Download Download
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Project Ideas
Before you choose a topic, you may find it useful to visit http://archives.lib.byu.edu/repositories/14/resources/7978. This site contains the student projects that are currently housed in the William A. Wilson Folklore Archives. Below are possible research topics. Missionary folklore and folklife. Children’s rhymes and games LDS ward traditions Legends about the occult Supernatural encounters Folk art and Etsy.com Ministering legends and PENs Memes as folk belief Herbal remedies Memes as politics Personal revelation narratives Memes as humor Conversion legends and stories Digital communities LDS material lore (gravestones, quilts, tracts…) Folklore about disease (COVID, AIDS…) Legends about polygamy Home birth folklore and PENs Contemporary polygamy folklore and folklife Hospital birth and PENs LDS folk beliefs (Heavenly Mother, Holy Ghost...) Missionary proselyting games LDS character legends (prophets, women, celebrities...) Sport superstitions LDS family traditions Dating and the digital Folklore about LDS and non- LDS relationships Long distance relationship narratives Refugee folklore Folklore of Interfaith couples PENs or legends about Immigration PENs or legends about discrimination Second-generation immigrant folklore and folklife Legend tripping Ethnic foodways Family folklore narratives Protest narratives Religious folk rituals Native American folklore and folklife Folklore about sacred dress Historic narratives about immigrating to the U.S. Military folklore Ethnic or religious material lore Coming of age narratives and legends -
Shawangunk Review
Shawangunk Review State University of New York at New Paltz New Paltz, New York Volume XXVI Spring 2015 EDITORS Thomas Festa H. R. Stoneback GUEST EDITOR for the TWENTY-SIXTH ANNUAL ENGLISH GRADUATE SYMPOSIUM Thomas G. Olsen Cover art: Jason Cring TheShawangunk Review is the journal of the English Graduate Program at the State University of New York, New Paltz. The Review publishes the proceedings of the annual English Graduate Symposium and literary articles by graduate students as well as poetry and book reviews by students and faculty. The views expressed in the Shawangunk Review are those of the authors and not necessarily those of the Department of English at SUNY New Paltz. Please address correspondence to Shawangunk Review, Department of English, SUNY New Paltz, New Paltz, NY 12561. Copyright ©2015 Department of English, SUNY New Paltz. All rights reserved. Contents From the Editors I Introduction 3 Twice-Told Tales and the 2014 Graduate Thomas G. Olsen Symposium II Keynote Address 7 Disposing Shakespeare’s Estate in the Eighteenth Jack Lynch Century III Symposium Essays 19 “As Bokes Us Declare”: Intertextuality and Courtly Ian Hammons Love Conventions in Troilus and Criseyde 27 Rewriting Nature in As You Like It: Shakespeare’s Bill Kroeger Metacommentary 35 If You Worked Here You’d Be Home By Now: J. Dewey Permanence and Profession in the Forest of Arden 43 The Tempest: Appropriation of Colonial Discourse Daniel J. Pizappi and Sociopolitical Anxieties in the Caliban-Stefano- Trinculo Subplot 51 From the Screen to the Text: Rewriting Cinematic Melisa R. Walsh Beauty in Kafka’s Amerika 57 Re-visions of Madness in the Tradition of Lear Marc Cioffi 63 Luhrmann’s Postmodern Shakespeare Katie De Launay 69 Text and Not: Ian Pollock’s Graphic Novel Kelly Morehead Performance of King Lear IV Poetry 77 Thunder Snow David Appelbaum 78 Invitatory David Appelbaum 79 Pachysandra David Appelbaum 80 for Scheherazade Laurence Carr 82 a hundred iridescents Laurence Carr 83 Against Dawn Joann K. -
Haunting Experiences Diane Goldstein, Sylvia Grider, Jeannie Banks Thomas
Haunting Experiences Diane Goldstein, Sylvia Grider, Jeannie Banks Thomas Published by Utah State University Press Goldstein, Diane & Grider, Sylvia & Thomas, Banks. Haunting Experiences: Ghosts in Contemporary Folklore. Logan: Utah State University Press, 2007. Project MUSE., https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/9397 No institutional affiliation (2 Feb 2019 09:46 GMT) Introduction Old Spirits in New Bottles Bottle Trees and Cell Phones Bright wind chimes composed of enticing, candy-colored, pastel bits of glass are for sale at the Winchester Mystery House gift shop (fi gure 1). Some of the glass is formed into colorful bottles reminiscent of those in the southern supernatural tradition of bottle trees, a custom depicted in movies such as Ray (2004), a biopic about African American musician Ray Charles, or Because of Winn-Dixie (2005), a children’s fi lm about a beloved dog. The famous southern writer Eudora Welty photographed them. A contemporary southern author, Dennis Covington, describes them: “If you happen to have evil spirits, you put bottles on the branches of a [bare] tree in your yard. The more colorful the glass, the better, I suppose. The evil spirits get trapped in the bottles and won’t do you any harm. This is what Southerners in the country do with evil spirits” (1995, xv). Bottle trees are a product of southern African American cul- ture. Jim Martin says that glassblowing and bottle making existed as early as the ninth century in Africa. The practice of hanging objects from trees to ward off evil spirits is also African, and the bottle tree itself is Kongo-derived. -
Urban Legend
Urban legend “Urban tale” redirects here. For the rock band, see Urban 1 Origins and structure Tales. For other uses, see Urban legend (disambiguation). An urban legend, popular legend, urban myth, ur- The term “urban legend,” as used by folklorists, has ap- peared in print since at least 1968.[3] Jan Harold Brun- vand, professor of English at the University of Utah, in- troduced the term to the general public in a series of popular books published beginning in 1981. Brunvand used his collection of legends, The Vanishing Hitchhiker: American Urban Legends & Their Meanings (1981) to make two points: first, that legends and folklore do not occur exclusively in so-called primitive or traditional so- cieties, and second, that one could learn much about ur- ban and modern culture by studying such tales. Many urban legends are framed as complete stories with plot and characters. The compelling appeal of a typical urban legend is its elements of mystery, horror, fear or hu- [4] The "Bunny Man Bridge”, a legend tripping destination. mor. Often they serve as cautionary tales. Some urban legends are morality tales that depict someone, usually a child, acting in a disagreeable manner, only to wind up in trouble, hurt, or dead.[4] ban tale, or contemporary legend is a form of modern folklore consisting of fictional stories, often with macabre elements deeply rooted in local popular culture. These legends can be used for entertainment purposes, as well 2 Propagation and belief as for semi-serious explanations for random events such as disappearances and strange objects. As Jan Brunvand points out[5] antecedent legends includ- Despite its name, an urban legend does not necessarily ing some of the motifs, themes and symbolism of these originate in an urban area. -
Marble Hornets, the Slender Man, and the Emergence Of
DIGITAL FOLKLORE: MARBLE HORNETS, THE SLENDER MAN, AND THE EMERGENCE OF FOLK HORROR IN ONLINE COMMUNITIES by Dana Keller B.A., The University of British Columbia, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2013 © Dana Keller, 2013 Abstract In June 2009 a group of forum-goers on the popular culture website, Something Awful, created a monster called the Slender Man. Inhumanly tall, pale, black-clad, and with the power to control minds, the Slender Man references many classic, canonical horror monsters while simultaneously expressing an acute anxiety about the contemporary digital context that birthed him. This anxiety is apparent in the collective legends that have risen around the Slender Man since 2009, but it figures particularly strongly in the Web series Marble Hornets (Troy Wagner and Joseph DeLage June 2009 - ). This thesis examines Marble Hornets as an example of an emerging trend in digital, online cinema that it defines as “folk horror”: a subgenre of horror that is produced by online communities of everyday people— or folk—as opposed to professional crews working within the film industry. Works of folk horror address the questions and anxieties of our current, digital age by reflecting the changing roles and behaviours of the everyday person, who is becoming increasingly involved with the products of popular culture. After providing a context for understanding folk horror, this thesis analyzes Marble Hornets through the lens of folkloric narrative structures such as legends and folktales, and vernacular modes of filmmaking such as cinéma direct and found footage horror. -
OCR Document
Adolescent Legend Trips as Teenage Cultural Response: A Study of Lore in Context Patricia M. Meley One warm evening in June 1989, Jason, a fifteen-year-old boy who lived next door, called through my open window, "Can I come in and smoke a cigarette?" I welcomed him in, and as he sprawled his six-foot frame across the couch, he began to earnestly relate an account of a "trip" he had taken. To hear him tell it, it was a journey that took him far in emotion if not in distance: We went, you know, because Duane told us about it. There's this trailer where this guy shot his wife--shot her dead, y' know--she's gone-dead. And we stopped at this trailer and sat there and stared at it and we were all scared shitless. 'Cause it's just this narrow dirt road; trees surround it. And we sat there and this blue light goes on in this abandoned trailer where this man killed his wife. And if we didn't get out of there like nothing--I mean, we were gone. And then this car, it's a one-way road, there's no way to get out on it, this car just turned out of nowhere. There's a cliff--you fall off, you die--turned out of nowhere, just nowhere. I will never go back. I was so scared, I didn't sleep. About two weeks later, while he was sitting outside waiting for a friend, Jason's seventeen-year-old brother, Paul, told me a brief, but equally strange tale: There's a crazy man back there. -
Legend-Tripping at St. Anne's Retreat and Hecate in Logan Canyon: Origin, Belief, and Contemporary Oral Tradition
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-2000 Legend-Tripping at St. Anne's Retreat and Hecate in Logan Canyon: Origin, Belief, and Contemporary Oral Tradition Anna-María Snæbjörnsdóttir Arnljóts Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the American Studies Commons Recommended Citation Arnljóts, Anna-María Snæbjörnsdóttir, "Legend-Tripping at St. Anne's Retreat and Hecate in Logan Canyon: Origin, Belief, and Contemporary Oral Tradition" (2000). All Graduate Plan B and other Reports. 132. https://digitalcommons.usu.edu/gradreports/132 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. LEGEND-TRIPPING AT ST. ANi\TE'S RETREAT and HECATE IN LOGAN CANYON: ORIGIN, BELIEF , .-\ND CONTEMPORARY ORAL TRADITION by Anna-Marfa Sn,ebjomsd6ttir Amlj6ts Two essays submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS m American Studies (Plan B) Approved: Barre T6elken r Major Professor I Jeannie Th~mas Randy Williams Committee Member Committee :-viember UTAH STATE UNIVERSITY Logan, Utah 2000 Legend-Tripping at St. Anne's Retreat What is now referred to as St. Anne's Retreat was initially a summer home eight miles up Logan Canyon, east of Logan, Utah. It was built in the 1930s by the Boyd Hatch family from New York, and Mrs. Hortense Odlum. -
Meeting Your Monstrous Self Thesis Proposal
Vashti Tacoronte University of Puerto Rico, Mayagüez Campus College of Arts and Sciences Department of English Meeting your Monstrous Self: Fractured Identity and Duality in the Slender Man Mythos as Seen Through EverymanHYBRID By Vashti Tacoronte Cruz © Thesis Proposal Master of Arts in English Education Vashti Tacoronte Introduction In this hybrid thesis project, I will analyze how the internet figure of Slenderman, created by Eric Knudsen under the alias of Victor surge on the Something Awful forums for a photoshop contest on June 8th 2009, and his portrayal in series like EverymanHYBRID, Marble Hornets, and Tribe Twelve exemplify the fears and anxieties modern society has towards mental illnesses like depression and bipolar disorder, as well as the feelings of loss of control that accompany these disorders. This hybrid thesis will also explore how series like EverymanHYBRID, Marble Hornets, and Tribe Twelve use the character of Slender Man as a metaphor to effectively represent mental illness, the fracture in the Self -produced through meeting the bogeyman figure of Slender Man-, and its consequent creation of duality in the form of a horrific other, because of their reliance on multimodal media that allows them to reach an audience that lives digitally. The analysis of this video series will be guided by the theoretical lens of gender studies and will present Helene Cisoux’s theory of binary opposition as the primary approach to understanding the duality present in these series, with scrupulous emphasis given to the character of Evan in EverymanHYBRID. In addition to this, the analysis will also employ a structuralist theoretical lens, noting the work of important theorists such as Claude-Levi Strauss and Michel Foucault, in order to understand the structures shaping the view of madness in society. -
Beware the Slender Man: Intellectual Property and Internet Folklore Cathay Y
Florida Law Review Volume 70 | Issue 3 Article 3 Beware the Slender Man: Intellectual Property and Internet Folklore Cathay Y. N. Smith Follow this and additional works at: https://scholarship.law.ufl.edu/flr Part of the Internet Law Commons Recommended Citation Cathay Y. N. Smith, Beware the Slender Man: Intellectual Property and Internet Folklore, 70 Fla. L. Rev. 601 (). Available at: https://scholarship.law.ufl.edu/flr/vol70/iss3/3 This Article is brought to you for free and open access by UF Law Scholarship Repository. It has been accepted for inclusion in Florida Law Review by an authorized editor of UF Law Scholarship Repository. For more information, please contact [email protected]. Smith: Beware the Slender Man: Intellectual Property and Internet Folklo BEWARE THE SLENDER MAN: INTELLECTUAL PROPERTY AND INTERNET FOLKLORE Cathay Y. N. Smith* Abstract Internet folklore is created collaboratively within Internet communities—through memes, blogs, video games, fake news, found footage, creepypastas, art, podcasts, and other digital mediums. The Slender Man mythos is one of the most striking examples of Internet folklore. Slender Man, the tall and faceless monster who preys on children and teenagers, originated on an Internet forum in mid-2009 and quickly went viral, spreading to other forums and platforms online. His creation and development resulted from the collaborative efforts and cultural open-sourcing of many users and online communities; users reused, modified, and shared each other’s Slender Man creations, contributing to his development as a crowdsourced monster. This Article uses Slender Man as a case study to examine the online creation and production of Internet folklore and cultural products and to explore how intellectual property law treats these types of collective creations. -
Internet Communication: Heading Down the Tube?
Ross Bender PHIL 308 2009-11-13 Final Revision Internet Communication: Heading down the Tube? The invention of the internet is undeniably something that has affected almost everyone in the United States, let alone the rest of the world. Since the mid-90s, when its use exploded, it has become a place that many people rely on in countless aspects of their lives. They don’t think twice about shopping or paying bills online. However, the internet is used for much more than that. As the name implies, it is essentially a huge network of connected computers. What do people gain from being “plugged in” to this network? One main answer is the ease of communication. The internet has many functions, but the largest ones all revolve around how people interact with each other. People play games, read breaking news stories, and post on forums or blogs about an array of topics. YouTube, arguably the internet’s largest website for watching user-posted videos, understands the role of the internet in communication. YouTube describes itself as a “premier destination to watch and share original videos worldwide through a Web experience” (“Company History”). The more one stops to think about it, the more he or she realizes that the internet truly does revolve around communication. But why does this matter? What does communication through the internet have to do with people and their interaction as a whole? Bender - 2 The fact is that communication on the internet varies in many ways from other types of human collaboration. Almost all interaction with other people online can be done anonymously. -
American Folklore Society the Continuity and Creativity of Culture
American Folklore Society Keeping Folklorists Connected The Continuity and Creativity of Culture 2012 Annual Meeting Program and Abstracts Hotel Monteleone New Orleans, Louisiana October 24-27, 2012 Copyright © 2012 The American Folklore Society All rights reserved. No part of this publication may be reprinted in any form or by any means without prior permission from the publisher. Published by the American Folklore Society The Ohio State University Mershon Center 1501 Neil Ave. Columbus, OH 43201-2602 USA TABLE of CONTENTS Acknowledgements ............................................................................................................................................................... iv General Information .............................................................................................................................................................. xv Program Summary .............................................................................................................................................................xviii Program Schedule ..................................................................................................................................................................1 Wednesday ................................................................................... 1 Thursday ....................................................................................... 3 Friday .......................................................................................... 17 Saturday..................................................................................... -
Most Haunted and the Convergence of Traditional Belief and Popular Television
Folklore 118 (August 2007): 183–202 RESEARCH ARTICLE Most Haunted and the Convergence of Traditional Belief and Popular Television Mikel J. Koven Abstract LivingTV’s flagship series, Most Haunted, has been haunting the satellite network since 2002. The set-up of the series is straightforward: a team of investigators, including a historian, a parapsychologist, and “spiritualist medium” Derek Acorah, “legend-trip,” spending the night at some location within the United Kingdom that is reputed to be haunted, with the hopes of catching on video concrete proof of the existence of ghosts. However, unlike other reality television or true-life supernatural television shows, Most Haunted includes and addresses the audience less as a spectator and more as an active participant in the ghost hunt. Watching Most Haunted, we are directed not so much to accept or reject the evidence provided, as to engage in the debate over the evidence’s veracity. Like legend-telling in its oral form, belief in or rejection of the truth-claims of the story are less central than the possibility of the narrative’s truth—a position that invites debates about those truth-claims. This paper argues that Most Haunted, in its premise and structure, not only depicts or represents legend texts (here ghost stories), but engages the audience in the debates about the status of its truth- claims, thereby bringing this mass-mediated popular culture text closer to the folkloristic, legend-telling dynamic than other similar shows. Introduction This paper concerns the convergence of folklore and popular media. I am interested in seeing the points of convergence in marrying folkloristic approaches, in this case supernatural belief traditions, with an exceptionally popular reality television show, Most Haunted (LivingTV, 2002–present).