Cabaret Release
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Living Knowledge – No 6, July 2005
ISSN 1613-2270 LivingLiving No. 6 - July 2005 KnowledgeKnowledge International Journal of Community Based Research Science and Citizen Participation The Science Communication Escalator Fruitful Interplay: Science and Theatre Universities and Civic Participation Living Knowledge The International Science Shop Network Contents | Editorial Around the World Contents Editorial he fl ow of expert knowledge is undergoing Focus: Science and Ciitizen Participation Trapid change. As information highways are constructed around the globe, new questions about ethics, goals and economics must be an- swered. Science communication addresses theo- The Science Communication retical and pragmatic questions central to many Escalator of today‘s debates. But also the involvement of civil society Every type of knowledge needs its and citizens in policy deliberation and decision-making proc- specifi c way of communication. At the esses relating to scientifi c and technical issues has undergone moment there is no blueprint for the communication be- signifi cant and also highly heterogeneous changes in European tween scientists and society. Ann Van der Auweraert from countries. Ways of involving civil society and empowering the Antwerp describes a model of a ‘science communication community have been very diverse, ranging from social mobi- escalator’, based on the ‘risk communication escalator’ by lisations, the development of associations, Science Shops and Ortwin Renn. » 5 NGOs, to the introduction of formal participatory procedures in decision-making settings. The fact that Science Shops respond to civil society’s needs for expertise and knowledge is a key element that distinguishes them from other knowledge transfer mechanisms. However, many Fruitful Interplay: Science and initiatives are similar to Science Shops and do the same type of Theatre work. -
Ristorante and Pizzeria “Bella Vista” in Boston at 288 Hanover Street 617-367-4999 Lucia Pezzano, Proprietor
VOL. 114 - NO. 35 BOSTON, MASSACHUSETTS, AUGUST 27, 2010 $.30 A COPY Arriverderci Boston by Pamela Donnaruma Consul General of Italy, made with other ethnic have paved the way for the Boston Liborio Stellino and groups. future Italian leaders. Educational Director of Con- Another person who played On two separate occasions sul General Office of Italy, an integral part in Bos- at the Dante Alighieri Soci- Boston Carlo Cipollone have ton’s Italian community, ety in Cambridge receptions completed their professional Dr. Carlo Cipollone is also were held in honor of Liborio duties in their respective bidding farewell. Dr. Cipol- and Carlo. In conjunction roles in Boston. lone worked as the Edu- with the Italian Republic Day Consul General Liborio cational Director at the Celebration, Liborio hosted a Stellino arrived in Boston to Consulate Office in Boston. reception to say farewell to begin his role in September, He worked closely with his colleagues, friends and 2006. I had the pleasure of C.A.S.IT., (Centro Attivita representatives from various interviewing Liborio Stellino Scolastiche Italiane), a non- organizations. after ten days of being in profit education and profes- On Monday, August, 23rd, office. He talked about his sional organization formed Carlo hosted his farewell re- previous posts and outlined by the Italian Consul Gen- Representative Paul Donato ception with many friends his goals for the Italian Consul General Liborio eral which sponsors the (right) presented a Procla- and colleagues who gener- community of Boston. He dis- Stellino bids farewell to promotion of Italian lan- mation from Massachu- ously provided refreshments cussed his ideas to increase Boston. -
Review Other Publications
University of Puget Sound Sound Ideas LMDA Review Other Publications Winter 2009 Review: The ewN sletter and Journal of Dramaturgy, volume 19, issue 1 Shelley Orr Haviva Avirom Carrie Kaplan Joanne Zipay Lauren Beck See next page for additional authors Follow this and additional works at: http://soundideas.pugetsound.edu/lmdareview Recommended Citation Orr, Shelley; Avirom, Haviva; Kaplan, Carrie; Zipay, Joanne; Beck, Lauren; and Arndt, Neena, "Review: The eN wsletter and Journal of Dramaturgy, volume 19, issue 1" (2009). LMDA Review. 39. http://soundideas.pugetsound.edu/lmdareview/39 This Book is brought to you for free and open access by the Other Publications at Sound Ideas. It has been accepted for inclusion in LMDA Review by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Authors Shelley Orr, Haviva Avirom, Carrie Kaplan, Joanne Zipay, Lauren Beck, and Neena Arndt This book is available at Sound Ideas: http://soundideas.pugetsound.edu/lmdareview/39 The Newsletter and Journal of Dramaturgy Published by the Literary Managers and Dramaturgs of the Americas Volume 19, Issue 1 Review Winter 2009 2009 CONFERENCE: DATES AND DETAILS 1 Save the Date! 2 Conference Committee and Participating Institutions 3 “Out of Bounds”: Plans and themes for the 2009 Conference DRAMATURGY AND TECHNOLOGY 4 Developing Digiturgy by Haviva Avirom DRAMATURGICAL MANIFESTA 8 I’d Rather Shove a Bodkin in My Nowl or Wear a Bona Roba’s Merkin Than Be That Kind of Dramaturg by Carrie Kaplan RESIDENCY REPORT: Richmond Shakespeare Festival 10 The Better Part of Valour by Joanne Zipay edited by Lauren Beck DRAMATURGY DEBUT ARTICLE 13 Theatre, Tears, and Rock: Dramaturging The Onion Cellar at ART by Neena Arndt I hope the new year finds you healthy and happy. -
I'm Your Biggest Fan (I╎ll Follow
Western University Scholarship@Western Digitized Theses Digitized Special Collections 2011 "I'M YOUR BIGGEST FAN (I’LL FOLLOW YOU UNTIL YOU LOVE ME)”: SOCIAL NETWORKING SITES, FANS, AND AFFECT Meghan R. Francis Follow this and additional works at: https://ir.lib.uwo.ca/digitizedtheses Recommended Citation Francis, Meghan R., ""I'M YOUR BIGGEST FAN (I’LL FOLLOW YOU UNTIL YOU LOVE ME)”: SOCIAL NETWORKING SITES, FANS, AND AFFECT" (2011). Digitized Theses. 3233. https://ir.lib.uwo.ca/digitizedtheses/3233 This Thesis is brought to you for free and open access by the Digitized Special Collections at Scholarship@Western. It has been accepted for inclusion in Digitized Theses by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. “I’M YOUR BIGGEST FAN (I’LL FOLLOW YOU UNTIL YOU LOVE ME)” SOCIAL NETWORKING SITES, FANS, AND AFFECT (Spine title: Social Networking Sites, Fans, and Affect) (Thesis Format: Monograph) by Meghan Francis Graduate Program in Popular Music and Culture 9 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Meghan Francis 2011 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION Supervisor Examiners Dr. Norma Coates Dr. Susan Knabe 1 Supervisory Committee Dr. Keir Keightley Dr. Susan Knabe Dr. Jonathan Burston The thesis by Meghan Ruth Francis entitled: “I'm Your Biggest Fan (I'll Follow You Until You Love Me)”: Social Networking Sites, Fans and Affect is accepted in partial fulfillment of the requirements for the degree of Master of Arts Date _______________________ _____ ____________ ■ __________ Chair of the Thesis Examination Board 11 L Abstract: This thesis explores the way that music fandom has changed on sites like Twitter. -
The Case of Amanda Palmer
3 4 Keep it Simple, Make it Fast! An approach to underground music scenes (vol. 4) Paula Guerra and Thiago Pereira Alberto (eds.) First Published July 2019 by Universidade do Porto. Faculdade de Letras [University of Porto. Faculty of Arts and Humanities] Via Panorâmica, s/n, 4150-564, Porto, PORTUGAL www.letras.up.pt Design: Wasted Rita and Marcelo Baptista Credits illustrations of book’s parts: Esgar Acelerado ISBN 978-989-54179-1-9 All the content presented in texts are solely the responsibility of the authors. The ideas presented do not necessarily represent the opinion of the editors. Attribution CC BY 4.0. International This book is Licensed under a Creative Commons Attribution 4.0. International License (CC BY 4.0). It is allowed to share, redistribute, adapt, remix, transform and build upon the content of this book. The appropriate credit must be given to the authors and editors. More informations: https://creativecommons.org/ licenses/by/4.0 353 7.3. Female artists, social media and alternative economy: the case of Amanda Palmer Beatriz Medeiros165 and Beatriz Polivanov166 Abstract In this paper we seek to investigate the strategies that the independent artist Amanda Palmer uses in order to gain visibility and financial capital to promote her music. Our theoretical background is mainly related to the process of self- presentation in social media, along with Bourdieu’s (2013) notion of symbolic capital. Based on the analysis of posts made by the artist on social network sites, such as Twitter and Instagram, apart from her blog and book / memoir (Palmer, 2014), we argue that her approaches for getting the audience engaged with her pledges can be gathered in three axes: a) public exposure of intimacy; b) negotiations of asking and c) advertising her crowdfunding projects. -
Is Crowdfunding the Future of Art?
BADARTWORLD.NET- JANUARY 23, 2018 Is crowdfunding the future of art? image by Patrick Carr By George Martin Fell Brown Do you remember Dragon’s Lair, the 1980s sword and sorcery arcade game featuring amazing, hand-drawn animation by none other than legendary animator Don Bluth? Well, guess what. Don Bluth is back and he wants to make a Dragon’s Lair movie. Just donate to his Kickstarter campaign to help get the movie off the ground. If that doesn’t appeal to you, how about Super Troopers? Remember that 2002 comedy? Well, guess what? There’s an IndieGoGo campaign to make Super Troopers 2. If that doesn’t appeal to you, then how do you feel about the hip-hop stylings of B.o.B? Well if you hop over to GoFundMe, you can help B.o.B raise the funds necessary build his own satellite so he can prove, once and for all, that the Earth is flat. He’s already 0.6% of the way towards reaching his goal! Digital crowdfunding websites date back at least as far as 2003, when ArtistShare was founded. And the term “crowdfunding” dates back to 2006. But in the past few years crowdfunding has become a staple in the arts and entertainment. These campaigns aren’t confined to the arts. But within the artistic sphere it’s seen as a new way to bypass the restrictions that come with working through the major music labels, Hollywood studios, and the like. By this point, however, crowdfunding is itself big business. And we should always be wary when big tech companies promise new technical solutions to the problems of capitalism. -
EDWARD GOREY's PLAY with GENERIC FORM by EDEN LEE LACKNER a Thesis Submitted to the Victoria University of Wellingt
GENRE GAMES: EDWARD GOREY'S PLAY WITH GENERIC FORM BY EDEN LEE LACKNER A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2015 Page 1 of 216 Page 2 of 216 ABSTRACT Genre Games: Edward Gorey's Play with Generic Form This thesis examines Edward Gorey's play with form and content across five literary genres, how that play results in the style that has come to be known as the "Goreyesque" and how the Goreyesque has influenced later artists and writers. Gorey consistently places style ahead of thematic and moral considerations, removing the purpose of each genre to reveal what remains in its absence. In doing so, Gorey maps out the boundaries of each form, providing genre- and period-specific details that act as signposts to how his audience should approach each narrative. With these markers in place, Gorey's readers are thus made aware of which genre expectations rule each piece. These expectations, however, are undermined as Gorey removes the audience-understood literary endgame, so that the work appears in all respects to be an accurate representation of the chosen genre, yet is missing the central heart. Gorey's melodramas present scenarios in which deep familial loss and suffering are at the forefront of each narrative, yet as a result of the distance that Gorey places between the text and his readers, these works ultimately lack sentimentality. His Dickensian narratives, while populated with virtuous orphans and embittered, isolated men, lack moral pronouncements and just rewards, resulting in exceptionally bleak, nihilistic endings that provide little or no social commentary. -
The Politics of Loving Blackness in the UK By
The Politics of Loving Blackness in the UK By Lisa Amanda Palmer A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of American and Canadian Studies The University of Birmingham March 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Can ‘loving blackness’ become a new discourse for anti-racism in the UK and the broader black diaspora? This thesis will critically assess the concept of ‘loving blackness as political resistance’ as outlined by the African American feminist bell hooks (1992). The thesis will show the ways in which blackness has been both negated and denigrated in western cultures and thus constructed in opposition to notions of love and humanness. Conversely, love and blackness are also rehabilitated in different ways by Black diasporic populations in Britain through the transnational space. The transnational space can provide opportunities for constructing, networks of care, love and anti racist strategies that affirm the value of blackness and Black life. However, the transnational space can also be fraught with risks, dangers and exclusions providing Black and migrant populations with uneven forms of citizenship and belonging to western neo-liberal states. -
Galatea's Daughters: Dolls, Female Identity and the Material Imagination
Galatea‘s Daughters: Dolls, Female Identity and the Material Imagination in Victorian 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 Maria Eugenia Gonzalez-Posse, M.A. Graduate Program in English The Ohio State University 2012 Dissertation Committee: David G. Riede, Advisor Jill Galvan Clare A. Simmons Copyright by Maria Eugenia Gonzalez-Posse 2012 Abstract The doll, as we conceive of it today, is the product of a Victorian cultural phenomenon. It was not until the middle of the nineteenth century that a dedicated doll industry was developed and that dolls began to find their way into children‘s literature, the rhetoric of femininity, periodical publications and canonical texts. Surprisingly, the Victorian fascination with the doll has largely gone unexamined and critics and readers have tended to dismiss dolls as mere agents of female acculturation. Guided by the recent material turn in Victorian studies and drawing extensively from texts only recently made available through digitization projects and periodical databases, my dissertation seeks to provide a richer account of the way this most fraught and symbolic of objects figured in the lives and imaginations of the Victorians. By studying the treatment of dolls in canonical literature alongside hitherto neglected texts and genres and framing these readings in their larger cultural contexts, the doll emerges not as a symbol of female passivity but as an object celebrated for its remarkable imaginative potential. The doll, I argue, is therefore best understood as a descendant of Galatea – as a woman turned object, but also as an object that Victorians constantly and variously brought to life through the imagination. -
The Construction of Female Gender in Amanda Palmer's Lyrics (1995-2009)
Jenni Piik “IF THE SLIPPER FITS, YOU WEAR IT, WHORE”: THE CONSTRUCTION OF FEMALE GENDER IN AMANDA PALMER'S LYRICS (1995-2009) A Pro Gradu Thesis Department of English University of Jyväskylä April 2011 HUMANISTINEN TIEDEKUNTA ENGLANNIN LAITOS Jenni Piik “IF THE SLIPPER FITS, YOU WEAR IT, WHORE”: THE CONSTRUCTION OF FEMALE GENDER IN AMANDA PALMER’S LYRICS (1995-2009). Englannin kieli Pro Gradu –tutkielma Huhtikuu 2011 91 sivua Tarkastelen tässä pro gradu –tutkielmassa naissukupuolen rakentumista Yhdysvaltalaisen laulaja-lauluntekijän Amanda Palmerin sanoituksissa vuosina 1995-2009. Palmer esiintyy Bostonissa 2000-luvun alussa perustetussa yhtyeessä The Dresden Dolls rumpali Brian Viglionen kanssa ja toimii myös sooloartistina. Tutkin naissukupuolta Palmerin sanoituksissa kolmen kategorian kautta: naisten ja miesten väliset suhteet; väkivalta; sekä raskaus, abortti, ja raiskaus. Tarkastelen sukupuolta kaksijakoisena; sukupuoli jakaantuu biologiseen sukupuoleen sekä sosiaalisesti rakentuneeseen, opittuun sukupuoleen. Tutkin sukupuolen rakentumista läntisen maailman mieshegemonian näkökulmasta; miessukupuolella on yhteiskunnallinen, sosiaalinen, ja kulttuurinen valta-asema ja sitä vastoin naissukupuolella alisteinen asema. Mieshegemoniassa olemassa olevia valta-asemia tuotetaan ja pidetään yllä mm. sukupuolen sosiaalisella rakentamisella ja ymmärtämällä sukupuoli vastakohtaparin nainen-mies kautta. Sekä naiset että miehet tiedostaen tai tietämättään tukevat tai vastustavat mieshegemoniaa sillä, miten he tuottavat sukupuolta. Naissukupuolen -
Registering Protest: Voice, Precarity, and Return in Crisis Portugal
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications 2-2016 Registering Protest: Voice, Precarity, and Return in Crisis Portugal Lila Ellen Gray Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the Musicology Commons Recommended Citation Gray, Lila Ellen. "Registering Protest: Voice, Precarity, and Return in Crisis Portugal." History and Anthropology 27, no. 1 (2016): 60-73. This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. History and Anthropology, 2016 Vol. 27, No. 1, 60–73, http://dx.doi.org/10.1080/02757206.2015.1113409 Registering Protest: Voice, Precarity, and Return in Crisis Portugal Lila Ellen Gray This article examines the circulation and reception of a song that catalyzed a youth move- ment and widespread protest in 2011 Portugal. Through a theorization of “register”,it argues for the importance of attending to micro-shifts in aesthetic form, engagement, and response, to understanding macro-shifts in public and political feeling. Keywords: Portugal; Protest Song; Crisis; Europe In November 2012, Spain and Portugal organize synchronized labour strikes; workers in Italy and Greece protest in solidarity.1 In February 2013, anti-austerity protesters occupy the parliament in Lisbon singing an iconic protest song from the 1974 Portu- guese revolution. The following evening different protesters sing the same song in Madrid.2 Graffiti in an abandoned industrial zone in Cacilhas (across the river Tagus from Lisbon), in July 2013, states, Somos Todos Gregos (“We are all Greeks”) (Figure 1). -
Articles of BEING EARNEST Starts December 21 the PERFECT HOLIDAY GIFT! a TASTE of the A.R.T
vol. 5 no. 2 November, 2006 IN THIS ISSUE: WINGS OF DESIRE starts November 25 THE ONION CELLAR starts December 9 THE IMPORTANCE ARTicles OF BEING EARNEST starts December 21 THE PERFECT HOLIDAY GIFT! A TASTE of the A.R.T. 3 plays for only $75 Complete season list on page 2. How to order on back page. Rock My World New music takes center stage Wings Wings of Desire of Desire The Onion Cellar Britannicus Catch the Classics Great plays, great literature Oliver Twist Britannicus No Man’s Land The Importance Hands across of Being Earnest the Atlantic Brilliant artists from England, Holland, & South Africa Wings of Desire The Importance of Being Earnest Elections & Erections or choose ANY three! The Onion Cellar NEW! 50 at $15 50 seats for every show ONLY $15! On sale at noon on day of s how. by phone, in person, or at amrep.org based on availability SEASON SPONSORED BY A.R.T.’s 2006-07 SEASON CONTINUES WINGS OF DESIRE FROM THE ARTISTIC DIRECTOR November 25 – December 17 Loeb Stage Dear Friends, stage adaptation* by Ola Mafaalani, Gideon Lester, and Ko van den Bosch In early October I joined the company of directed by Ola Mafaalani in association with Toneelgroep Amsterdam Wings of Desire in Amsterdam for the Dutch pre - miere of our co-production with Toneelgroep Damiel, a guardian angel, is weary of his eternal exis - Amsterdam. Theatre is at the center of culture in the tence observing and cataloging the ways of mankind. When he falls in love with a lonely trapeze artist, he Netherlands, and Toneelgroep Amsterdam is the resolves to sacrifice his wings and his immortality to center of theatre.