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Re-Mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity by Melina Kristine Dabney A
Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity By Melina Kristine Dabney A thesis submitted to the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Film Studies 2017 This thesis entitled: Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the new Femininity written by Melina Kristine Dabney has been approved for the Department of Film Studies ________________________________________________ (Melinda Barlow, Ph.D., Committee Chair) ________________________________________________ (Suranjan Ganguly, Ph.D., Committee Member) ________________________________________________ (Reiland Rabaka, Ph.D., Committee Member) Date: The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Dabney, Melina Kristine (BA/MA Film Studies) Re-mixing Old Character Tropes on Screen: Kerry Washington, Viola Davis, and the New Femininity Thesis directed by Professor Melinda Barlow While there is a substantial amount of scholarship on the depiction of African American women in film and television, this thesis exposes the new formations of African American femininity on screen. African American women have consistently resisted, challenged, submitted to, and remixed racial myths and sexual stereotypes existing in American cinema and television programming. Mainstream film and television practices significantly contribute to the reinforcement of old stereotypes in contemporary black women characters. However, based on the efforts of African American producers like Shonda Rhimes, who has attempted to insert more realistic renderings of African American women in her recent television shows, black women’s representation is undergoing yet another shift in contemporary media. -
Viewers Recognize the Youth and Wholesomeness of Her Son Unsettle These
© 2010 KATE L. FLACH ALL RIGHTS RESERVED MAMIE TILL AND JULIA: BLACK WOMEN’S JOURNEY FROM REAL TO REALISTIC IN 1950S AND 60S TV A Thesis Presented to The Graduate Faculty of the University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts, History Kate L. Flach December, 2010 MAMIE TILL AND JULIA: BLACK WOMEN’S JOURNEY FROM REAL TO REALISTIC IN 1950S AND 60S Kate L. Flach Thesis Approved: Accepted: ________________________________ _________________________________ Advisor Dean of the College Dr. Tracey Jean Boisseau Dr. Chand Midha ________________________________ _________________________________ Co-Advisor Dean of the Graduate School Dr. Zachary Williams Dr. George R. Newkome ________________________________ _________________________________ Department Chair Date Dr. Michael Sheng ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION ......................................................................................................1 II. FROM REAL IMAGES TO REEL EXPOSURE ......................................................5 III. WATCH AND LEARN: ESTABLISHING BLACK MIDDLE CLASS-NESS THROUGH MEDIA ................................................................................................17 IV. COVERING POST-WAR MOTHERHOOD ON TELEVISION ...........................26 V. INTERUPTING I LOVE LUCY FOR THIS? The Televised Emmett Till Trial ..............34 VI. CROSSING ALL Ts AND DOTTING LOWER CASE Js ......................................41 VII. CONCLUSION:“Okay, she can be the mother…” julia, November 26, -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Selected Highlights of Women's History
Selected Highlights of Women’s History United States & Connecticut 1773 to 2015 The Permanent Commission on the Status of Women omen have made many contributions, large and Wsmall, to the history of our state and our nation. Although their accomplishments are too often left un- recorded, women deserve to take their rightful place in the annals of achievement in politics, science and inven- Our tion, medicine, the armed forces, the arts, athletics, and h philanthropy. 40t While this is by no means a complete history, this book attempts to remedy the obscurity to which too many Year women have been relegated. It presents highlights of Connecticut women’s achievements since 1773, and in- cludes entries from notable moments in women’s history nationally. With this edition, as the PCSW celebrates the 40th anniversary of its founding in 1973, we invite you to explore the many ways women have shaped, and continue to shape, our state. Edited and designed by Christine Palm, Communications Director This project was originally created under the direction of Barbara Potopowitz with assistance from Christa Allard. It was updated on the following dates by PCSW’s interns: January, 2003 by Melissa Griswold, Salem College February, 2004 by Nicole Graf, University of Connecticut February, 2005 by Sarah Hoyle, Trinity College November, 2005 by Elizabeth Silverio, St. Joseph’s College July, 2006 by Allison Bloom, Vassar College August, 2007 by Michelle Hodge, Smith College January, 2013 by Andrea Sanders, University of Connecticut Information contained in this book was culled from many sources, including (but not limited to): The Connecticut Women’s Hall of Fame, the U.S. -
Queens of Consciousness & Sex-Radicalism in Hip-Hop
Queens of Consciousness & Sex-Radicalism in Hip-Hop: On Erykah Badu & The Notorious K.I.M. by Greg Thomas, Ph.D. English Department Syracuse University Greg Thomas ([email protected]) is an Assistant Professor in the English Department at Syracuse University. His interests include Pan-Africanism, Hip-Hop and Black radical traditions. He is author of The Sexual Demon of Colonial Power: Pan-African Embodiment and Erotic Schemes of Empire (Indiana University Press, 2007). He is also editor of the e-journal, Proud Flesh: New Afrikan Journal of Culture, Politics & Consciousness. Abstract This article is a study of sex, politics and lyrical literature across what could be called “Hip-Hop & Hip-Hop Soul.” It champions the concept “sexual consciousness” against popular and academic assumptions that construe “sexuality” and “consciousness” to be antithetical--in the tradition of “the mind/body split” of the white bourgeois West. An alternative, radical articulation of consciousness with an alternative, radical politics of gender and sexuality is located in the musical writings of two contemporary “iconic” figures: Lil’ Kim of “Hip-Hop” and Erykah Badu of “Neo-Soul.” Underscoring continuities between these author-figures, one of whom is coded as an icon of “sexuality (without consciousness),” conventionally, and the other as an icon of “consciousness (without sexuality),” I show how Black popular music is a space where radical sexual identities and epistemic politics are innovated out of vibrant African/Diasporic traditions. 23 The Journal of Pan African Studies, vol. 1, no. 7, March 2007 The reputed “Father of African Cinema,” Ousmane Sembène is perhaps ironically famous for what we can call his sexual consciousness, a consciousness of the politics of sex or gender and sexuality, in his radical productions of Black independent film. -
Finding Aid to the Historymakers ® Video Oral History with James Poyser
Finding Aid to The HistoryMakers ® Video Oral History with James Poyser Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Poyser, James, 1967- Title: The HistoryMakers® Video Oral History Interview with James Poyser, Dates: May 6, 2014 Bulk Dates: 2014 Physical 7 uncompressed MOV digital video files (3:06:29). Description: Abstract: Songwriter, producer, and musician James Poyser (1967 - ) was co-founder of the Axis Music Group and founding member of the musical collective Soulquarians. He was a Grammy award- winning songwriter, musician and multi-platinum producer. Poyser was also a regular member of The Roots, and joined them as the houseband for NBC's The Tonight Show Starring Jimmy Fallon. Poyser was interviewed by The HistoryMakers® on May 6, 2014, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2014_143 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award-winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole. -
RED BANK SECTION and Surroundlnf Town* T»M Mrlmflv and Without Bias RED BANK REGISTER ONE
AIX the NEWS of RED BANK SECTION and Surroundlnf Town* T»M mrlMflv and Without Bias RED BANK REGISTER ONE VOLUME LX1II, NO. 8. RED BANK, N. J., THURSDAY, AUGUST 15, 1940. PAGES 1 TO 14« Shrewsbury Hoie No Reduction In Did Sapp Sock Social Service To Spoure With Saucer?, Company Opposes Interest Rate On Mrs. Vinnle T. Sapp of M5 River Dollar Days In Red Bank street was taken to Riverview hos- Hold Annual Session Fire Ordinance Taxes At Rumson pital Monday morning with bruises on her forehead and cheek and a cut on the forehead which was Chief Says New „ Finance Committee closed with one stitch, received dur- Today, Tomorrow and Sat.; Six Student Nuriet to Receive ing an argument with her husband, Law Too Elaborate- Decides to Retain Thomas Sapp. Mrs. Sapp explained that she threw Certificates September 4 To Seek Changes Eight Per Cent Rate a saucer at her husband and In some mysterious way the saucer returned Store-Wide Bargains Galore The Monmouth. County Organiza- Members of Shrewsbury Hose com- The Interest rat* on delinquent to bruise her. Mrs. Sapp refused tion (or Social Service will hold 1U pany Tueaday night went on record taxes in Rumson will remain at to aay whether Sapp caught the annual meeting Wednesday, Septem- "Abe," Boat Porter aa unanimously opposed to the new eight per cent. Councilman Sheldon aaucer and returned it on the wing Legion Meets Warning Period For Many Merchants Co- ber 4, at Brookdale Farm, Llncroft, fire ordinance which waa introduced T. Coleman, chairman of the finance or whether the recalcitrant plate home of the president of the organ- and pawed on first reading Tueaday committee, reported to the mayor boom e ran Red to damage her face. -
Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe
Open Cultural Studies 2018; 2: 330–340 Research Article Nathalie Aghoro* Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe https://doi.org/10.1515/culture-2018-0030 Received May 21, 2018; accepted September 26, 2018 Abstract: This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monaé. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monáe use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience. Keywords: conceptual art, Afrofuturism, gender performance, black music, artistic persona We come in peace, but we mean business. (Janelle Monáe) In her Time’s up speech at the Grammys in January 2018, singer, songwriter, and actress Janelle Monáe sends out an assertive message from women to the music industry and the world in general. She repurposes the ambivalent first encounter trope “we come in peace” by turning it into a manifest for a present-day feminist movement. Merging futuristic, utopian ideas with contemporary political concerns pervades Monáe’s public appearances as much as it runs like a thread through her music. -
Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice. -
Spring 2019 the Cooper Union for the Advancement Of
AT SPRING 2019 COOPERTHE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART Milestones are important markers along the arc of an Leo Sorel Leo individual or institutional history. Birthdays, anniversaries, an achievement long in the making, a hurdle overcome, a barrier broken, a marker of the passage of the precious gift of time. Remembering and recognizing these moments remind us of what’s possible and invite us to renew a sense of purpose. In April, The Cooper Union will reach its own major milestone. 2019 marks the 160th year of the great experiment that Peter Cooper began in 1859. What’s remarkable is how much of his forward-thinking mindset continues to define us. Cooper Union is a place of opportunity, a place to take creative risks, a place where we aim to support our students’ personal and professional aspirations, wherever they may take them. Cooper’s significant scholarship levels today (provided to all undergraduate students and on average covering 76 percent of tuition) and ultimately a return to full-tuition scholarships for all undergraduates, provide opportunity for high-potential students by leveling the playing field and easing the financial burden of attending a highly selective, rigorous, and distinctive institution of higher education. That is critically important in a world where the income divide continues to widen and a higher education system struggles to fix what is broken and inaccessible to many. (Another Cooper program making a difference for students, the Saturday Program, turned 50; see page 8.) The Cooper Union has stood as a bastion of free speech and a place to champion democracy since its beginning, and we continue to carry that important responsibility forward today. -
Biographical Description for the Historymakers® Video Oral History with James Poyser
Biographical Description for The HistoryMakers® Video Oral History with James Poyser PERSON Poyser, James, 1967- Alternative Names: James Poyser; Life Dates: January 30, 1967- Place of Birth: Sheffield, England Work: Philadelphia, PA Occupations: Producer; Musician; Songwriter Biographical Note Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award- winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole. He was credited as writer/producer for multiple songs on Erykah Badu’s debut album, Baduizm; has writer, producer and musician credits on Lauryn Hill’s multiple Grammy-winning album, The Miseducation of Lauryn Hill; was a musician on Adele’s acclaimed album, 21; and served as executive co-producer and writer on Al Green’s Lay it Down. He was also the executive producer on Badu's highly celebrated albums, Mama's Gun and Worldwide Underground. He is an active session musician and has contributed to the works of other artists such as Norah Jones, Eric Clapton, Joss Stone, Ziggy Marley, Macy Gray and Femi Kuti. -
Voices Section M
Voices section M You'll never find a sparring partner in life better than adversity. ~ Golda Meir ~ MacArthur MacDonald Magie Mahler Malamud Mandela Mao Margaret Marley Marquez Marston Martin Martineau Marx Maslow Massey Matthau Maupassant McCrae McDaniel Mckuen McLean Mead Meir Melville Mencius Mencken Meredith Millar Milne Mitchell Mitchell Monroe Montaigne Montalban Montand Montgomery Montessori Moore Morgan Morrison Morrison Morton Mozart Mukherjee Murdoch Even when opportunity knocks, a man still has to get up off his seat and open the door.* Même lorsque l'occasion se présente, un homme a encore de se lever de son siège et ouvre la porte. 即使有机会碰,一名男子仍要起床掉他的座椅上,打开了车门. Douglas MacArthur General ww 2 Jan 26, 1880 - Apr 5, 1964 Voicesvoyagethroughtime Integrity is not a conditional word. It doesn't blow in the wind or change with the weather. It is your inner image of yourself, and if you look in there and see a man who won't cheat, then you know he never will. L'intégrité n'est pas un mot de mise en liberté sous condition. Il de souffler dans le vent ou changer avec le temps. C'est votre image intérieure de vous-même, et si vous regardez en y pour voir un homme qui a gagné de tricher, alors vous savez qu'il ne le fera jamais. 誠信不是一種有條件的字詞. 它不在風吹或更改後的天氣. 這是你的內在的形象, 並在那裏看到自己如果你 看一個人誰贏得作弊, 那麼你知道他永遠也不會. John Dann MacDonald Writer Jul 24, 1916 - Dec 28, 1986 Voicesvoyagethroughtime I am thankful that I was taught how to think and not what to think. Lizzie Magie Gamer designer: Monopoly Elizabeth Magie Philips 1866 ~ 1948 Voicesvoyagethroughtime Discipline, work.