Kuliga RN Booklet 2017 FINAL.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Come Celebrate the 15Th Year Aniversary of the Alameda Point Antiques Faire
The Official Faire Magazine and Program Guide FREE! Volume 4 Issue 9 SUNDAY, SEPTEMBER 2, 2012 come early for the faire and stay for the auction! Visit Our Website to Discover How to Shop the Faire 365 days a Year MICHAAN’S AUCTIONS PRESENTS Come Celebrate the 15th Year Aniversary of The Alameda Point Antiques Faire Details Inside! • Detailed Booth Maps for Antiques Faire • Additional Maps with Alternate • Partial Sellers Directories Routes to Freeways • Details About Our Rain-Out Policy • Fun and Informative Articles Antiques By The Bay, Inc. • 510-522-7500 Michaan’s auctions • 510-740-0220 www.alamedapointantiquesfaire.com www.michaans.com 2900SEPTEMBER Navy Way 2, (at 2012 Main Street) Alameda, CA 94510 2751 Todd Street, Alameda, CA 94501 1 Michaan’s Auctions presents Now Accepting Quality Consignments for our Upcoming Auctions. We are looking for consignments of fine art, American and European furniture, decorations, Asian art, fine jewelry and timepieces for our auctions. To schedule a private appointment or to inquire about consigning please contact Tammie Chambless at (510) 227-2530. 1. Hermann Herzog (American 1832-1932) Farallon Islands, Pacific Coast Sold for $43,875 2. A Finely Carved Rhinoceros Horn ‘Lotus’ Libation Cup, 17th/18th Century Sold for $70,200 3. Philip & Kelvin LaVerne Studios Chan Coffee Table Sold for $6,435 Ph. (800) 380-9822 • (510) 740-0220 2751 Todd Street, Alameda, California 94501 Bond #70044066 Michaan’s Auctions presents The Official Magazine and Program Guide of the Alameda Point Antiques Faire * The Alameda Point Antiques Faire and Alameda Point Vintage Fashion Faire are not affiliated with any other antique shows. -
Belly Dancing in New Zealand
BELLY DANCING IN NEW ZEALAND: IDENTITY, HYBRIDITY, TRANSCULTURE A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Cultural Studies in the University of Canterbury by Brigid Kelly 2008 Abstract This thesis explores ways in which some New Zealanders draw on and negotiate both belly dancing and local cultural norms to construct multiple local and global identities. Drawing upon discourse analysis, post-structuralist and post-colonial theory, it argues that belly dancing outside its cultures of origin has become globalised, with its own synthetic culture arising from complex networks of activities, objects and texts focused around the act of belly dancing. This is demonstrated through analysis of New Zealand newspaper accounts, interviews, focus group discussion, the Oasis Dance Camp belly dance event in Tongariro and the work of fusion belly dance troupe Kiwi Iwi in Christchurch. Bringing New Zealand into the field of belly dance study can offer deeper insights into the processes of globalisation and hybridity, and offers possibilities for examination of the variety of ways in which belly dance is practiced around the world. The thesis fills a gap in the literature about ‘Western’ understandings and uses of the dance, which has thus far heavily emphasised the United States and notions of performing as an ‘exotic Other’. It also shifts away from a sole focus on representation to analyse participants’ experiences of belly dance as dance, rather than only as performative play. The talk of the belly dancers involved in this research demonstrates the complex and contradictory ways in which they articulate ideas about New Zealand identities and cultural conventions. -
Feminist Analysis of Belly Dance and Its Portrayal in the Media
FEMINISM IN BELLY DANCE AND ITS PORTRAYAL IN THE MEDIA Meghana B.S Registered Number 1324038 A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Science in Communication Christ University Bengaluru 2015 Program Authorized to Offer Degree Department of Media Studies ii Authorship Christ University Department of Media Studies Declaration This is to certify that I have examined this copy of a master‟s thesis by Meghana B.S Registered Number1324038 and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Committee Members: _____________________________________________________ _____________________________________________________ Date:__________________________________ iii iv Abstract I, Meghana B.S, confirm that this dissertation and the work presented in it are original. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism. Date: Signature v vi Abstract Feminism in Bellydance and its portrayal in the media Meghana B.S MS in Communication, Christ University, Bengaluru Bellydance is an art form that has gained tremendous popularity in the world today. -
Corpo Hibrido: Raízes, Modernidade E Fusão No Corpo Da(O) Dançarina(O) De Tribal
UNIVERSIDADE FEDERAL DE UBERLÂNDIA – UFU INSTITUTO DE ARTES – IARTE CURSO DE GRADUAÇÃO EM DANÇA THÁSSIA CAMILA DE ALMEIDA SOARES CORPO HIBRIDO: RAÍZES, MODERNIDADE E FUSÃO NO CORPO DA(O) DANÇARINA(O) DE TRIBAL Uberlândia/MG Dezembro de 2019 UNIVERSIDADE FEDERAL DE UBERLÂNDIA – UFU INSTITUTO DE ARTES – IARTE CURSO DE GRADUAÇÃO EM DANÇA THÁSSIA CAMILA DE ALMEIDA SOARES CORPO HIBRIDO: RAÍZES, MODERNIDADE E FUSÃO NO CORPO DA(O) DANÇARINA (O) DE TRIBAL Trabalho de Conclusão de Curso apresentado como requisito para avaliação na disciplina Defesa de Trabalho de Conclusão de Curso, do Curso de Dança da Universidade Federal de Uberlândia – UFU. Orientador: Prof. Dr. Jarbas Siqueira Ramos Uberlândia/MG Dezembro de 2019 Dedico esse trabalho a minha mãe Dinamar de Almeida que com todo o amor e dedicação esteve presente em momentos relevantes durante a conclusão do meu curso. Ao meu tio Pe. Itamar de Almeida Machado a minha irmã Tatiana e irmão William. AGRADECIMENTOS Sou grata pela minha formação religiosa, pois, minha fé sempre foi o suporte para continuar perseverante e confiante durante minha trajetória acadêmica. Sou grata a minha família por sempre me apoiar, confiar e acreditar em meus sonhos, se unindo para concretizar o meu desejo de ter um espaço dedicado a dança, e de estarem sempre nos bastidores dos eventos e cuidando da logística dos meus espetáculos. À minha pequena sobrinha e futura dançarina Ana Beatriz, que durante esses dois anos e meio de convívio diário e participando diretamente comigo nas aulas do meu estúdio de dança e em tardes de estudo para a escrita desse trabalho, já despertou o interesse e o apreço pelo movimento corporal. -
Post-Human Nightmares
Post-Human Nightmares Mark Player 13 May 2011 A man wakes up one morning to find himself slowly transforming into a living hybrid of meat and scrap metal; he dreams of being sodomised by a woman with a snakelike, strap-on phallus. Clandestine experiments of sensory depravation and mental torture unleash psychic powers in test subjects, prompting them to explode into showers of black pus or tear the flesh off each other's bodies in a sexual frenzy. Meanwhile, a hysterical cyborg sex-slave runs amok through busy streets whilst electrically charged demi-gods battle for supremacy on the rooftops above. This is cyberpunk, Japanese style : a brief filmmaking movement that erupted from the Japanese underground to garner international attention in the late 1980s. The world of live-action Japanese cyberpunk is a twisted and strange one indeed; a far cry from the established notions of computer hackers, ubiquitous technologies and domineering conglomerates as found in the pages of William Gibson's Neuromancer (1984) - a pivotal cyberpunk text during the sub-genre's formation and recognition in the early eighties. From a cinematic standpoint, it perhaps owes more to the industrial gothic of David Lynch's Eraserhead (1976) and the psycho-sexual body horror of early David Cronenberg than the rain- soaked metropolis of Ridley Scott's Blade Runner (1982), although Scott's neon infused tech-noir has been a major aesthetic touchstone for cyberpunk manga and anime institutions such as Katsuhiro Otomo's Akira (1982- 90) and Masamune Shirow's Ghost in the Shell (1989- ). In the Western world, cyberpunk was born out of the new wave science fiction literature of the sixties and seventies; authors such Harlan Ellison, J.G. -
The Grotesque of the Gothic: from Poe to the Present
Phillips 1 The Grotesque of the Gothic: From Poe to the Present A Four-Week Instructional Unit Plan designed by Amy Dyster Phillips ELAN 7408 Dr. Smagorinsky University of Georgia Fall, 2007 The Grotesque of the Gothic Phillips 2 Amy Phillips Dr. Smagorinsky ELAN 7408 Unit Rationale: The Grotesque of the Gothic: From Poe to the Present “Gothic” or “Goth” is a term still used today, but where did it come from? What does Gothic really mean? Why does dressing “Goth” imply wearing all or mostly black? And why are spooky images associated with both? Edgar Allen Poe had a lot to do with this. The Gothic genre, though having originated in England, was brought to America by Poe and the literary culture as we then knew it was transformed. This four-week unit is designed to outline for students the historical background of the Gothic, including biographical information on Poe’s life. Students will examine and analyze how the Gothic has changed from Poe’s time until now, and wrestle with questions such as “what is attractive about the emotional experience of fear”? In other words, “why do you enjoy scary movies?” Gothic (or gothick), a term originally used to describe that which was barbaric or barbarian, comes from the word Goth, the name of the Germanic tribes who destroyed Rome and wreaked havoc on the rest of Europe in the third through fifth centuries. Later, because of the architecture that flourished in Europe during the Middle Ages known for its non-classical style, the term Gothic came to take on other meanings, synonymous with Middle Ages and medieval. -
Dressing the Dancer: Identity and Belly Dance Students A
Dressing the Dancer: Identity and Belly Dance Students A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Margaret Anne Deppe IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Joanne Eicher, Elizabeth Bye May 2010 © Margaret Anne Deppe 2010 1 Abstract Dressing the Dancer: Identity and Belly Dance Students Dress is a primary tool in the public presentation of the self (Stone, 1962). Clothing, grooming, and the physical appearance of the dressed body contribute to self image in both professional and recreational settings. Attending belly dance classes is a popular leisure activity among American women, and for many, dress accouterments are a significant part of the class experience. Dressing of the self for recreational events gives individuals the opportunity to express alternate aspects of the self not typically evident in other social settings and provides an opportunity for female socialization. The appearance of vendors selling specialized dancewear for classes, seminars, and workshops suggests that dress plays a significant role for students at all levels of belly dance activity, not just among those who perform professionally. This study examines the types of dress worn for belly dance classes and the motivations for dress choices made by students learning to belly dance from professional instructors in dance classes, seminars, and workshops. The study will further investigate how dress contributes to the expression of identity in the belly dance class context. The methods used for this study are participant observation at locations and events where belly dance classes, workshops, and seminars are held as well as half-hour interviews with students attending those events. -
Notions of the Gothic in the Films of Alfred Hitchcock. CLARK, Dawn Karen
Notions of the Gothic in the films of Alfred Hitchcock. CLARK, Dawn Karen. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19471/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version CLARK, Dawn Karen. (2004). Notions of the Gothic in the films of Alfred Hitchcock. Masters, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE ProQuest Number: 10694352 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. uest ProQuest 10694352 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Notions of the Gothic in the Films of Alfred Hitchcock Dawn Karen Clark A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Master of Philosophy July 2004 Abstract The films of Alfred Hitchcock were made within the confines of the commercial film industries in Britain and the USA and related to popular cultural traditions such as the thriller and the spy story. -
From Cairo to California a Concise History of Bellydance in Egypt and America
From Cairo to California a concise history of bellydance in Egypt and America by Renée Rothman, PhD From Cairo to California: a concise history of bellydance in Egypt and America by Renée Rothman, PhD copyright 2013 please do not use material without proper attribution to me. 1 TABLE OF CONTENTS FORWARD 5 BELLYDANCE FAQs: An Introduction to Bellydance in Context 10 The Socio-religious Context of Egypt’s Dance Traditions 10 Bellydance in the Context of America’s “Melting Pot” and Feminist Politics 10 What is Bellydance? 11 Non-bellydance Forms in North Africa 12 Childbirth and Bellydance 13 Distinguishing Features of Bellydance 13 Bellydance Variations: Baladi, Raks Sharqi, and Tribal Fusion 14 The Bellydance World 15 PART ONE: EGYPTIAN BELLYDANCE 16 The Politics of Dancing in Egypt 16 Orientalism and the Occident 17 TRADITIONS OF FEMALE DANCERS IN EGYPT 19 Contextualizing Egypt’s Dancing Women 19 Awalim 19 Muhammad Ali Street Dancers 20 Ghawazi Dancers: The Banat Mazin 22 A Brief History of the Roma (Gypsy) 25 America’s Fictive Gypsy 27 THE RAQS SHARQI REVOLUTION 28 Badia Masabni (1894-1975) 28 Tahia Carioca (1919-1999) 30 NATIONAL FOLKDANCE AND THE FAMILIES REDA AND FAHMY 32 TRADITIONS OF MALE DANCERS IN EGYPT 33 Tito Seif 34 THE SURVIVAL OF BELLYDANCE IN EGYPT 34 PART TWO: AMERICAN BELLYDANCE 36 ORIENTALIST EXPRESSIONS: THE FIRST 100 YEARS OF BELLYDANCE IN THE WEST 36 America and the Middle East 36 Chicago World Fair and the Legend of Little Egypt 36 Orientalist Aesthetics 37 Oscar Wilde and Salomania 37 Ruth St. Denis and Divine Dance -
Screams on Screens: Paradigms of Horror
Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence. -
PHILOSOPHY of HORROR Spring 2017 MWF 12:00-12:50 MCOM 080
HONS3301-H02: THE PHILOSOPHY OF HORROR Spring 2017 MWF 12:00-12:50 MCOM 080 Instructor Darren Hudson Hick www.typetoken.com [email protected] Office: Phil 265E Office hours: MWF 9:00-10:00 Course Description This course asks, centrally, what is the nature of horror, and why do we like it? Not everyone is into Stephen King novels and slasher flicks. Not everyone appreciates a ghost story or monster movie. But a surprisingly large number of people do. So, what is the appeal of horror? Why do we like being scared? Doesn’t that seem… self-contradictory? Our study of the philosophy of horror will begin with a tour through the history of ‘art-horror’—the macabre and uncanny in literature, theatre, and film—to set the groundwork for philosophical inquiry in the twentieth and twenty-first centuries. Along the way, we’ll take in a bunch of horror stories, if only to keep us on the edge of our seats. Not recommended for students with heart conditions. Core Texts Stephen King, Danse Macabre (Gallery Books: 9781439170984) Noël Carroll, The Philosophy of Horror, or Paradoxes of the Heart (Routledge: 0415902169) All other readings for this course will be supplied as PDFs, available in the Course Readings section for this course on Blackboard. Course Requirements Exams There will be four take-home exams for this class: Exam Assigned Due 1 Wed, Feb 22 Mon, Feb 27 2 Mon, Mar 20 Fri, Mar 24 3 Fri, Apr 14 Wed, Apr 19 4 Mon, May 8 Fri, May 12 Each exam is worth 12% of your final grade. -
American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2010 American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture Jennifer Lynn Haynes-Clark Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Haynes-Clark, Jennifer Lynn, "American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture" (2010). Dissertations and Theses. Paper 20. https://doi.org/10.15760/etd.20 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture by Jennifer Lynn Haynes-Clark A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology Thesis Committee: Michele R. Gamburd, Chair Sharon A. Carstens Priya Kandaswamy Portland State University ©2010 Abstract Belly dance classes have become increasingly popular in recent decades in the United States. Many of the predominantly white, middle-class American women who belly dance proclaim that it is a source of feminist identity and empowerment that brings deeper meaning to their lives. American practitioners of this art form commonly explain that it originated from ritual-based dances of ancient Middle Eastern cultures and regard their participation as a link in a continuous lineage of female dancers.