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NATURE, SOCIOLOGY, and the FRANKFURT SCHOOL by Ryan
NATURE, SOCIOLOGY, AND THE FRANKFURT SCHOOL By Ryan Gunderson A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Sociology – Doctor of Philosophy 2014 ABSTRACT NATURE, SOCIOLOGY, AND THE FRANKFURT SCHOOL By Ryan Gunderson Through a systematic analysis of the works of Max Horkheimer, Theodor W. Adorno, Herbert Marcuse, and Erich Fromm using historical methods, I document how early critical theory can conceptually and theoretically inform sociological examinations of human-nature relations. Currently, the first-generation Frankfurt School’s work is largely absent from and criticized in environmental sociology. I address this gap in the literature through a series of articles. One line of analysis establishes how the theories of Horkheimer, Adorno, and Marcuse are applicable to central topics and debates in environmental sociology. A second line of analysis examines how the Frankfurt School’s explanatory and normative theories of human- animal relations can inform sociological animal studies. The third line examines the place of nature in Fromm’s social psychology and sociology, focusing on his personality theory’s notion of “biophilia.” Dedicated to 바다. See you soon. iii ACKNOWLEDGEMENTS I owe my dissertation committee immense gratitude for offering persistent intellectual and emotional support. Linda Kalof overflows with kindness and her gentle presence continually put my mind at ease. It was an honor to be the mentee of a distinguished scholar foundational to the formation of animal studies. Tom Dietz is the most cheerful person I have ever met and, as the first environmental sociologist to integrate ideas from critical theory with a bottomless knowledge of the environmental social sciences, his insights have been invaluable. -
Howard Hughes
Howard Hughes Howard Hughes September 24, 1905 Born Houston, Texas, USA April 5, 1976 (aged 70) Died Houston, Texas, USA Chairman, Hughes Aircraft; Occupation industrialist; aviator; engineer; film producer Net worth US$12.8 bn (1958 Forbes 400) Ella Rice (1925-1929) Spouse Terry Moore (1949-1976) Jean Peters (1957-1971) For the Welsh murderer, see Howard Hughes (murderer). Howard Robard Hughes, Jr. (September 24, 1905 – April 5, 1976) was, in his time, an aviator, engineer, industrialist, film producer and director, a palgrave, a playboy, an eccentric, and one of the wealthiest people in the world. He is famous for setting multiple, world air-speed records, building the Hughes H-1 Racer and H-4 Hercules airplanes, producing the movies Hell's Angels and The Outlaw, owning and expanding TWA, his enormous intellect[1], and for his debilitating eccentric behavior in later life. Early years Hughes was born in Houston, Texas, on 24 September or 24 December 1905. Hughes claimed his birthday was Christmas Eve, although some biographers debate his exact birth date, (according to NNDB.com, it was most likely "the more mundane date of September 24"[2] ). His parents were Allene Stone Gano Hughes (a descendant of Catherine of Valois, Dowager Queen of England, by second husband Owen Tudor) [3][4] and Howard R. Hughes, Sr., who patented the tri-cone roller bit, which 1 allowed rotary drilling for oil in previously inaccessible places. Howard R. Hughes, Sr. founded Hughes Tool Company in 1909 to commercialize this invention. Hughes grew up under the strong influence of his mother, who was obsessed with protecting her son from all germs and diseases. -
Hansen, Cinema and Experience: Siegfried Kracauer, Walter
Cinema and Experience WEIMAR AND NOW: GERMAN CULTURAL CRITICISM Edward Dimendberg, Martin Jay, and Anton Kaes, General Editors Cinema and Experience Siegfried Kracauer, Walter Benjamin, and Th eodor W. Adorno Miriam Bratu Hansen UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2012 by Th e Regents of the University of California Library of Congress Cataloging-in-Publication Data Hansen, Marian Bratu, 1949–2011. Cinema and experience : Siegfried Kracauer, Walter Benjamin, and Th eodor W. Adorno / Miriam Bratu Hansen. p. cm.—(Weimar and now: German cultural criticism ; 44) Includes bibliographical references and index. isbn 978-0-520-26559-2 (cloth : alk. paper) isbn 978-0-520-26560-8 (pbk. : alk. paper) 1. Motion pictures. 2. Kracauer, Siegfried, 1889–1966—Criticism and interpretation. 3. Benjamin, Walter, 1892–1940—Criticism and interpretation. 4. Adorno, Th eodor W., 1903–1969—Criticism and interpretation. I. Title. PN1994.H265 2012 791.4309—dc23 2011017754 Manufactured in the United States of America 20 19 18 17 16 15 14 13 12 10 9 8 7 6 5 4 3 2 1 In keeping with a commitment to support environmentally responsible and sustainable printing practices, UC Press has printed this book on Rolland Enviro100, a 100 percent postconsumer fi ber paper that is FSC certifi ed, deinked, processed chlorine-free, and manufactured with renewable biogas energy. -
Creativity Book 2013
CREATIVITY : PRODUCT , PROCESS , PERSONALITY , ENVIRONMENT AND TECHNOLOGY 2 SANDRA I. KAY DESIGNING ELEGANT PROBLEMS FOR CREATIVE THINKING Creative thinkers seek elegance in their work. An aesthetic sensibility accompanies creative work from the original vision or motivation to its use in identifying what many creators describe as an ‘elegant solution’. Examples of this characteristic can be identified in most, if not all fields. If one defines creative thought in develop- mental terms, as “a process in which the individual finds, defines, or discovers an idea or problem not predetermined by the situation or task” (Kay 1989, p.65), then the importance of guidance by an aesthetic sensibility becomes more visible. We can see elegant solutions all around us. This chapter will look at what has been said about elegant solutions by a few creative producers and a few examples of elegant solutions that can affect our environment prior to introducing the con- cept of elegant problems. Elegant Problems address the what, not the how of creative teaching and learning. Aesthetic Sensibility, Deep Problems and Elegant Solutions in the Sci- ences The ability to appreciate the beauty of a solution has been noted by scientists, mathematicians, and artists. The term ‘Elegant Solution” is used across disciplines and time to describe the result of creative thought. For example, Campbell (1960) cites its importance with the words of the mathematician Poincare: The useful combinations are precisely the most beautiful, I mean those best able to charm this special sensibility that all mathematicians know, but of which the profane are so ignorant as often to be tempted to smile at it…. -
PLANNING and INSTALLATION GUIDE PLANNING and INSTALLATION GUIDE Finished Elegance™ Finished Elegance™ SPANISH TRANSLATION SPANISH TRANSLATION
PLANNING AND INSTALLATION GUIDE PLANNING AND INSTALLATION GUIDE Finished Elegance™ Finished Elegance™ SPANISH TRANSLATION SPANISH TRANSLATION 6 Remember these safety tips and helpful Finished Elegance is a No Painting Required hints before getting started interior moulding. Just cut, install and caulk. Spanish translation lorem ipsum dolor evat sit quis magnithit 100% satisfaction guarenteed. ■ Always wear eye, ear, and respiratory protection when doing any home improvement project. Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti 1 Plan your Finished Elegance Project vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore Spanish translation lorem ipsum ■ Using a compound miter saw and a pneumatic nail gun ■ will not only make the installation process easier, it will Draw a floor plan of your room. (Fig 1) Use the grid also speed up the time required for installation. provided to plot your room. (1 squar e = 1 foot) Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore minihit qui to commolu ptatus ma quiam expla ccaest exereicia ne mo ducilla ■ If you don’t own or want to purchase these tools, they cusaectas non net eum can be rented at The Home Depot Rental Center. ■ Measure each wall and note it on your plan. Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti Magnihit quiant vitatem dit quati odi se nis dipsandent faccusapere, quia vent volesti vent lacia expe quodit dis eatur, con nes prae quasintia perferestium ad ullabore vent lacia expe quodit dis eatur, con nes prae quasintia perfe restium ad ullabore ■ Also note the placement and size of any doors, windows, or openings in the room. -
January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)
January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949). -
Marilyn Monroe and Niagara
Icons are all around us, and often we don’t even question it. So ingrained is their power their image becomes synonymous with what they represent. The Statue of Liberty, a gift from the French, has come to represent a cultural welcome, freedom from oppression. After thousands of immigrants arrivals and generations of hardship, the sighting of the Statue in New York harbor has become iconic. Fifteen minutes of fame does not an icon make. An icon requires survival of a multistep process, which pushes the image to its limits. Firstly, an icon needs to have common roots, at least one foot among the masses. This is what allows the spectator to take ownership and feel connected and makes them a viable icon. An icon cannot be a representative of a group if it is not one of what it stands for. Secondly, the icon while remaining at its base “common”, must have an exceptional, unique qualtiy whic makes it the best example of something. It is the fastest, the highest, or the furthest. After it gains popularity because of these two first qualities, it then must stand a rigorous litany of deconstruction, digestion, and interrogation, before it can reach the fourth phase of being praised, lauded and embraced as the quintessential one of its kind. The irony is that once it claims icon status, all that made it so interesting to begin with has been stripped away. It has been so contorted, manipulated as to be simplified for the masses that only that one outstanding unique quality remains, and everything else is ignored. -
The Baseball Film in Postwar America ALSO by RON BRILEY and from MCFARLAND
The Baseball Film in Postwar America ALSO BY RON BRILEY AND FROM MCFARLAND The Politics of Baseball: Essays on the Pastime and Power at Home and Abroad (2010) Class at Bat, Gender on Deck and Race in the Hole: A Line-up of Essays on Twentieth Century Culture and America’s Game (2003) The Baseball Film in Postwar America A Critical Study, 1948–1962 RON BRILEY McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London All photographs provided by Photofest. LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Briley, Ron, 1949– The baseball film in postwar America : a critical study, 1948– 1962 / Ron Briley. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-6123-3 softcover : 50# alkaline paper 1. Baseball films—United States—History and criticism. I. Title. PN1995.9.B28B75 2011 791.43'6579—dc22 2011004853 BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE © 2011 Ron Briley. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. On the cover: center Jackie Robinson in The Jackie Robinson Story, 1950 (Photofest) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Table of Contents Preface 1 Introduction: The Post-World War II Consensus and the Baseball Film Genre 9 1. The Babe Ruth Story (1948) and the Myth of American Innocence 17 2. Taming Rosie the Riveter: Take Me Out to the Ball Game (1949) 33 3. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Reading Comprehension
READING COMPREHENSION 4 Howard Hughes, The Aviator Read the text about the life of the billionaire Howard Hughes. • Then choose the correct answer (A, B, C or D) for questions 1–7. • Write your answers in the spaces provided. • The rst one (0) has been done for you. Howard Hughes, The Aviator by Jennifer Rosenberg Howard Hughes’ Childhood Though he grew up in a wealthy household, Howard Hughes Jr. had diffi culty focusing on school and changed schools often. Rather than sitting in a classroom, Hughes preferred to learn by tinkering with mechanical things. For instance, when his mother forbade him from having a motorcycle, he built one by building a motor and adding it to his bicycle. Hughes was a loner in his youth; with one notable exception, Hughes never really had any friends. Tragedy and Wealth When Hughes was just 16-years old, his doting mother passed away. And then not even two years later, his father also suddenly died. Howard Hughes received 75% of his father’s million-dollar estate; the other 25% went to relatives. Hughes immediately disagreed with his relatives over the running of Hughes Tool Company but being only 18-years old, Hughes could not do anything about it because he would not legally be considered an adult until age 21. Frustrated but determined, Hughes went to court and got a judge to grant him legal adulthood. He then bought out his relatives’ shares of the company. At age 19, Hughes became full owner of the company and also got married (to Ella Rice). -
The Unspared Elegance of Marilyn Turtz on View at Dowling Walsh
The unspared elegance of Marilyn Turtz on view at Dowling Walsh pressherald.com/2017/05/28/the-unspared-elegance-of-marilyn-turtz-on-view-at-dowling-walsh/ By Daniel Kany May 28, 2017 The frame on a painting might act like the border between the art’s imagined world and the reality around it, but it also is a kind of flag that marks the start of the art experience for the viewer. The framing of art goes well beyond wooden rectangles and pedestals. Framing can include gallery walls, labels, lights, other works of art and so on. Dowling Walsh is a gallery that generally relies on traditional framing. Even with contemporary art, like the razor-sharp edges of Cig Harvey’s exquisite photos, the framing is clear. So it was an intriguing surprise to see the works in “Construct,” a curated group show more tethered to conceptualism than tradition. Aaron T Stephan’s stacks of cinder blocks spiraled up into the air: the blocks themselves are curved, and it is this undermining of their utility that frames them as art. One of Stephanie Cardon’s works also uses cinder blocks, but she uses them to support (and frame) threads that create moiré interference patterns. Such patterns create a perceptual frame since they appear, shift and move with the position of the viewer. ART REVIEW WHAT: Paintings by Marilyn Turtz and much more WHERE: Dowling Walsh Gallery, 365 Main St., Rockland WHEN: 10 a.m. to 5 p.m. Tuesday to Saturday; featured exhibition up through Memorial Day, but work will remain on view at gallery 1/5 MORE INFO: 596-0084, dowlingwalsh.com Search photos available for purchase: Photo Store → The most interesting aspect of “Construct,” however, is the inclusion of paintings by Elizabeth Fox and prints by Fairfield Porter (1907-1975). -
Portrait of the Artist's Wife by Albert Braïtou
Portraying the Elegance of an Era Painting Pairs: An art historical and technical study of Portrait of the Artist’s Wife by Albert Braïtou-Sala Lucy Fellows & Kelsey Gallagher Lucy Fellows and Kelsey Gallagher A Study of Albert Braïtou-Sala’s Portrait of the Artist’s Wife teacup and saucer in one hand. She exudes a 1920s elegance with her cupid-bow shaped red lips and bobbed hairstyle. Her downcast glance contributes to the peaceful mood of the painting. Behind Marie-Jeanne, Braïtou- Sala has loosely rendered a refined interior setting, including a tea service atop a dark wooden table, gold-framed pictures hanging on a pink wallpapered background, and trinkets sitting on a back table. Figure 1. Albert Braïtou-Sala, Portrait of the Artist's Wife, 41 x 33.3 cm, early 1920s, presumed oil on embossed This investigation into Portrait of the Artist’s paper, 41 x 33.3 cm, private collection, UK. Wife was conducted as part of the annual It is easy to be seduced by the charm and Painting Pairs project, an art historical and elegance of Albert Braïtou-Sala’s paintings. technical research collaboration between Portrait of the Artist’s Wife (Fig. 1), with its calm graduate students at The Courtauld Institute atmosphere and gracefully posed figure, of Art1. This painting came to The Courtauld provides a fine example of the French- from a private collection to be researched Tunisian artist’s most prolific and favoured and treated. There is minimal pre-existing art genre, portraiture. The picture is a small- historical scholarship surrounding Braïtou- sized, impressionist-style portrait painted on Sala, and to our knowledge, there has been textured paper.