HIV TESTING – Why It's Such a Hard Sell
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Table 1. Pilot Interview Demographics
Singaporean Women’s Perceptions and Barriers to Breast and Cervical Cancer Screening By Junyang Wang Duke Global Health Institute Duke University Date:_______________________ Approved: ___________________________ Eric Finkelstein, Supervisor ___________________________ Kearsley Stewart ___________________________ Yousuf Zafar Thesis submitted in partial fulfillment of the requirements for the degree of Masters of Science in Duke Global Health Institute in the Graduate School of Duke University 2014 ABSTRACT Singaporean Women’s Perceptions and Barriers to Breast and Cervical Cancer Screening By Junyang Wang Duke Global Health Institute Duke University Date:_______________________ Approved: ___________________________ Eric Finkelstein, Supervisor ___________________________ Kearsley Stewart ___________________________ Yousuf Zafar Thesis submitted in partial fulfillment of the requirements for the degree of Masters of Science in Duke Global Health Institute in the Graduate School of Duke University 2014 Copyright by Junyang Wang 2014 Abstract Objectives: To understand the key factors guiding women’s decision of whether or not to use breast and cervical cancer screening services (in order to determine how to cost effectively increase screening uptake in following conjoint). Methods: We conducted eight focus groups, with Singaporean women aged between 40 and 64 for breast cancer screening, and between 25 and 64 years for cervical cancer screening, to identify the key factors that drive cancer screening. Using the Health Belief Model to guide our focus group questions, we analyzed the responses and compared similarities and differences among screeners and non-screeners. Results: Singaporean women understand the severity of both breast and cervical cancer and fear the associated lifestyle challenges that come with a cancer diagnosis. With the exception of several non-screeners in the breast cancer group, all women reported they believed they were at risk of developing cancer. -
Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock
Genders 1998-2013 Genders 1998-2013 Genders 1998-2013 Home (/gendersarchive1998-2013/) Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock May 1, 2012 • By Linda Mizejewski (/gendersarchive1998-2013/linda-mizejewski) [1] The title of Tina Fey's humorous 2011 memoir, Bossypants, suggests how closely Fey is identified with her Emmy-award winning NBC sitcom 30 Rock (2006-), where she is the "boss"—the show's creator, star, head writer, and executive producer. Fey's reputation as a feminist—indeed, as Hollywood's Token Feminist, as some journalists have wryly pointed out—heavily inflects the character she plays, the "bossy" Liz Lemon, whose idealistic feminism is a mainstay of her characterization and of the show's comedy. Fey's comedy has always focused on gender, beginning with her work on Saturday Night Live (SNL) where she became that show's first female head writer in 1999. A year later she moved from behind the scenes to appear in the "Weekend Update" sketches, attracting national attention as a gifted comic with a penchant for zeroing in on women's issues. Fey's connection to feminist politics escalated when she returned to SNL for guest appearances during the presidential campaign of 2008, first in a sketch protesting the sexist media treatment of Hillary Clinton, and more forcefully, in her stunning imitations of vice-presidential candidate Sarah Palin, which launched Fey into national politics and prominence. [2] On 30 Rock, Liz Lemon is the head writer of an NBC comedy much likeSNL, and she is identified as a "third wave feminist" on the pilot episode. -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions
Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 5-2010 Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions Stephanie Savage Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the Advertising and Promotion Management Commons, and the Marketing Commons Savage, Stephanie, "Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions" (2010). Pell Scholars and Senior Theses. 54. https://digitalcommons.salve.edu/pell_theses/54 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Savage 1 “Who’s gonna turn down a Junior Mint? It’s chocolate, it’s peppermint ─it’s delicious!” While this may sound like your typical television commercial, you can thank Jerry Seinfeld and his butter fingers for what is actually one of the most renowned lines in television history. As part of a 1993 episode of Seinfeld , subsequently known as “The Junior Mint,” these infamous words have certainly gained a bit more attention than the show’s writers had originally bargained for. In fact, those of you who were annoyed by last year’s focus on a McDonald’s McFlurry on NBC’s 30 Rock may want to take up your beef with Seinfeld’s producers for supposedly showing marketers the way to the future ("Brand Practice: Product Integration Is as Old as Hollywood Itself"). -
Bruce Greenwood, Leslie Hope, Benjamin Ayres
Directed by Jerry Ciccoritti Written by Jeff Kober Starring: Bruce Greenwood, Leslie Hope, Benjamin Ayres, Megan Follows, David Hewlett, Kris Holden-Reid, Jeff Kober, Grace Lynn Kung, Kristin Lehman, Daniel Maslany, Tony Nappo, Paula Rivera TRT: 92:26 Format: 2:39 Sound: 5.1 surround sound Rating: (pending) Country: Canada Language: English Genre: Drama Trailers: Available Website: www.IndicanPictures.com Table of Contents Synopsis ...................................................................................................................................................................... 2 Director’s Statement .................................................................................................................................................. 3 Producer’s Statement ................................................................................................................................................. 3 Artist’s Statement (Jeff Kober) ................................................................................................................................... 4 Cast Bios ...................................................................................................................................................................... 5 Bruce Greenwood (Frank) ...................................................................................................................................... 5 Leslie Hope (Melanie) ............................................................................................................................................ -
'The Mystery Cruise' Cast Bios Gail O'grady
‘THE MYSTERY CRUISE’ CAST BIOS GAIL O’GRADY (Alvirah Meehan) – Multiple Emmy® nominee Gail O'Grady has starred in every genre of entertainment, including feature films, television movies, miniseries and series television. Her most recent television credits include the CW series “Hellcats” as well as "Desperate Housewives" as a married woman having an affair with the teenaged son of Felicity Huffman's character. On "Boston Legal," her multi-episode arc as the sexy and beautiful Judge Gloria Weldon, James Spader's love interest and sometime nemesis, garnered much praise. Starring series roles include the Kevin Williamson/CW drama series "Hidden Palms," which starred O'Grady as Karen Miller, a woman tormented by guilt over her first husband's suicide and her son's subsequent turn to alcohol. Prior to that, she starred as Helen Pryor in the critically acclaimed NBC series "American Dreams." But O'Grady will always be remembered as the warm-hearted secretary Donna Abandando on the series "NYPD Blue," for which she received three Emmy Award nominations for Best Supporting Actress in a Dramatic Series. O'Grady has made guest appearances on some of television's most acclaimed series, including "Cheers," "Designing Women," "Ally McBeal" and "China Beach." She has also appeared in numerous television movies and miniseries including Hallmark Channel's "All I Want for Christmas" and “After the Fall” and Lifetime's "While Children Sleep" and "Sex and the Single Mom," which was so highly rated that it spawned a sequel in which she also starred. Other television credits include “Major Crimes,” “Castle,” “Hawaii Five-0,” “Necessary Roughness,” “Drop Dead Diva,” “Ghost Whisperer,” “Law & Order: SVU,” “CSI: Miami,” "The Mentalist," "Vegas," "CSI," "Two and a Half Men," "Monk," "Two of Hearts," "Nothing Lasts Forever" and "Billionaire Boys Club." In the feature film arena, O'Grady has worked with some of the industry's most respected directors, including John Landis, John Hughes and Carl Reiner and has starred with several acting legends. -
Women's Discourses About Secretive Alcohol Dependence and Experiences of Accessing Treatment by Liezille Jean Pretorius Decem
CORE Metadata, citation and similar papers at core.ac.uk Provided by Stellenbosch University SUNScholar Repository Women’s discourses about secretive alcohol dependence and experiences of accessing treatment by Liezille Jean Pretorius Dissertation presented for the degree of Doctor of Philosophy in the Department of Psychology at the University of Stellenbosch Promoter: Prof Anthony Naidoo Faculty of Arts and Social Sciences Department of Psychology December 2010 DECLARATION By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the owner of the copyright thereof and that I have not previously in its entirety or in part submitted it for obtaining any qualification. ……………………………. …………………… Signature Date Copyright © 2010 Stellenbosch University All rights reserved ii ABSTRACT There is a paucity of research documenting women’s undisclosed drinking. This study explored the discursive accounts of women’s alcohol dependence, treatment history and barriers in accessing alcohol dependence treatment. The goals of this dissertation were to explore women’s alcohol dependence history; explore women’s treatment history (or lack thereof); identify barriers and nature of barriers that limit women’s access to alcohol dependence treatment; identify the reasons for women not accessing treatment, and to interpret women’s experiences of treatment per se. A Human Scientific Approach was adopted to examine and interpret how women’s drinking is socially constructed. A social constructionist approach was utilised to access and construct meaning from the discourses emanating from the women’s narratives of their experience with alcohol and their attempts at rehabilitation. Ten women were interviewed using the life story (narrative) interview method. -
Unbecoming Adults: Adolescence and the Technologies of Difference in Post
Unbecoming Adults: Adolescence and the Technologies of Difference in Post-1960s US Ethnic 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 James K. Harris, M.A. Graduate Program in English The Ohio State University 2017 Dissertation Committee: Dr. Martin Joseph Ponce, Advisor Dr. Lynn Itagaki Dr. Jian Chen Copyright by James K. Harris 2017 Abstract Adolescence has always been a cultural construction. The designation of a separate space apart from the presumed innocence of childhood and the myths of autonomy and responsibility that come to define adulthood is a surprisingly modern phenomenon. As such, adolescence bears the traces of the ideologies of race, gender, sexuality, and nation that attend so much of the period that calls itself “modernity.” My dissertation asks how writers and artists of color imagine themselves into the archive of coming of age narratives in post-1960s US literature and culture. In thinking about the importance of identity in the period following the advent of nominal civil rights, I offer the “long(er) civil rights movement” as a way of resisting the move to periodize the struggles through which difference has historically accrued meaning in the US nation- state. Each chapter centers around a “technology,” the academy, the body, the entertainment industry, and the internet, which is essential to the formation of adolescent identity in the post-war era, alongside a key term in the lexicon of American culture that accrues added meanings when filtered through the experience of difference. -
Views on Happiness in the Television Series Ally Mcbeal: the Philosophy of David E
QUT Digital Repository: http://eprints.qut.edu.au/ McKee, Alan (2004) Views On Happiness In The Television Series Ally Mcbeal: The Philosophy Of David E. Kelley. Journal of Happiness Studies 5(4):pp. 385- 411. © Copyright 2004 Springer The original publication is available at SpringerLink http://www.springerlink.com 1 Views on happiness in the television series Ally McBeal: the philosophy of David E Kelley Alan McKee Film and Television Queensland University of Technology Kelvin Grove QLD 4059 Australia [email protected] 2 Abstract This article contributes to our understanding of popular thinking about happiness by exploring the work of David E Kelley, the creator of the television program Ally McBeal and an important philosopher of happiness. Kelley's major points are as follows. He is more ambivalent than is generally the case in popular philosophy about many of the traditional sources of happiness. In regard to the maxim that money can't buy happiness he gives space to characters who assert that there is a relationship between material comfort and happiness, as well as to those that claim the opposite position. He is similarly ambivalent about the relationship between loving relationships and happiness; and friendships and happiness. In relation to these points Kelley is surprisingly principled in citing the sources that he draws upon in his thinking (through intertextual references to genres and texts that have explored these points before him). His most original and interesting contributions to popular discussions of the nature of happiness are twofold. The first is his suggestion that there is a lot to be said for false consciousness. -
Boston Massachusetts in Fiction Cheers Ally Mcbeal Good Will Hunting the Verdict the Handmaids Tale Spenser Fringe
BOSTON MASSACHUSETTS IN FICTION CHEERS ALLY MCBEAL GOOD WILL HUNTING THE VERDICT THE HANDMAIDS TALE SPENSER FRINGE PDF-29BMIFCAMGWHTVTHTSF0 | Page: 117 File Size 5,182 KB | 24 Jun, 2020 TABLE OF CONTENT Introduction Brief Description Main Topic Technical Note Appendix Glossary PDF File: Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The 1/2 Handmaids Tale Spenser Fringe - PDF-29BMIFCAMGWHTVTHTSF0 Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The Handmaids Tale Spenser Fringe e-Book Name : Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The Handmaids Tale Spenser Fringe - Read Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The Handmaids Tale Spenser Fringe PDF on your Android, iPhone, iPad or PC directly, the following PDF file is submitted in 24 Jun, 2020, Ebook ID PDF-29BMIFCAMGWHTVTHTSF0. Download full version PDF for Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The Handmaids Tale Spenser Fringe using the link below: Download: BOSTON MASSACHUSETTS IN FICTION CHEERS ALLY MCBEAL GOOD WILL HUNTING THE VERDICT THE HANDMAIDS TALE SPENSER FRINGE PDF The writers of Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The Handmaids Tale Spenser Fringe have made all reasonable attempts to offer latest and precise information and facts for the readers of this publication. The creators will not be held accountable for any unintentional flaws or omissions that may be found. PDF File: Boston Massachusetts In Fiction Cheers Ally Mcbeal Good Will Hunting The Verdict The 2/2 Handmaids Tale Spenser Fringe - PDF-29BMIFCAMGWHTVTHTSF0.