Homophobia, Graphic Novels, and Queer Identity Institution: Florida Atlantic University Thesis Advisor: Dr. Barclay Barrios Degree: Master of Arts Year: 2010 This thesis focuses primarily on homophobia and how it plays a role in the construction of queer identities, specifically in graphic novels and comic books. The primary texts being analyzed are Alan Moore’s Lost Girls, Frank Miller’s Batman: The Dark Knight Returns, and Michael Chabon’s prose novel The Amazing Adventures of Kavalier and Clay. Throughout these and many other comics, queer identities reflect homophobic stereotypes rather than resisting them. However, this thesis argues that, despite the homophobic tendencies of these texts, the very nature of comics (their visual aspects, panel structures, and blank gutters) allows for an alternative space for positive queer identities. iv A DARK, UNCERTAIN FATE: HOMOPHOBIA, GRAPHIC NOVELS, AND QUEER IDENTITY TABLE OF FIGURES ....................................................................................................... vi I. INTRODUCTION ................................................................................................... 1 Theoretical Framework .................................................................................................. -
The Grotesque in the Fiction of Joyce Carol Oates
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1979 The Grotesque in the Fiction of Joyce Carol Oates Kathleen Burke Bloom Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Bloom, Kathleen Burke, "The Grotesque in the Fiction of Joyce Carol Oates" (1979). Master's Theses. 3012. https://ecommons.luc.edu/luc_theses/3012 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Kathleen Burke Bloom THE GROTESQUE IN THE FICTION OF JOYCE CAROL OATES by Kathleen Burke Bloom A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy March 1979 ACKNOWLEDGEMENTS I would like to thank Professors Thomas R. Gorman, James E. Rocks, and the late Stanley Clayes for their encouragement and advice. Special thanks go to Professor Bernard P. McElroy for so generously sharing his views on the grotesque, yet remaining open to my own. Without the safe harbors provided by my family, Professor Jean Hitzeman, O.P., and Father John F. Fahey, M.A., S.T.D., this voyage into the contemporary American nightmare would not have been possible. -
Jamie Anderson V. Taylor Williams
Jamie Anderson v. Taylor Williams Michigan High School Mock Trial Tournament 2011 Materials 2011 Michigan High School Mock Trial Tournament CASE MATERIALS Page 1 Introduction This Mock Trial case was developed for the 2011Michigan High School Mock Trial Tournament. For information about the MHSMTT Rules or information about Mock Trial in general, contact the Michigan Center for Civic Education at [email protected]. The 2011 mock trial case was initially drafted by the Illinois State Bar Association as a criminal case. It was substantially re-written to be a civil case for use in Pennsylvania by Jonathan A. Grode, a third year student at Temple University James Beasley School of Law and Jane Meyer, Esq., of the Pennsylvania State Bar Young Lawyers’ Division Mock Trial Committee and the National High School Mock Trial Championship Board of Directors. The case problem was again substantially re-written for use in New Mexico by Shannon L. Donahue, Esq., of Shannon L. Donahue, PC, Michelle Giger, President and CEO of Center for Civic Values, and Karl Johnson, Esq., of Luebben, Johnson & Barnhouse, LLP. Next, the case was adapted for use in Arizona by Dewain D. Fox, Esq., Fennemore Craig, PC; Lance R. Broberg, Esq., Tiffany & Bosco, PA; and Tiffany F. Broberg, Esq., Ridenour, Hienton, Kelhoffer & Lewis, PLLC. We extend sincere thanks to the Arizona, New Mexico, Pennsylvania, and Illinois mock trial programs for granting permission to adapt this case for use in Michigan. Summary: The plaintiff is Jamie Anderson, a high school senior, who used the school’s chat room as a means to stay on top of her/his academic pursuit of the highly coveted valedictorian scholarship. -
Dread Standard, PDF Version Layout Done with Adobe® Indesign® CS 3 on Mac OS X, Using the Typefaces Attic and Book Antiqua
Dread TID002 Table of Contents Chapter 1: To Begin With . 3 Chapter 2: Briefly, the Rules . 6 . Chapter 3: A Question of Character . 16 Chapter 4: How to Host a Dread Game . .28 . Chapter 5: How to Create a Dread Game . 38 . Chapter 6: The Suspenseful Game . 50 Chapter 7: The Supernatural Game . 53 . Chapter 8: The Mad Game . 56 . Chapter 9: The Moral Game . 59 Chapter 10: The Mysterious Game . 62 Chapter 11: The Gory Game . 65. Appendix: Alternate Methods . 68 Story: Beneath the Full Moon . 70 Story: Beneath a Metal Sky . 82 Story: Beneath the Mask . 89 . Dread is a horror game . There is no reason that the content of any game of Dread need be any more horrifying than you wish it to be, and therefore Dread can be suitable for nearly any age . However, the contents of this book delve into mature topics at points, in order to facilitate groups who enjoy those sorts of horror, so please exercise discretion when passing this book around . In par- ticular, Chapter 11 is not suitable for our younger players . For Leslie Scott . original concept by Epidiah Ravachol and woodelf development by The Impossible Dream writing by Epidiah Ravachol editing and additional writing by The Impossible Dream copy editing by Jere Foley layout and cover design by woodelf back cover illustration by Christy Schaefer illustrations on pages 13, 20, 35, 38, 49, 51, 57 by Taylor Winder illustrations on pages 7, 15, 28, 31, 45, 53, 60, 62, 63, 65, 66, 67, 69 by Jill Krynicki Dread Standard, PDF version Layout done with Adobe® InDesign® CS 3 on Mac OS X, using the typefaces Attic and Book Antiqua. -
Examining African American Girlhood in Toni Morrison's the Bluest
Skin Color Politics and the Beauty Standard: Examining African American Girlhood in Toni Morrison’s The Bluest Eye (1970) and God Help the Child (2015) By Kalliopi Fragkouli A dissertation submitted to the Department of English Literature and the Department of American Literature, School of English, Faculty of Philosophy in partial fulfillment of the requirements for the Degree of Master of Arts. Aristotle University of Thessaloniki December 2017 1 To all the girls struggling with self-acceptance 2 Acknowledgments The writing of this thesis would not have been possible without the help, support and patience of my supervisor, Dr. Domna Pastourmatzi, to whom I am deeply grateful. I would like to thank her for understanding my need to explore new academic fields and for letting me work on a subject I was passionate about. I would also like to thank her for our conversations and meetings, which were always a source of inspiration and helped me gain a deeper insight of the material I was dealing with. Additionally, I have to thank Dr. Tatiani Rapatzikou for acting as my mentor and guide from the beginning of this academic journey. She was the only person that could fully understand the emotional and mental struggles I faced during my postgraduate studies. I am forever thankful for her support, trust and good intentions. Finally, I am grateful to my parents for respecting my choices and for standing by my side in all my endeavors. I feel blessed to know that I can count on them for every decision I make, and every step I wish to take in my academic career. -
2018 Summer Reading Toolkit
2018 Summer Reading Toolkit Collected and Compiled From Our Partners: OC Public Libraries Orange County Department of Education Teen Volunteer Arts & Crafts Orientation Saturday, June 2nd Saturday, June 9th 2:00pm 11:00am Storytime Teen Tuesdays Book Group & Saturday, June 9th Thursdays 10:00am at 10 Read Dino Event with Lilo June 20 5:00pm Thursday, June 21 Garden Grove Chapman Library 1:30 Lunch 9182 Chapman Ave. at the LEGO 714-539-2115 Library Club Monday-Thursday [email protected] Saturday, June 30th 12-1 2:00pm Children, ages 2+ Visit our online calendar at: Garden Grove Main http://ocpl.org/libloc/ 11200 Stanford Avenue ggr/calendar Garden Grove 92840 June 2018 (714) 530-0711 * www.ocpl.org SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 9 AM—5 PM 10 AM—7 PM 10 AM—7 PM 10 AM—7 PM 10 AM—7 PM 9 AM—5 PM 9 AM—5 PM 1 2 2:30 PM - 10 AM - Writer’s Teen Anime Ink 11:30 AM - Talk Time 2:30 PM - Family Movie 3 4 5 6 7 8 9 10 AM - Writer’s 11 AM - 9:30 AM - Head Ink Digital 1-on-1 1 PM - Writer’s 3 PM - Maker Start Storytime Circle Space Open Lab 11:30 AM - Talk 2:30 PM - Time 2 PM - Lego Club Teen Movie 2:00 PM Teen Summer Volunteer Orientation 10 11 12 13 14 15 16 11 AM - 10:30 AM - Book 10 AM - Writer’s Club 5:30 PM - Adult Digital 1-on-1 Ink 2 PM - Lego Club Program: Water Safety 4 PM—Battle Bots 11:30 AM - Talk 3 PM - Maker Time Space Open Lab 2:30 PM - Family Movie 2:30 PM—DIY for Adults 17 18 19 20 21 22 23 11 AM - 10 AM - Writer’s 2 PM - Summer of 10 AM - PlayTime 11 AM - Preschool 11 AM Bubble Party Digital 1-on-1 -
Book 3: Big Book of Brew 0 Table of Contents
Table of Contents Book 3: Big Book of Brew 0 Table of Contents TABLE OF CONTENTS Races 2 Arachne 3 Catfolk 5 Fairy 7 Geth 9 Githyanki 11 Githzerai 13 Goblin 15 Goliath 17 Ikthys 19 Kython 21 Lizardman 23 Minotaur 25 Ophidian 27 Riven 29 Sphinx 31 Vanara 33 Exaltations 35 Demiurge 36 Font 38 Force Sensitive 40 Kryptonian 42 Nephilim 44 Para-Psyker 45 Phoenix 47 Sage 48 Symbiote 50 Classes 52 Feats 88 General Feats 89 Racial Feats 99 Exalted Assets 109 Sword Schools 118 Aphonic Wind 119 Dark Messiah 120 Eldritch Advent 121 Infernal Monster 122 Infinite Choir 123 Killer Doll 124 Equipment 125 Ranged 126 Melee 131 Adamantine 134 Munchausen Drive 136 Vehicles 137 Ship Hulls 141 Ship Weapons 145 Ship Components 146 Credits 150 1 Races 2 Arachne Arachne are beings that look much like humans from the waist up, but are composed of an arachnid (NOT an insectoid) body. Called Driders by some, especially Eldar and Elves, the Arachne are a proud people composed of beings with strong passions that they keep under close wraps. Arachne are superb combatants, adaptable and very much capable of acts of great virtue or cruelty, as much as any race. Until recently – that is, about 3,000 years ago – Arachne were considered primitives because they were believed to have no discernible language or engineering skills. In fact, their language consists mostly of clicks, pheromones and sub-sonic communication, while their technology level depends mostly on what they have available to combine with their webs. As Racial Statistics was proven, when given access to anything Characteristic Bonus: +1 to Wisdom or mechanical, Arachne are quickly able to discern +1 to Dexterity how and why it works, break it down, recreate Skill Bonus: +1 to Crafts and and improve it. -
The Dramatic World Harol I Pinter
THE DRAMATIC WORLD HAROL I PINTER RITUAL Katherine H. Bnrkman $8.00 THE DRAMATIC WORLD OF HAROLD PINTER By Katherine H. Burkman The drama of Harold Pinter evolves in an atmosphere of mystery in which the surfaces of life are realistically detailed but the pat terns that underlie them remain obscure. De spite the vivid naturalism of his dialogue, his characters often behave more like figures in a dream than like persons with whom one can easily identify. Pinter has on one occasion admitted that, if pressed, he would define his art as realistic but would not describe what he does as realism. Here he points to what his audience has often sensed is distinctive in his style: its mixture of the real and sur real, its exact portrayal of life on the surface, and its powerful evocation of that life that lies beneath the surface. Mrs. Burkman rejects the contention of some Pinter critics that the playwright seeks to mystify and puzzle his audience. To the contrary, she argues, he is exploring experi ence at levels that are mysterious, and is a poetic rather than a problem-solving play wright. The poetic images of the play, more over, Mrs. Burkman contends, are based in ritual; and just as the ancient Greeks at tempted to understand the mysteries of life by drawing upon the most primitive of reli gious rites, so Pinter employs ritual in his drama for his own tragicomic purposes. Mrs. Burkman explores two distinct kinds of ritual that Pinter develops in counter point. His plays abound in those daily habit ual activities that have become formalized as ritual and have tended to become empty of meaning, but these automatic activities are set in contrast with sacrificial rites that are loaded with meaning, and force the charac ters to a painful awareness of life from which their daily routines have served to protect them.