Greeks on a Plain
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Debunking Media Hype
feb. 27, 2015 LYST THE CATATHE INDEPENDENT STUDENT NEWSPAPER OF COLORADO COLLEGE NEWS 2 Opinion 7 SPORTS 9 LIFE 13 FRIDAY WEEK 2 BLOCK 6 EDWARD WOMEN’S DENVER COMEDIAN LACROSSE TO PERFORM AT VOL. 45 SNOWDEN NO. 16 AND AMERICA GETS TOUGH IVYWILD AND GRITTY IN CATALYSTNEWSPAPER.COM MORE: Page 7 SEASON OPENERS MORE: Illustration by Kyle Kallman. Photo courtesy of CC Athletics. Page 9 Photo courtesy of Adam Cayton-Holland. MORE: Page 13 Famed CC student band, Funkdozer, sits down with Jack Burger to discuss BDSM: their best memories as a band, favorite music, and DEBUNKING upcoming shows. MEDIA HYPE MORE: Page 5 FIFTY SHADES: Page 6 INSIDE: The race for Student Trustee ended 280-289 in favor of James Lonergan. Lonergan will step up to the position of Student Trustee with plans for involvement and open communication in hopes of Photo by Richard Forbes. bettering student relations with the Board of Trustees. Student Divestment Committee appeals to Board of Trustees for endowment ANNA KELLY Staff Writer collects donations from alumni that other tactics. MORE: Page 13 are contingent on the Board’s divest- “We have tried to come at this This morning, the Student Divest- ment by 2016. problem from all angles,” said Ben ment Committee (SDC) will ask the Criswell, a junior student leader for Board of Trustees to reconsider di- subject has been brought to the the SDC. “So now we’re trying to talk vesting from fossil fuels. The group board,This butis not this the time �irst the time SDC isthat bring- the in dollars and cents with this initia- INSIDE: will present their most recent stra- ing a carrot instead of a stick. -
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak 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 May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT ................................................................................................................. -
Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
The General Stud Book : Containing Pedigrees of Race Horses, &C
^--v ''*4# ^^^j^ r- "^. Digitized by tine Internet Arciiive in 2009 witii funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/generalstudbookc02fair THE GENERAL STUD BOOK VOL. II. : THE deiterol STUD BOOK, CONTAINING PEDIGREES OF RACE HORSES, &C. &-C. From the earliest Accounts to the Year 1831. inclusice. ITS FOUR VOLUMES. VOL. II. Brussels PRINTED FOR MELINE, CANS A.ND C"., EOILEVARD DE WATERLOO, Zi. M DCCC XXXIX. MR V. un:ve PREFACE TO THE FIRST EDITION. To assist in the detection of spurious and the correction of inaccu- rate pedigrees, is one of the purposes of the present publication, in which respect the first Volume has been of acknowledged utility. The two together, it is hoped, will form a comprehensive and tole- rably correct Register of Pedigrees. It will be observed that some of the Mares which appeared in the last Supplement (whereof this is a republication and continua- tion) stand as they did there, i. e. without any additions to their produce since 1813 or 1814. — It has been ascertained that several of them were about that time sold by public auction, and as all attempts to trace them have failed, the probability is that they have either been converted to some other use, or been sent abroad. If any proof were wanting of the superiority of the English breed of horses over that of every other country, it might be found in the avidity with which they are sought by Foreigners. The exportation of them to Russia, France, Germany, etc. for the last five years has been so considerable, as to render it an object of some importance in a commercial point of view. -
Hostage to Feminism? the Success of Christa Wolf's Kassandra in Its 1984
This is a repository copy of Hostage to feminism? The success of Christa Wolf’s Kassandra in its 1984 English translation. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/127025/ Version: Accepted Version Article: Summers, C (2018) Hostage to feminism? The success of Christa Wolf’s Kassandra in its 1984 English translation. Gender and History, 30 (1). pp. 226-239. ISSN 0953-5233 https://doi.org/10.1111/1468-0424.12345 © 2018 John Wiley & Sons Ltd. This is the peer reviewed version of the following article: Summers, C (2018) Hostage to feminism? The success of Christa Wolf’s Kassandra in its 1984 English translation. Gender and History, 30 (1). pp. 226-239, which has been published in final form at https://doi.org/10.1111/1468-0424.12345. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. -
Study Questions Helen of Troycomp
Study Questions Helen of Troy 1. What does Paris say about Agamemnon? That he treated Helen as a slave and he would have attacked Troy anyway. 2. What is Priam’s reaction to Paris’ action? What is Paris’ response? Priam is initially very upset with his son. Paris tries to defend himself and convince his father that he should allow Helen to stay because of her poor treatment. 3. What does Cassandra say when she first sees Helen? What warning does she give? Cassandra identifies Helen as a Spartan and says she does not belong there. Cassandra warns that Helen will bring about the end of Troy. 4. What does Helen say she wants to do? Why do you think she does this? She says she wants to return to her husband. She is probably doing this in an attempt to save lives. 5. What does Menelaus ask of King Priam? Who goes with him? Menelaus asks for his wife back. Odysseus goes with him. 6. How does Odysseus’ approach to Priam differ from Menelaus’? Who seems to be more successful? Odysseus reasons with Priam and tries to appeal to his sense of propriety; Menelaus simply threatened. Odysseus seems to be more successful; Priam actually considers his offer. 7. Why does Priam decide against returning Helen? What offer does he make to her? He finds out that Agamemnon sacrificed his daughter for safe passage to Troy; Agamemnon does not believe that is an action suited to a king. Priam offers Helen the opportunity to become Helen of Troy. 8. What do Agamemnon and Achilles do as the rest of the Greek army lands on the Trojan coast? They disguise themselves and sneak into the city. -
Nick Susa Epic Mythomemology – the Iliad Book 1: Achilles Was Fighting
Nick Susa Epic Mythomemology – The Iliad Book 1: Achilles was fighting alongside Agamemnon, the King of Argos, during the Trojan war. After winning a battle each was given a war prize, a woman. Achilles was given Briseis, and Agamemnon was given Chryseis. However, the father of Chryseis, Chryses, who was also a priest of Apollo, wasn’t ready to part with his daughter and came with a ransom for his daughter for King Agamemnon. Agamemnon refused the ransom in favor of keeping Chryseis and threatened the priest. Horrified and upset the priest (Chryses) calls upon Apollo and asks him to put a plague upon the Achaean armies, one of which Agamemnon leads. For nine days the armies were struck with a plague, on the tenth Achilles called a meeting to find the reason for the plague. Calchas, a prophet and follower of Apollo, being protected by Achilles, explains that Agamemnon refusing the ransom was the reason for the plague and he must return the girl and make a sacrifice of one hundred cows to Apollo in order to end the plague. Agamemnon decides to appease Apollo, but only if he can take away Achilles war prize, Briseis. Achilles doesn’t believe that Agamemnon should gain Briseis, so the two begin to argue. Achilles decides that he and his men shall not fight in the war because of Agamemnon’s actions. After Agamemnon takes Briseis away, Achilles cries and prays to his mother, Thetis, asking her to have Zeus grant the Achaean armies many loses. Zeus was not around to be asked though, but after twelve days, he returns and promises to Thetis that he will grant the Trojans many victories and the Achaeans many losses. -
ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck -
Download PDF Version
Dodge in a landslide 3 Record Store Day coming 9 Johnston moving on 20 Volume 44 Issue No. 25 March 19, 2012 www.fsu.ca/interrobang/ 2 NEWS Volume 44 Issue No. 25 March 19, 2012 www.fsu.ca/interrobang/ MARCH QUESTION EVENTS OF THE WEEK MONDAY 03-19 FREE RESUMES AND COVER IF YOU LETTERS WORKSHOP 2:30 – 4:00PM COULD BE Register with Career Services for details ANY MOVIE TUESDAY 03-20 CHARACTER, FREE DEAL OR NO DEAL WHO WOULD YOU BE AND WHY? Forwell Hall – 12:00PM WEDNESDAY 03-21 FREE COMEDY NIGHT Out Back Shack – 9:00PM FIRST RUN FILM Andrew Senay “I would be Johnny Depp’s CREDIT: FSU STREET TEAM 21 JUMP STREET character in Fear and Chasing Darwin perform during the March 9 edition of New Music Night, which takes place most Friday nights at 9:30 p.m. in the Out Back Shack. Rainbow Cinemas Loathing in Las Vegas, $3.50 STUDENTS | $5 GUESTS because of the crazy adventure he has.” 10 Things I Know About You... THURSDAY 03-22 MIAMI VICE PUB Forsyth just may needle you Becca Forsyth is in her second 2. What was your life-changing work. year of the Fashion Design pro- moment? 5. Who is your role model? gram at Fanshawe. Said Forsyth, When I first started to sew a couple Ron Swanson. “I’m a pretty quiet person, but years ago with my grandma. I’ve 6. Where in the world have you Out Back Shack – 9:30PM $3 ADV | $4 DOOR Christen Burchiel when it comes to designing I been hooked ever since. -
ARCTOS Acta Philologica Fennica
ARCTOS Acta Philologica Fennica VOL. LI HELSINKI 2017 INDEX Heikki Solin Rolf Westman in Memoriam 9 Ria Berg Toiletries and Taverns. Cosmetic Sets in Small 13 Houses, Hospitia and Lupanaria at Pompeii Maurizio Colombo Il prezzo dell'oro dal 300 al 325/330 41 e ILS 9420 = SupplIt V, 253–255 nr. 3 Lee Fratantuono Pallasne Exurere Classem: Minerva in the Aeneid 63 Janne Ikäheimo Buried Under? Re-examining the Topography 89 Jari-Matti Kuusela & and Geology of the Allia Battlefield Eero Jarva Boris Kayachev Ciris 204: an Emendation 111 Olli Salomies An Inscription from Pheradi Maius in Africa 115 (AE 1927, 28 = ILTun. 25) Umberto Soldovieri Una nuova dedica a Iuppiter da Pompei e l'origine 135 di L. Ninnius Quadratus, tribunus plebis 58 a.C. Divna Soleil Héraclès le premier mélancolique : 147 Origines d'une figure exemplaire Heikki Solin Analecta epigraphica 319–321 167 Holger Thesleff Pivotal Play and Irony in Platonic Dialogues 179 De novis libris iudicia 220 Index librorum in hoc volumine recensorum 277 Libri nobis missi 283 Index scriptorum 286 Arctos 51 (2017) 63–88 PALLASNE EXURERE CLASSEM: MINERVA IN THE AENEID Lee Fratantuono The goddess Minerva is a key figure in the theology of Virgil's Aeneid, though there has been relatively little written to explicate all of the scenes in the epic in which she plays a part or receives a reference.1 The present study seeks to provide a commentary on every mention of Pallas Athena/Minerva in Virgil's poetic corpus, with the intention of illustrating how the goddess plays a crucial role in the unfolding drama of the transition from a Trojan to an Italian identity for the future Rome, and in particular how the Volscian heroine Camilla serves as a mortal incarnation of the Minerva who was a patroness of battles and the military arts. -
Troy-Story-Non-Rhyming-Script-Sample
‘Troy Story’ by Andrew Oxspring NON-RHYMING SCRIPT SAMPLE (To the intro music (track 9) the whole cast enters and positions are taken for the first song.) Song (tracks 1 & 10, lyrics p17) (Whole cast) (To one side of the main stage stand four narrators, reading from scrolls.) Narrator 1 Welcome, one and all, to our little bit of theatre which tells a tragic tale from Ancient Greece! Prepare to be astonished, astounded and amazed at just how crazy things could get three thousand years ago! Narrator 2 Before we start, however, we must ask that you keep any coughing, sneezing and, dare we say, snoring to a minimum – our actors are very sensitive, you know! Oh, and in respect for the historical period we are portraying, please ensure that all your mobile phones have been switched off! They didn’t have them in those days, in case you weren’t aware! Narrator 3 So, let’s begin our story on Mount Olympus, a paradise home to the gods and goddesses of Ancient Greece. We say ‘paradise’, but on this particular day things weren’t so happy and relaxed. Three of the goddesses had really got the hump with each other! (Hera, Athene and Aphrodite enter and stand on one side of the stage, hands on hips, glaring angrily at each other. Zeus leads on the other gods and goddesses and they stand opposite.) Narrator 4 Hera, Athene and Aphrodite had fallen out! It seemed that these three ladies couldn’t agree on who the winner of ‘most glamourous goddess’ should be.