Liberalism and Tolerance
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The Sopranos Episode Guide Imdb
The sopranos episode guide imdb Continue Season: 1 2 3 4 5 6 OR Year: 1999 2000 2001 2002 2004 2006 2007 Season: 1 2 3 4 5 6 OR Year: 1999 2000 2001 200102 200204 2006 2007 Season: 1 2 3 3 4 5 6 OR Year: 1999 2000 2001 2002 2004 2006 2007 Edit It's time for the annual ecclera and, as usual, Pauley is responsible for the 5 day affair. It's always been a money maker for Pauley - Tony's father, Johnny Soprano, had control over him before him - but a new parish priest believes that the $10,000 Poly contributes as the church's share is too low and believes $50,000 would be more appropriate. Pauley shies away from that figure, at least in part, he says, because his own spending is rising. One thing he does to save money to hire a second course of carnival rides, something that comes back to haunt him when one of the rides breaks down and people get injured. Pauley is also under a lot of stress after his doctor dislikes the results of his PSA test and is planning a biopsy. When Christopher's girlfriend Kelly tells him he is pregnant, he asks her to marry him. He is still struggling with his addiction however and falls off the wagon. Written by GaryKmkd Plot Summary: Add a Summary Certificate: See All The Certificates of the Parents' Guide: Add Content Advisory for Parents Edit Vic Noto plays one of the bikies from the Vipers group that Tony and Chris steal wine from. -
The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process. -
Intersection of Gender and Italian/Americaness
THE INTERSECTION OF GENDER AND ITALIAN/AMERICANESS: HEGEMONY IN THE SOPRANOS by Niki Caputo Wilson A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL December 2010 ACKNOWLEDGEMENTS I could not have completed this dissertation without the guidance of my committee members, the help from my friends and colleagues, and the support of my family. I extend my deepest gratitude to my committee chair Dr. Jane Caputi for her patience, guidance, and encouragement. You are truly an inspiration. I would like to thank my committee members as well. Dr. Christine Scodari has been tireless in her willingness to read and comment on my writing, each time providing me with insightful recommendations. I am indebted to Dr Art Evans, whose vast knowledge of both The Sopranos and ethnicity provided an invaluable resource. Friends, family members, and UCEW staff have provided much needed motivation, as well as critiques of my work; in particular, I thank Marc Fedderman, Rebecca Kuhn, my Aunt Nancy Mitchell, and my mom, Janie Caputo. I want to thank my dad, Randy Caputo, and brother, Sean Caputo, who are always there to offer their help and support. My tennis friends Kathy Fernandes, Lise Orr, Rachel Kuncman, and Nicola Snoep were instrumental in giving me an escape from my writing. Mike Orr of Minuteman Press and Stefanie Gapinski of WriteRight helped me immensely—thank you! Above all, I thank my husband, Mike Wilson, and my children, Madi and Cole Wilson, who have provided me with unconditional love and support throughout this process. -
How ' E Sopranos' Realistically Portrays Alzheimer's Disease
MAY/JUNE 2006 BY WALLACE MATTHEWS How ‘~e Sopranos’ Realistically Portrays Alzheimer’s Disease As Uncle Junior on TV's biggest hit, '~e Sopranos,' Dominic Chianese portrays Alzheimer's disease from memory and the heart. And just like that, Dominic Chianese, playing the old mob boss Corrado (Uncle Junior) Soprano on the blockbuster HBO series "The Sopranos," fired the most famous television shot since someone capped J.R. Ewing on "Dallas" a quarter- century ago. But Chianese did much more than that. In one 40-second scene, he conveyed all the horrific, tragic and, yes, even comic moments that occur over the course of the long, slow progression of Alzheimer's. More importantly, he's exposing millions to a realistic portrayal of a disease many never see until it hits them where they live. In addition to creating an unforgettable character, he's been serving as both trailblazer and conduit: the most public face of a disease that will only become more common as life spans increase. "I'm just an actor doing a job," says Chianese, in real life a vibrant and healthy 71- year-old with a wife, six grown children, a dozen grandchildren and a full plate of professional commitments. "I just play what's on the page." Dominic Chianese is also playing what's in his heart and in his memory. His knowledge of dementia and his empathy for Alzheimer's patients come firsthand. For more than 20 years, he has volunteered as a recreational worker at St. Cabrini Nursing Home in Dobbs Ferry, N.Y., singing and playing guitar for its 300 residents, more than half of whom have Alzheimer's. -
The Sopranos
BLOOD IS THICKER THAN WATER AN ANALYSIS OF FAMILY, FAMIGLIA AND ITALIAN IDENTITY IN THE SOPRANOS Aantal woorden: 23.505 Han Vandepoele Studentennummer: 01506075 Promotor(en): Prof. dr. Gert Buelens Masterproef voorgelegd voor het behalen van de graad master in de Taal- en Letterkunde Engels-Zweeds Academiejaar: 2018 – 2019 ACKNOWLEDGEMENTS Writing a master thesis is no easy feat, and could certainly not have been done without the help of some wonderful individuals. First of alI I would like to take this opportunity to thank prof. dr. Gert Buelens for his guidance and patience, but most of all for giving me the freedom to discover this topic on my own pace. Furthermore I would like to thank my parents for handing me the opportunity to study, my friends for providing me with distractions when necessary, and my sister for helping me clean up that pesky table of contents. TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................................................... 2 TABLE OF CONTENTS .............................................................................................................................................. 3 LIST OF FIGURES ..................................................................................................................................................... 4 INTRODUCTION ...................................................................................................................................................... 5 PART -
Transatlantica, 2 | 2012 “Lemme Tell You a Couple of Three Things” : La Littérature Selon Les Sopranos
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2012 Cartographies de l'Amérique / Histoires d'esclaves “Lemme tell you a couple of three things” : la littérature selon Les Sopranos (1999-2007) Bernard Genton Édition électronique URL : http://journals.openedition.org/transatlantica/6182 DOI : 10.4000/transatlantica.6182 ISSN : 1765-2766 Éditeur AFEA Référence électronique Bernard Genton, « “Lemme tell you a couple of three things” : la littérature selon Les Sopranos (1999-2007) », Transatlantica [En ligne], 2 | 2012, mis en ligne le 13 mai 2013, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/6182 ; DOI : https://doi.org/10.4000/ transatlantica.6182 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. “Lemme tell you a couple of three things” : la littérature selon Les Sopranos... 1 “Lemme tell you a couple of three things” : la littérature selon Les Sopranos (1999-2007) Bernard Genton 1 La série Les Sopranos baigne dans une atmosphère littéraire créée et entretenue par une succession de références au corpus traditionnel des œuvres enseignées dans les lycées et les premières années des universités. Il est donc intéressant d’explorer plus avant un thème qui n’a pas semblé retenir l’attention des commentateurs, à savoir celui des rapports qu’entretient et que manifeste cette série « de qualité » avec la littérature et le livre, envisagés ici comme objets culturels extérieurs au genre télévisuel, revêtus du prestige de la légitimité et de l’autorité sociale. -
In This House It's 1954: the Representation of Women In
“IN THIS HOUSE IT’S 1954: THE REPRESENTATION OF WOMEN IN THE SOPRANOS by SUSAN ALEXANDRA KAHRS (Under the Direction of Peggy J. Kreshel) ABSTRACT The Sopranos, an HBO Original Series, is one of the most popular programs on television. This thesis will examine the representations of women in The Sopranos. Grounded in cultural studies, feminist theory, and feminist media studies, this research was based on a number of assumptions. First among these is the belief that meaning is socially constructed and never fixed, but constantly produced and reproduced. Second, culture can only be understood in relation to issues of power. Third, popular culture is a site of struggle, and fourth, that it is essential to understand how media help shape the values, norms, and beliefs that reinforce gender inequities. Finally, research is a political act. A textual analysis of seasons 1 and 4 uncovered how patriarchy is the dominant ideology on the show. The Sopranos presents a rigid, regressive form of patriarchy where traditional roles, including the mother figure, were fractured and dysfunctional. INDEX WORDS: Patriarchy, Gender roles, Cultural studies, Feminism, Feminist theory, Circuit of Culture. “IN THIS HOUSE IT’S 1954:” THE REPRESENTATION OF WOMEN IN THE SOPRANOS by SUSAN ALEXANDRA KAHRS B.A., Erskine College, 2000 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Susan Alexandra Kahrs All Rights Reserved “IN THIS HOUSE IT’S 1954:” THE REPRESENTATION OF WOMEN IN THE SOPRANOS by SUSAN ALEXANDRA KAHRS Major Professor: Peggy J. -
REPRESENTING 9/11 in the SOPRANOS a Thesis by VITO V
“SPEAK ABOUT DESTRUCTION”: REPRESENTING 9/11 IN THE SOPRANOS A Thesis by VITO V. PETRUZZELLI Submitted to the Cratis D. Williams School of Graduate Studies Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2015 Department of English “SPEAK ABOUT DESTRUCTION”: REPRESENTING 9/11 IN THE SOPRANOS A Thesis by VITO V. PETRUZZELLI December 2015 APPROVED BY: Craig Fischer, Ph.D. Chairperson, Thesis Committee Germán Campos-Muñoz, Ph.D. Member, Thesis Committee Başak Çandar, Ph.D. Member, Thesis Committee Carl Eby, Ph.D. Chairperson, Department of English Max C. Poole, Ph.D. Dean, Cratis D. Williams School of Graduate Studies Copyright by Vito V. Petruzzelli 2015 All Rights Reserved Abstract “SPEAK ABOUT DESTRUCTION”: REPRESENTING 9/11 IN THE SOPRANOS Vito V. Petruzzelli B.A., Rutgers University M.A., Appalachian State University Chairperson: Craig Fischer Broadly definable as an interdisciplinary study of televisual texts, literature, and history, this thesis analyses David Chase’s The Sopranos (1999-2007) and its engagement of the September 11, 2001 terror attacks. Tracing the show’s narrative and aesthetic roots to its pilot episode, I explore how narrative and aesthetic elements contained in 9/11 television newscasts elicited both an alteration and an exaggeration of the show’s structural and symbolic elements. Furthermore, I illustrate the impact of televisual mediation on the act of viewership, demonstrating the manner in which The Sopranos and 9/11 newscasts employed authoritative narrative perspectives as a means of disseminating vital information to viewers. Methodologically, I employ a narratological approach to show through close textual analysis how elements of location and sequential ordering inform the creation of unique story worlds, and how these story worlds operate symbiotically with viewers in creating meanings beyond the texts. -
«The Mother Country. Here They Make It Real»
Originalveröffentlichung in: Keazor, Henry ; Liptay, Fabienne ; Marschall, Susanne (Hrsgg.): FilmKunst : Studien an den Grenzen der Künste und Medien, Marburg 2011, S. 304-317 Tanja Michaisky «The mother country. Here they make it real» Serienhelden auf der Suche nach ihren Wurzeln: THE SOPRANOS: COMMENDATORI David Chases Fernsehserie THE SOPRANOS, die von 1999 bis 2007 von HBO pro duziert wurde, verdankt ihren Erfolg sowohl bei den amerikanischen Fernsehzu schauern als auch in der medienwissenschaftlichen Forschung der autoreflexiv gebrochenen Fiktion eines Einblicks in die intimen Verhältnisse der zeitgenössi 1 schen Mafiosi in New Jersey. Dieser Einblick wird aus der Perspektive des am bivalenten Helden Tony Soprano (James Gandolfini) gegeben, und der entschei dende Kunstgriff besteht darin, Tony zu einer Psychologin (Lorraine Bracco) zu schicken, mit der er seine Panikattacken besprechen kann, so dass auch auf nar rativer Ebene motiviert wird, die Analyse seiner persönlichen Probleme mit jener 2 der MafiaStrukturen zu verknüpfen. Darüber hinaus wird um Tony nicht nur der übliche Herrschaftsbereich eines Clanchefs konstruiert, sondern er erscheint als ein durchschnittlicher, von weit verbreiteten Problemen gequälter, wohlhaben der amerikanischer Familienvater in einer Vorstadtvilla, so dass aktuelle Themen der amerikanischen Gesellschaft innovativ mit dem Genre des Mafiafilms ver 3 knüpft werden konnten. Kennzeichen der Serie ist neben der pointierten und Da die Serie in Deutschland keinen Erfolg hatte, sind die meisten Interpretationen bislang in Amerika erschienen. Vgl. insb. David Lavery (Hrsg.): This Thing of Ours, (nvestigating the SOPRA NOS. New York 2002; Richard Greene, Peter Vernezze (Hrsg.): THE SOPRANOS and Philosophy. IÖ" Therefore I Am. Chicago/La Salle 2004; Maurice Yacowar: THE SOPRANOS on the Couch. -
EXECUTIVE ORDER NO. 135 WHEREAS, James Gandolfini Was
EXECUTIVE ORDER NO. 135 WHEREAS, James Gandolfini was an iconic actor, who left a timeless impact upon television and film in the State of New Jersey and across our Nation; and WHEREAS, James Gandolfini was born in Westwood, New Jersey, on September 18, 1961, and grew up in Park Ridge, New Jersey; WHEREAS, James Gandolfini graduated from Park Ridge High School in 1979, where he played basketball and starred in school plays; and WHEREAS, James Gandolfini graduated with a Bachelor of Arts degree from Rutgers University, and began to pursue what would become an extraordinarily successful acting career; and WHEREAS, James Gandolfini’s most popularly acclaimed role was the part of Tony Soprano, the lead character in the television drama The Sopranos, which debuted in 1999 and continued through 2007; and WHEREAS, James Gandolfini appeared on Broadway and in several films, including True Romance, Terminal Velocity, Get Shorty, The Juror, The Mexican and The Taking of Pelham 123; and WHEREAS, James Gandolfini produced two documentaries, Alive Day Memories: Home from Iraq and Wartorn: 1861-2010, which revealed the immense challenges faced by servicemembers and veterans integrating back into society; and WHEREAS, James Gandolfini passed away suddenly on June 19, 2013; and WHEREAS, it is with profound sadness that we mourn the loss of James Gandolfini and extend our sincere sympathy to his family, friends, and countless fans; and WHEREAS, it is appropriate to recognize the achievements and contributions, to honor the memory, and to mark the passing of James Gandolfini; NOW, THEREFORE, I, CHRIS CHRISTIE, Governor of the State of New Jersey, by virtue of the authority vested in me by the Constitution and by the Statutes of this State, do hereby ORDER and DIRECT: 2 1. -
"The Strong, Silent Type": Tony Soprano, Don Draper, and the Construction of the White Male Antihero in Contemporary Television Drama
"THE STRONG, SILENT TYPE": TONY SOPRANO, DON DRAPER, AND THE CONSTRUCTION OF THE WHITE MALE ANTIHERO IN CONTEMPORARY TELEVISION DRAMA James Beale 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 May 2014 Committee: Becca Cragin, Advisor Esther Clinton Jeremy Wallach © 2014 James Beale All Rights Reserved iii ABSTRACT Becca Cragin, Advisor In this thesis, I examine intertextuality present between The Sopranos and Mad Men, particularly in regards to each show’s protagonist. Tony Soprano and Don Draper are complex characters, each with their own conflicts, neuroses, and supporting characters, yet both men address a similar question: what does it mean to be a man in 21st century America? Both men deal with complex identities due to their pasts, exacerbated struggles due to their jobs, and most importantly, equally complex women who challenge their authority. While addressing issues of gender, I discuss the linkages present between each show’s creator, David Chase and Matthew Weiner, which speaks to the broader thematic overlap between the two dramas. Intertextuality, partially stemming from Weiner’s time in the Sopranos writing room under Chase, can help to interrogate television’s own auteur, the showrunner. I also analyze the white male antihero archetype as a whole, which has been popular on American television in the past fifteen years, as I trace the major conflicts to Robert Warshow’s formulation of the gangster as a tragic hero. For Warshow, though, the gangster ultimately worked as a straightforward morality tale – in these shows, the message of the antihero is deliberately muddled, crafting an intimate portrait of masculinity in crisis. -
Sopranos Packet.Pdf
A professor clearly based on this real-life person tells his daughter that she “skipped the struggle” by working as a copywriter and abandoning her dreams of acting. On Mad Men, Megan’s father, Emile Calvet, is unmistakably based on this person. At a batting cage, Matt Bonpensiero tells A.J. that this person was a “fucking fraud” who “copped it all from Husserl and Heidegger.” For 10 points, name this Existentialist, subject of the Sopranos and Philosophy essay “Bada-Being and Nothingness.” ANSWER: Jean-Paul Sartre At the beginning of this sequence, a man driving says “Nobody ever went broke underestimating the taste of the American public,” after which Agent Harris opens the door to vomit. In part of this sequence set in Carmela’s spec house, Carmela shares a cigarette with Adriana, who subsequently disappears. The different scenes in this montage, including Janice breastfeeding her baby and Meadow dancing in her underwear, are connected by a voiceover enumerating concepts like “Ren, the secret name.” For 10 points, name this sequence featuring a voiceover from William S. Burroughs lecturing on Egyptian ideas about death. ANSWER: the Seven Souls sequence On a non-Sopranos show, this character breaks up with her boyfriend when she has to shoot a movie entirely in New Zealand. This character’s seatmate procures tiny bottles of Scotch for her after she is introduced screaming the C-word at a female male stewardess. This character splashes wine in a man’s face after Drama spreads the story that she jerked him off on a plane. Although I’ve never watched Entourage, entourage.fandom.com tells me that this person is Turtle’s love interest in seasons 5 and 6.