Structures of Desire: Postanarchist Kink in the Speculative Fiction Of
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The Low-Status Character in Shakespeare's Comedies Linda St
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created. -
Program Overview Screenwriting Research Network
Program Overview Screenwriting Research Network 7. International Conference 17—19 October 2014 Screenwriting and Directing Audiovisual Media Keynotes by Milcho Manchevski, Jutta Brückner & Brian Winston Film University Babelsberg KONRAD WOLF, Potsdam, Germany FILMUNIVERSITÄT BABELSBERG KONRAD WOLF Conference website: www.filmuniversitaet.de/de/forschung/tagungen-symposien/tagungen/tma/detail/6706.html Thursday, 16 October 3 —5 pm Sightseeing: Potsdam Park Sanssouci www.potsdam-park-sanssouci.de/sitemap-eng.html We organized a guided tour of Sanssouci (castle and park) Thursday afternoon, October 16th, 3-5 pm. The tour is in English language with access for a group of max. 40 entrants. The fee must be shared: depending on the number of participants it could be 9,50 Euro each (40p.) up to 19 Euro (20p.) Please sign in: http://doodle.com/qyyrf69hu7yis9m8 6—9 pm Opening Reception & Get Together @ Wissenschaftsetage Potsdam (rsvp) Bildungsforum Potsdam, Am Kanal 47, 14467 Potsdam (4th floor) > www.wis-potsdam.de/en Friday, 17 October 9 am Registration (entrance hall, first floor) 10 am Welcome by PROFESSOR DR. SUSANNE STÜRMER, PRESIDENT OF FILM UNIVERSITY BABELSBERG KONRAD WOLF, PROFESSOR DR. KERSTIN STUTTERHEIM, CONFERENCE HOST AND KIRSI RINNE, CHAIR SRN 10:30 am Keynote by MILCHO MANCHEVSKI: WHY I LIKE WRITING AND HATE DIRECTING: NOTES OF A RECOVERING WRITER-DIRECTOR (Writer/Director, Scholar, Macedonia/USA) 11:30 am Coffee Break 11:45 am—1:15 pm Panel 1: WRITER–DIRECTOR’S SCREENPLAYS Ian W. Macdonald (University of Leeds, UK) SCREENWRITING AND SUBJECTIVITY Carmen Sofia Brenes (University of Los Andes, Chile) THE POETIC DENSITY OF THE STORY AS KEY ISSUE IN THE FILM NEGOTIATION BETWEEN WRITER, DIRECTOR AND PRODUCER Temenuga Trifonova (York University, Canada) THE WRITER’S SCREENPLAY AND THE WRITER/DIRECTOR’S SCREENPLAY: A COMPARATIVE ANALYSIS Jarmo Lampela (Aalto University Helsinki, Finland) ENSEMBLE AS A SCRENWRITER – THEATRE GOES MOVIES Panel 2: AUTEUR–FILM Gabriel M. -
Bgsu1245712232.Pdf (295.66
BODILY BORDERS/NATIONAL BORDERS: TOWARD A POST-NATIONALIST VALUATION OF LIFE IN THE CASE OF KIMBERLY MEDINA-TEJADA Jason Zeh 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 August 2009 Committee: Jolie Sheffer, Advisor Kimberly Coates © 2009 Jason Zeh All Rights Reserved ii ABSTRACT Dr Jolie Sheffer, Advisor Drawing upon the theories of Judith Butler, William Godwin, Gloria Anzaldúa, and Michel Foucault, I perform a close reading and textual analysis of a February 24, 2006 court case from the United States District Court for the Eastern District of California entitled “Richardo Medina-Tejada, Plaintiff, v. Sacramento County; Sacramento County Sheriff’s Department; Sheriff Lou Blanas; and Does 1 through XXX, inclusive, Defendants.” In this case, Kimberly (Richardo) Medina-Tejada, a transgender illegal immigrant from Mexico, challenges the constitutionality of her classification by the Sheriff’s Department as a “T-Sep,” or “total separation” inmate, while detained in the Sacramento County Main Jail awaiting deportation. The project explores a particular convergence of nationally specific discourses on race, gender, and citizenship that render Medina-Tejada’s body unintelligible and incapable of being afforded moral worth. I argue that the Nation-State, as a unit of social, political, economic, and cultural organization, is a fragile concept that must be vigorously guarded against threats to its epistemological foundations. This case reveals the State’s profound fear of transgressive modes of embodiment that challenge the categories upon which it is built. As such, Medina-Tejada’s body becomes a site in which the State’s oppression and repression of individual bodies becomes evident. -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam. -
Under the Influence of Satire Introduction
DeMattio 1 Under the Influence of Satire By: Ashley DeMattio Introduction This thesis compares and contrasts the two plays, Lysistrata by Aristophanes and Mrs. Warren’s Profession by George Bernard Shaw, based on their political agendas through the literary form of satire; they are greatly influenced by the time period in which they lived, and express themselves through the female characters in their plays. Insight and further understanding of each play will be provided, and it will be demonstrated how the authors had a goal of starting specific conversations amongst their audiences. Though these conversations differ, Aristophanes and Shaw demonstrate the ability to politically and intellectually enlighten their audiences through pleasure. Aristophanes was a native of Greece during the first century B.C.E., and witnessed the cruel occurrences of the Peloponnesian War and the challenge to Greece’s political stability. In his play Lysistrata he took the idea of war and molded it into a battle of the sexes. The main idea of the play is that the women of Greece, both Athenians and Spartans, are seeking to end the war, and in order to do so they hold a sex strike. The sex strike is used as a way to intrigue the audience through humor and risqué references; the use of satire is amplified when he uses women as the dominant characters. The women hold the power in the play, and this makes the Athenian audience uneasy. This uneasiness is what Aristophanes wants to accomplish, and he puts the audience in a vulnerable state. Lysistrata is meant to warn the people of Greece; what he is warning against and how he goes about it will be further understood when the play is examined. -
Fable Pc Game Download FABLE III Free Download
fable pc game download FABLE III Free Download. Click the download button below to start FABLE III Free Download with direct link. It is the full version of the game. Don’t forget to run the game as administrator. NOTICE : This game is already pre-installed for you, meaning you don’t have to install it. If you get any missing dll errors, make sure to look for a _Redist or _CommonRedist folder and install directx, vcredist and all other programs in that folder. You need these programs for the game to run. Look for a ‘HOW TO RUN GAME. txt’ file for more help. Also, be sure to right click the exe and always select “Run as administrator” if you’re having problems saving the game. Always disable your anti virus before extracting the game to prevent it from deleting the crack files. If you need additional help, click here. System Requirements. OS: XP 32 SP3, Vista 32/64 , Win 7 32/64 Processor: Intel Core 2 Duo 2GHz or AMD Athlon X2 4000+ Memory: 2 GB RAM Graphics: NVidia 7600GT or ATI HD 2600 Pro DirectX: Version 9.0c Storage: 9 GB available space. Popular Games. Chicory: A Colorful Tale Free Download (v1.0.0.53) Deadlight: Director’s Cut Free Download Bonetown: The Second Coming Edition Free Download Kinkoi: Golden Loveriche Free Download Living Legends: The Crystal Tear Collector’s Edition Free Download Candleman: The Complete Journey Free Download Livestream: Escape From Hotel Izanami Free Download Gurumin: A Monstrous Adventure Free Download (v1.4) Dandelion – Wishes Brought To You – Free Download Crystal Crisis Free Download (v1.6.994) OUR MISSION. -
Anarchism's Other Scene
Anarchist Developments in Cultural Studies ISSN: 1923-5615 2013.2: Ontological Anarché: Beyond Materialism and Idealism Editors’ Introduction Anarchism’s Other Scene Materializing the Ideal and Idealizing the Material Duane Rousselle & Jason Adams While more will be sa id about this below, we begin this issue in the simplest fashion: by recalling a few of the basic questions according to which the interventions here were initially assem- bled: • Is it the case, as Marx famously held in The German Ideology and The Poverty of Philosophy , that anar- chism has failed to account for the full complexity of the ontological? • Has there been a lack of concern within anarchism (historically speaking) with the actual circumstances that would make social transformation possible? • Has a narchism been a theory for which materiality was, as Marx put it, “distorted in the imagination of the egoist,” producing a subject “for whom every- thing occurs in the imagination?” • Should “Sancho” (Max Stirner), for example, have “descended from the real m of speculation into the realm of reality”? • Is the opposition of materialism and idealism itself a barrier to a higher, more powerful c onvergence, as recent anarchist/ anarchistic thinkers from Hakim Bey to Reiner Schürmann (and beyond) have arg ued? Certainly, we would not reduce these questions purely down to a simplistic confrontation between “Marxist materialism” and “anarchist 2 | DUANE ROUSSELLE & JASON ADAMS idealism”—and, particularly not today, when, in the wake of num- erous post-anarchist and post-Marxist interventions, “anarchist materialists” and “Marxist idealists” alike are at least as common as their inversions were in the past. -
Writing and Genres
1chapter Writing and Genres In this chapter, you will learn how to— 1.1 describe what genres are and how they help writers and readers communicate. 1.2 use genres to communicate with readers. 1.3 develop a writing process that will help you write efficiently and effectively. 1.4 use “genre know-how” to become a versatile writer in college and in the workplace. riting gives you the power to get things done with words and images. It allows W you to respond successfully to the people and events around you, whether you are trying to strengthen your community, pitch a new idea at work, or just text with your friends. The emergence of new writing situations—new places for writing, new readers, and new media—means writing today involves more than just getting words and images onto a page or screen. Writers need to handle a wide variety of situations with diverse groups of people and rapidly changing technologies. Learning to navigate among these complex situations is the real challenge of writing in today’s world. What Are Genres? In this book, you will learn how to use genres to interpret complex situations and 1.1 describe respond to them successfully. Defining the word genre is difficult. Sometimes, genres what genres are are defined by their structure alone (e.g., “A report has five parts: introduction, meth- and how they help writers ods, results, discussion, and conclusion”). But this understanding of genre is too sim- and readers plistic. Genres are not fixed or rigid patterns to be followed mechanically. -
Sex, the Body, and Human Subjectivity in Luis Gotyisolo's Erotic Novel "Escalera Hacia El Cielo"
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2002 Sex, the Body, and Human Subjectivity in Luis Gotyisolo's Erotic Novel "Escalera Hacia el Cielo" Terri Carney Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/facsch_papers Part of the Feminist, Gender, and Sexuality Studies Commons, and the Spanish and Portuguese Language and Literature Commons Recommended Citation Carney, Terri. "Sex, the Body, and Human Subjectivity in Luis Goytisolo's Erotic Novel Escalera hacia el cielo." Romance Notes, 42.2 (2002): 131-137. This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. ~ 0 0 0 0 0 0 0 0 ~ 0 ~ 0 ~. ')r,K")orx'')r,K'')orx'X-:K'')orx'~K'')orx'~K'')orx',,)(, SEX, THE BODY, AND HUMAN SUBJECTIVITY IN LUIS GOYTISOLO'S EROTIC NOVEL ESCALERA HACIA EL CIELO TERRI CARNEY BEST known for his tetralogy Antagonia, Luis Goytisolo began his lit erary career under the Franco dictatorship and soon developed a reputa tion as an intellectual's writer. His intricate and sinewy prose challenged readers to follow his narrators down labyrinthine paths of extended metaphors, embedded clauses and erudite references. Interestingly enough, the novels Goytisolo published in the last decade lack the nar rative complexity and structural experimentalism characteristic of his earlier works. -
CHAPTER 3: WRITE and PERFORM YOUR OWN PLAY! Steps to Creating Your Own Play
CHAPTER 3 GIVE WINGS TO YOUR IMAGINATION AND CHANGE THE WORLD: WRITE AND PERFORM YOUR OWN PLAY! By Jiwon Chung and Mariana Leal Ferreira1 PART 1: CREATE YOUR OWN PLAY! Have you ever envisioned writing plays and eventually directing and performing them yourself in your community or other public settings? Have you ever experienced the pleasure of fully expressing in prose or in dramatic action your life experiences and ideas for a better world for yourself and those around you? Have you even considered the fact that we are all innate actors, the main protagonists of our own lives, who fashion the world we live in and help create the world day by day in everything we say, feel, think, and do? Well, here are a few hints on how to get started writing your own plays, following Augusto Boal¶V2 ideas about Theatre of the Oppressed (TO) and his original and exciting games for actors and non-actors alike.3 Just like Boal, I believe HYHU\RQH¶VOLIHLVDSOD\LQLWVHOI± DQGLQWKLVUHVSHFW\RX¶UHWKHPDLQFKDUDFWHURI your own trajectory and life experience. Your motivation to make this a more just and peaceful world for all provides the basic inspiration for your creativity on how to end oppression today and achieve liberation towards a more free and just society. So let your imagination fly high! All of the plays in this book highlight a very specific conflict or crisis that requires DUHVROXWLRQ$QGKHUH¶VDYHU\LPSRUWDQWSRLQW to keep in mind when you write your own play: an issue only becomes an issue if there is conflict involved. -
Post-Anarchism in Grant Morrison's the Invisibles
4. “A Thought Thinking Itself:” Post-anarchism in Grant Morrison’s The Invisibles Lewis Call* Grant Morrison’s The Invisibles (1994-2000) tells the tale of a diverse band of anarchist freedom fighters. Morrison’s narrative follows the adventures of a cell within a centuries-old revolutionary organization called the Invisible College. The leader of this cell is King Mob, a bald, pierced fetishist, who resembles Morrison more than a little. Three of King Mob’s fellow “Invisibles” present as women: the cross-dressing Brazilian shaman Lord Fanny, a slightly insane time-travelling redhead called Ragged Robin, and an African-American former cop who calls herself Boy. The cell’s newest recruit is Jack Frost, a foul-mouthed working-class punk from Liverpool. Together these Invisible revolutionaries fight against an interdimensional authoritarian conspiracy called the “Outer Church.” This Outer Church works towards a world in which political, economic and religious institutions unite to create a system of total authority. Meanwhile, the Invisible College works towards the opposite end: a left- libertarian world based upon individual freedom, inclusive diversity, and universal access to the means of happiness (including sex, drugs, and magic). The Invisibles can thus be read as an inspirational story of anti-authoritarian rebellion: a strange, beautiful, anarchist fairy tale. Yet, The Invisibles is much more than that. Morrison’s comic is also a post-anarchist cultural artifact. Post-anarchism is a radical form of anarchist theory that first emerged in the 1980s. It draws on twentieth century post-structuralism and post- modernism to extend anarchism’s critical power beyond its traditional targets, capitalism and the state. -
Editorial: Postanarchism
Editorial: Postanarchism SAUL NEWMAN Postanarchism is emerging as an important new current in anarchist thought, and it is the source of growing interest and debate amongst anarchist activists and scholars alike, as well as in broader academic circles. Given the number of internet sites, discussion groups, and new books and journal publications appearing on postanarchism, it is time that the challenges it poses to classical anarchist thought and practice are taken more seriously. Postanarchism refers to a wide body of theory – encompassing political theory, philosophy, aesthetics, literature and film studies – which attempts to explore new directions in anarchist thought and politics. While it includes a number of different perspectives and trajectories, the central contention of postanarchism is that classical anarchist philosophy must take account of new theoretical directions and cultural phenomena, in particular, postmodernity and poststructuralism. While these theoretical categories have had a major impact on different areas of scholarship and thought, as well as politics, anarchism tends to have remained largely resistant to these developments and continues to work within an Enlightenment humanist epistemological framework1 which many see as being in need of updating. At the same time, anarchism – as a form of political theory and practice – is becoming increasingly important to radical struggles and global social movements today, to a large extent supplanting Marxism. Postanarchism seeks to revitalise anarchist theory in light of these new struggles and forms of resistance. However, rather than dismissing the tradition of classical anarchism, postanarchism, on the contrary, seeks to explore its potential and radicalise its possibilities. It remains entirely consistent, I would suggest, with the libertarian and egal- itarian horizon of anarchism; yet it seeks to broaden the terms of anti-authoritarian thought to include a critical analysis of language, discourse, culture and new modalities of power.