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Eat. Sleep. Watch Dawson's Creek: Teenagers
EAT. SLEEP. WATCH DAWSON’S CREEK: TEENAGERS’ PERCEPTIONS OF TEENAGE LIFE ON DAWSON’S CREEK by AMANDA STEWART HALL (Under the Direction of MARIA CAROLINA ACOSTA-ALZURU) ABSTRACT Drawing on cultural studies, especially Hall’s theory of encoding and decoding of texts (1973), this study examines how a sample of the audience of Dawson’s Creek, a Warner Brothers’ Television show, interpret and relate to the show and whether they incorporate these meanings in their lives. Ten in-depth interviews were conducted with females aged 15- to 21-years-old to discern the reality of representations on the show of teenage life and how these participants engage with the show. Findings suggest the show enables its viewers to identify with the portrayal of the teenage experience, especially when examining the show’s characters. Limitations of the study include the diversity of the sample used. Future research suggestions include an examination of how the show’s messages are encoded by the show’s creative team. In addition, future research should include a more in-depth examination into how Dawson’s Creek has changed the nature of teenage television. INDEX WORDS: Cultural Studies, Popular Culture, Dawson’s Creek, Stuart Hall, Teenagers and Television, Consumption of Television, Encoding and Decoding Texts. EAT. SLEEP. WATCH DAWSON’S CREEK: TEENAGERS’ PERCEPTIONS OF TEENAGE LIFE ON DAWSON’S CREEK by AMANDA STEWART HALL B.A., University of North Carolina Charlotte, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2002 © 2002 Amanda Stewart Hall All Rights Reserved EAT. -
The Representation of Latinas in Orange Is the New Black a Thesis
The Representation of Latinas in Orange Is the New Black A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University By Sarah Weatherford Millette Bachelor of Arts Furman University, 2011 Director: Ricardo F. Vivancos Pérez, Associate Professor Department of Modern and Classical Languages Spring Semester 2015 George Mason University Fairfax, VA ACKNOWLEDGEMENTS I would like to thank first and foremost my advisor and mentor, Dr. Ricardo F. Vivancos Pérez, who has believed in me, encouraged me, and never stopped challenging me. I would also like to thank Dr. Lisa Rabin and Dr. Michele Back for their guidance and their time. Thank you to my family and friends for understanding my less-than-social life these past few months. Finally, I would like to thank my new husband, Nick, for accepting the fact that this has been my first love and priority in our first year of marriage. ii TABLE OF CONTENTS Page Abstract................................................................................................................................ iv Introduction........................................................................................................................... 1 Thesis Overview ................................................................................................................... 9 Chapter One - Gender, Sexuality, and Interethnic Relationships in the Fictional Prison .. 12 Women in the US Prison System................................................................................. -
The Queerness of Straight Masculinity:Men's Emotional
THE QUEERNESS OF STRAIGHT MASCULINITY:MEN’S EMOTIONAL INTIMACIES WITH OTHER MEN IN BOY MEETS WORLD AND DAWSON’S CREEK by David Powers Corwin A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Interdisciplinary Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2016 George Mason University Fairfax, VA The Queerness of Straight Masculinity: Men’s Emotional Intimacies with Men in Boy Meets World and Dawson’s Creek A Thesis submitted in Partial fulfillment of the requirements for the Master of Arts in Interdisciplinary Studies at George Mason University. By David Powers Corwin Bachelor of Arts Milligan College, 2013 Director: Dr. Rachel Lewis, Assistant Professor Women and Gender Studies Program Spring Semester 2016 George Mason University Fairfax VA Dedication To my best friend, Jordan, this project is an attempt to make sense of our friendship that seemed to differ from all of our other male peers. Thank you for your enduring support of me and for providing me with an unconditional friendship for the last seven years. ii Acknowledgements Many people both professionally and personally made contributions to my success in the completion of this thesis. First, I would like to thank my committee chair, Dr. Rachel Lewis, for her mentoring role in my graduate school experience from my first semester in the MAIS program. Almost every semester, I had at least one if not more courses with Rachel and she continues to mentor my scholarship and support my work by giving me constructive criticism and talking me through all my moments of discouragement I had throughout the process. -
United in Victory Toledo-Winlock Soccer Team Survives Dameon Pesanti / [email protected] Opponents of Oil Trains Show Support for a Speaker Tuesday
It Must Be Tigers Bounce Back Spring; The Centralia Holds Off W.F. West 9-6 in Rivalry Finale / Sports Weeds are Here / Life $1 Midweek Edition Thursday, May 1, 2014 Reaching 110,000 Readers in Print and Online — www.chronline.com United in Victory Toledo-Winlock Soccer Team Survives Dameon Pesanti / [email protected] Opponents of oil trains show support for a speaker Tuesday. Oil Train Opponents Dominate Centralia Meeting ONE-SIDED: Residents Fear Derailments, Explosions, Traffic Delays By Dameon Pesanti [email protected] More than 150 people came to Pete Caster / [email protected] the Centralia High School audito- Toledo-Winlock United goalkeeper Elias delCampo celebrates after leaving the Winlock School District meeting where the school board voted to strike down the rium Tuesday night to voice their motion to dissolve the combination soccer team on Wednesday evening. concerns against two new oil transfer centers slated to be built in Grays Harbor. CELEBRATION: Winlock School Board The meeting was meant to be Votes 3-2 to Keep Toledo/Winlock a platform for public comments and concerns related to the two Combined Boys Soccer Program projects, but the message from attendees was clear and unified By Christopher Brewer — study as many impacts as pos- [email protected] sible, but don’t let the trains come WINLOCK — United they have played for nearly through Western Washington. two decades, and United they will remain for the Nearly every speaker ex- foreseeable future. pressed concerns about the Toledo and Winlock’s combined boys’ soccer increase in global warming, program has survived the chopping block, as the potential derailments, the unpre- Winlock School Board voted 3-2 against dissolving paredness of municipalities in the the team at a special board meeting Wednesday eve- face of explosions and the poten- ning. -
ORANGE IS the NEW BLACK Season 1 Cast List SERIES
ORANGE IS THE NEW BLACK Season 1 Cast List SERIES REGULARS PIPER – TAYLOR SCHILLING LARRY BLOOM – JASON BIGGS MISS CLAUDETTE PELAGE – MICHELLE HURST GALINA “RED” REZNIKOV – KATE MULGREW ALEX VAUSE – LAURA PREPON SAM HEALY – MICHAEL HARNEY RECURRING CAST NICKY NICHOLS – NATASHA LYONNE (Episodes 1 – 13) PORNSTACHE MENDEZ – PABLO SCHREIBER (Episodes 1 – 13) DAYANARA DIAZ – DASCHA POLANCO (Episodes 1 – 13) JOHN BENNETT – MATT MCGORRY (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) LORNA MORELLO – YAEL MORELLO (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13) BIG BOO – LEA DELARIA (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13) TASHA “TAYSTEE” JEFFERSON – DANIELLE BROOKS (Episodes 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) JOSEPH “JOE” CAPUTO – NICK SANDOW (Episodes 1, 2, 4, 6, 7, 8, 9, 10, 11, 12, 13) YOGA JONES – CONSTANCE SHULMAN (Episodes 1, 2, 4, 5, 6, 7, 9, 10, 11, 12, 13) GLORIA MENDOZA – SELENIS LEYVA (Episodes 1, 2, 4, 5, 6, 7, 8, 9, 11, 12, 13) S. O’NEILL – JOEL MARSH GARLAND (Episodes 1, 2, 3, 4, 5, 6, 7, 9, 10, 12, 13) CRAZY EYES – UZO ADUBA (Episodes 2, 3, 4, 5, 6, 8, 9, 10, 11, 12, 13) POUSSEY – SAMIRA WILEY (Episodes 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13) POLLY HARPER – MARIA DIZZIA (Episodes 1, 2, 3, 5, 6, 7, 8, 9, 10, 12) JANAE WATSON – VICKY JEUDY (Episodes 1, 2, 3, 4, 7, 9, 10, 11, 12, 13) WANDA BELL – CATHERINE CURTIN (Episodes 1, 2, 3, 5, 6, 7, 9, 10, 11, 13) LEANNE TAYLOR – EMMA MYLES (Episodes 2, 3, 5, 6, 7, 9, 10, 11, 12, 13) NORMA – ANNIE GOLDEN (Episodes 2, 3, 5, 6, 7, 8, 9, 11, 12, 13) ALEIDA DIAZ – ELIZABETH RODRIGUEZ -
Orange Is the New Black
MASTERARBEIT Titel der Masterarbeit Zur Repräsentation von Sexualität, „Race“ und „Class“ in Orange Is The New Black Verfasserin Sina Cathérine Wurm angestrebter akademischer Grad Master of Arts (MA) Wien 2014 Studienkennzahl lt. Studienblatt: A 066 808 Studienrichtung lt. Studienblatt: Masterstudium Gender Studies Betreuerin: Ass.Prof.in Mag.a Dr.in Johanna Dorer Abstract In dieser Masterarbeit wird der Frage nachgegangen, wie Sexualität, Race und Class in der US-amerikanischen Fernsehserie „Orange Is The New Black“ (USA seit 2013) verhandelt werden. Die Analyse dreier Schlüsselfiguren der Serie basiert auf Lothar Mikos‘ Film- und Fernsehanalyse. Der theoretische Hintergrund, vor welchem die Analyse durchgeführt wird, beinhaltet dekonstruktivistische Theorien zu Geschlecht, Sexualität, Race und Class, den intersektionellen Ansatz sowie Perspektiven der Cultural Studies auf Populärkultur. 1 Inhaltsverzeichnis 1 Thema der Masterarbeit und Relevanz ............................................................................... 4 1.1 Forschungsfragen und Hypothesen .................................................................................. 9 1.2 Aufbau der Arbeit ............................................................................................................ 10 1.3 Positionierung ................................................................................................................. 11 2 Fragen der Repräsentation .............................................................................................. 12 -
Kulturalna Analiza Serija "Oz" I "Orange Is the New Black"
Kulturalna analiza serija "Oz" i "Orange is the New Black" Peškir, Hana Undergraduate thesis / Završni rad 2015 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Rijeka, Faculty of Humanities and Social Sciences / Sveučilište u Rijeci, Filozofski fakultet u Rijeci Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:186:966961 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-02 Repository / Repozitorij: Repository of the University of Rijeka, Faculty of Humanities and Social Sciences - FHSSRI Repository FILOZOFSKI FAKULTET RIJEKA ODSJEK ZA KULTURALNE STUDIJE Ak.god. 2014/2015. Mentor: Boris Ružić ZAVRŠNI RAD KULTURALNA ANALIZA SERIJA OZ I ORANGE IS THE NEW BLACK Studentica: Hana Peškir Godina studija: 3. U Rijeci, 30.08.2015. SADRŽAJ 1. UVOD.................................................................................. 3 2. TEMATSKI SADRŽAJ SERIJA......................................... 4 3. KARAKTERISTIKE TOTALNE INSTITUCIJE................. 5 3.1. Oz – zatvor s maksimalnim osiguranjem.............................. 6 3.2. Litchfield – zatvor s minimalnim osiguranjem...................... 7 4. RASNE I STEREOTIPNE PREDODŽBE............................. 8 4.1. Orange is the New Black....................................................... 9 4.2. Oz.......................................................................................... 11 5. SEKSUALNOST IZA ZATVORSKIH REŠETKI................. 12 5.1. Homoseksualnost u Orange is the New Black....................... -
ORANGE IS the NEW BLACK – I Personaggi (Fino Alla Seconda Stagione)
ORANGE IS THE NEW BLACK – I personaggi (fino alla seconda stagione) A cura di Odamei Alex Vause: Alex Vause fa girare enormi quantità di droga e la testa a Piper Chapman, della quale è molta delizia e poco croce. Si ritrova fra le mura di Litchfield con la sua amante amata, salvo poi uscire per uno stratagemma processuale. Non si può dire che nel Queens se la passi meglio, così Piper fa in modo che possa tornare a soggiornare in un luogo più “ameno “ e sicuro. Laura Prepon, che interpreta Alex, è stata investita di “deitudine” dalle fans, alle quali provoca tachicardia, mancamenti, svenimenti e sconvolgimenti ormonali vari e assortiti ad ogni sua apparizione. Piper Chapman: detentrice, conquistatrice, “proprietaria” del cuore di Alex, della quale apprezza anche altre parti corporee, finge di odiarla in tutti i modi, arrivando al martirio, cioè fidanzandosi con Larry. Ma non c’è niente che riesca a tenere lontane le due fanciulle. Apparentemente dolce ed indifesa al suo arrivo a Litchfield, sfodera un istinto di sopravvivenza ed un’astuzia degni delle migliori volpi. Nicky Nichols: generosa elargitrice di piacere e piaceri alle compagne di detenzione, grazie a “mamma” Red ha divorziato dall’eroina ed è riuscita a resistere alle “tentazioni”. Ha un’agenda sulla quale annota scrupolosamente le “performances” delle sue partners. Galina “Red” Reznikov: rossa di capelli e russa di origini, è una donna d’onore che dirige la cucina e il contrabbando di generi vari, dal rasoio alle creme. La sua autorità ed il suo rapporto con le detenute vengono messi in serio pericolo dall’arrivo di Vee Parker, che si congeda da lei con un paio di souvenir non proprio graditi. -
Instructor's Guide
DRAWN TO THE GODS Religion and Humor in The Simpsons, South Park, and Family Guy Instructor’s Guide Dives into a new world of religious satire illuminated through the layers of religion and humor that make up the The Simpsons, South Park, and Family Guy. Drawing on the worldviews put forth by three wildly popular animated shows – The Simpsons, South Park, and Family Guy– David Feltmate demonstrates how ideas about religion’s proper place in American society are communicated through comedy. The book includes discussion of a wide range of American religions, including Protestant and Catholic Christianity, Judaism, Islam, Buddhism, Native American Religions, New Religious Movements, “Spirituality,” Hinduism, and Atheism. Along the way, readers are shown that jokes about religion are influential tools for teaching viewers how to interpret and judge religious people and institutions. Feltmate develops a picture of how each show understands 304 pages | Paper | 978-1-4798-9036-1 Religion and communicates what constitutes good religious practice as well as which traditions they seek to exclude on the basis of Contents: race and ethnicity, stupidity, or danger. From Homer Simpson’s • Chapter Summaries with Discussion Questions spiritual journey during a chili-pepper induced hallucination to and Recommended Episodes South Park’s boxing match between Jesus and Satan to Peter • Questions for Reflection Griffin’s worship of the Fonz, each show uses humor to convey • Supplementary Assignments a broader commentary about the role of religion in public life. Through this examination, an understanding of what it means to "Without a doubt, I will use this delightful, well-researched, well-crafted monograph in my media, religion, and popular culture courses. -
Dawson's Creek, of Course!
Still Buffering 215: “Dawson’s Creek” (1998-2003) Published June 20th, 2020 Listen here at themcelroy.family [theme music plays] Rileigh: Hello, and welcome to Still Buffering: a cross-generational guide to the culture that made us. I am Rileigh Smirl. Sydnee: I'm Sydnee McElroy. Teylor: And I'm Teylor Smirl. Rileigh: Was that tagline right? Sydnee: Yep. Rileigh: Okay. [snorts] Sydnee: I think! Teylor: [laughs] Rileigh: Sorry, it's been a while since we've actually done it, and it just kinda came out before I could think about it, and I was just hoping it was right. And no one said anything, so I assumed it was. Sydnee: I was, uh—I wasn't paying strict attention, 'cause I was thinking about how I should've peed before we started. Rileigh: Mm-hmm. Sydnee: But, um, maybe that's the energy that I need for this. Rileigh: Holding your pee energy? Sydnee: [laughs quietly] Rileigh: That energy? Sydnee: [laughs] Don't you think that's— Teylor: Is that—is that good? Sydnee: I mean, maybe not—not—no, it's not great for your body. But, like, for your energy. Rileigh: Where you're just kind of, like, clenching. Like, "[quietly] Oh, okay." Sydnee: [laughs] Rileigh: "Yeah. Yeah." Sydnee: It doesn’t have to be that bad. [laughs] I was just k—I was—I was pondering that. Rileigh: Yeah. Sydnee: We're gonna see. Maybe this show will be better. Rileigh: We'll see, yeah. Teylor: Sydnee's conducting a scientific experiment. She has a—she has a hypothesis. -
Diversidad Entre Rejas: Estereotipos E Identidad De Género En La Ficción Televisiva Orange Is the New Black De Una Manera Sincrónica” (2014: 1)
° Comunicación y Medios N 37 (2018) www. comunicacionymedios.uchile.cl 79 Diversidad entre rejas: Estereotipos e identidad de género en la ficción televisiva Orange is the New Black Diversity behind bars: Gender stereotypes and identity in Orange is the New Black Leyre Eguskiza-Sesumaga. Universidad del País Vasco, Bilbao, España. [email protected] Resumen Abstract La multiplicidad de plataformas y canales en la The multiplicity of platforms and channels pre- Tercera Edad De Oro de la televisión ha genera- vailing in the Third Golden Age of television has do una expansión de la oferta ficcional, dando generated an expansion of fictional products, cabida a nuevos formatos, historias y persona- giving new formats, stories and characters their jes. Con un elenco mayoritariamente femenino, own place. Orange is the New Black, with a Orange is the New Black acerca a la audiencia mostly female cast, brings the audience closer la vida de un grupo de mujeres en prisión. Este to daily life of women in prison. This research trabajo de investigación ahonda en la represen- work delves into the representation of main cha- tación de la identidad de género de sus prota- racters’ gender identity, determining which fac- gonistas, determinando qué factores influyen tors affect the way these women are reflected. en dicho retrato. El análisis en profundidad de An in-depth analysis of fourteen female cha- catorce personajes femeninos detecta estereo- racters detects several stereotypes and values tipos y valores asociados al modelo heteronor- associated with the traditional heteronormative mativo. Sin embargo, la representación de los model. Nevertheless, prevailing social canons, cánones sociales imperantes, personificados a represented by the main character, open the través de la protagonista, abre la puerta a múl- door to multiple femininity models and give visi- tiples modelos de feminidad y a la visibilización bility to minority collectives. -
Day Day One August 21
Thursday Day One August 21 2p 8:30p 9:9:9: "Life on the Fast Lane" :2222: :22"Itchy and Scratchy and Marge" 2:30p 9p :0110: :01"Homer's Night Out" :3223: :32"Bart Gets Hit by a Car" 3p 9:30p :1111: :11"The Crêpes of Wrath" :4224: :42"One Fish, Two Fish, Blowfish, Blue Fish" 3:30p :2112: :21"Krusty Gets Busted" 10p :5225: :52"The Way We Was" 4p :3113: :31"Some Enchanted Evening" 10:30p :6226: :62"Homer vs. Lisa and the 8th Commandment" Season 2: 1990 -1991 Season 1: 1989 -1990 11p 4:30p 10a :4114: :41"Bart Gets an 'F'" :7227: :72"Principal Charming" 1:1:1: "Simpsons Roasting on an Open Fire" 11:30p 5p 10:30a :5115: :51"Simpson and Delilah" :8228: :82"Oh Brother, Where Art Thou?" 2:2:2: "Bart the Genius" 5:30p 11a :6116: :61"Treehouse of Horror" 3:3:3: "Homer's Odyssey" 6p 11:30a :7117: :71"Two Cars in Every Garage and Three Eyes on Every Fish" 4:4:4: "There's No Disgrace Like Home" 12p 6:30p 5:5:5: "Bart the General" :8118: :81"Dancin' Homer" 12:30p 7p 6:6:6: "Moaning Lisa" :9119: :91"Dead Putting Society" 1p 7:30p 7:7:7: "The Call of the Simpsons" :0220: :02"Bart vs. Thanksgiving" 1:30p 8p 8:8:8: "The Telltale Head" :1221: :12"Bart the Daredevil" Friday Day Two August 22 6a 1p 5p Season 2: 1990 -1991 (cont'd) 414141:41 ::: "Like Father, Like Clown" 555555:55 ::: "Colonel Homer" 636363:63 ::: "Lisa the Beauty Queen" 12a 292929:29 ::: "Bart's Dog Gets an "F"" 6:30a 1:30p 5:30p 424242:42 ::: "Treehouse of Horror II" 565656:56 ::: "Black Widower" 646464:64 ::: "Treehouse of Horror III" 12:30a 303030:30 ::: "Old Money" 7a 2p 6p 434343:43 :::