Narrative Structure and Purpose in Arnold Schoenberg's Pierrot
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The Beneficence of Gayface Tim Macausland Western Washington University, [email protected]
Occam's Razor Volume 6 (2016) Article 2 2016 The Beneficence of Gayface Tim MacAusland Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/orwwu Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation MacAusland, Tim (2016) "The Beneficence of Gayface," Occam's Razor: Vol. 6 , Article 2. Available at: https://cedar.wwu.edu/orwwu/vol6/iss1/2 This Research Paper is brought to you for free and open access by the Western Student Publications at Western CEDAR. It has been accepted for inclusion in Occam's Razor by an authorized editor of Western CEDAR. For more information, please contact [email protected]. MacAusland: The Beneficence of Gayface THE BENEFICENCE OF GAYFACE BY TIM MACAUSLAND In 2009, veteran funny man Jim Carrey, best known to the mainstream within the previous decade with for his zany and nearly cartoonish live-action lms like American Beauty and Rent. It was, rather, performances—perhaps none more literally than in that the actors themselves were not gay. However, the 1994 lm e Mask (Russell, 1994)—stretched they never let it show or undermine the believability his comedic boundaries with his portrayal of real- of the roles they played. As expected, the stars life con artist Steven Jay Russell in the lm I Love received much of the acclaim, but the lm does You Phillip Morris (Requa, Ficarra, 2009). Despite represent a peculiar quandary in the ethical value of earning critical success and some of Carrey’s highest straight actors in gay roles. -
Leaders and Heroes: Modern Day Archetypes Sophon Shadraconis Claremont Graduate University, [email protected]
LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University Volume 3 | Issue 1 Article 15 2013 Leaders and Heroes: Modern Day Archetypes Sophon Shadraconis Claremont Graduate University, [email protected] Follow this and additional works at: http://scholarship.claremont.edu/lux Part of the Business Commons, and the Social and Behavioral Sciences Commons Recommended Citation Shadraconis, Sophon (2013) "Leaders and Heroes: Modern Day Archetypes," LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University: Vol. 3: Iss. 1, Article 15. Available at: http://scholarship.claremont.edu/lux/vol3/iss1/15 Shadraconis: Leaders and Heroes: Modern Day Archetypes Shadraconis 1 Leaders and Heroes: Modern Day Archetypes Sophon Shadraconis Claremont Graduate University Abstract This paper explores the salience of archetypes through modern day idealization of leaders as heroes. The body of research in evolutionary psychology and ethology provide support for archetypal theory and the influence of archetypes (Hart & Brady, 2005; Maloney, 1999). Our idealized self is reflected in archetypes and it is possible that we draw on archetypal themes to compensate for a reduction in meaning in our modern day work life. Archetypal priming can touch a person’s true self and result in increased meaning in life. According to Faber and Mayer (2009), drawing from Jung (1968), an archetype is an, “internal mental model of a typical, generic story character to which an observer might resonate emotionally” (p. 307). Most contemporary researchers maintain that archetypal models are transmitted through culture rather than biology, as Jung originally argued (Faber & Mayer, 2009). Archetypes as mental models can be likened to image schemas, foundational mind/brain structures that are developed during human pre-verbal experience (Merchant, 2009). -
Children's Books & Illustrated Books
CHILDREN’S BOOKS & ILLUSTRATED BOOKS ALEPH-BET BOOKS, INC. 85 OLD MILL RIVER RD. POUND RIDGE, NY 10576 (914) 764 - 7410 CATALOGUE 94 ALEPH - BET BOOKS - TERMS OF SALE Helen and Marc Younger 85 Old Mill River Rd. Pound Ridge, NY 10576 phone 914-764-7410 fax 914-764-1356 www.alephbet.com Email - [email protected] POSTAGE: UNITED STATES. 1st book $8.00, $2.00 for each additional book. OVERSEAS shipped by air at cost. PAYMENTS: Due with order. Libraries and those known to us will be billed. PHONE orders 9am to 10pm e.s.t. Phone Machine orders are secure. CREDIT CARDS: VISA, Mastercard, American Express. Please provide billing address. RETURNS - Returnable for any reason within 1 week of receipt for refund less shipping costs provided prior notice is received and items are shipped fastest method insured VISITS welcome by appointment. We are 1 hour north of New York City near New Canaan, CT. Our full stock of 8000 collectible and rare books is on view and available. Not all of our stock is on our web site COVER ILLUSTRATION - #307 - ORIGINAL ART BY MAUD HUMPHREY FOR GALLANT LITTLE PATRIOTS #357 - Meggendorfer Das Puppenhaus (The Doll House) #357 - Meggendorfer Das Puppenhaus #195 - Detmold Arabian Nights #526 - Dr. Seuss original art #326 - Dorothy Lathrop drawing - Kou Hsiung (Pekingese) #265 - The Magic Cube - 19th century (ca. 1840) educational game Helen & Marc Younger Pg 3 [email protected] THE ITEMS IN THIS CATALOGUE WILL NOT BE ON RARE TUCK RAG “BLACK” ABC 5. ABC. (BLACK) MY HONEY OUR WEB SITE FOR A FEW WEEKS. -
Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Ballet? Y First the Ballerina Glides Across the Stage, Her Arms M Making Lovely Lines in the Air
My First alle B Album t What is Ballet? Firs The ballerina glides across the stage, her arms My t making lovely lines in the air. A beautiful tune comes from the strings of the large orchestra. She is the Sleeping Beauty: she was put into a allet deep magic sleep by the wicked witch. But she B lbum has now been woken by her handsome prince, A and he dances joyfully with her, athletic and strong. Another time, she is Princess Odette from Swan Lake, and around her the other dancers – swans in white chiffon – weave patterns in time to the music. And yet another time, she is the Sugar Plum Fairy celebrating the joy of Christmas in The Nutcracker. This is ballet, the classical dance that, once seen, is never forgotten. Even though today we have film and video games, ballet is still a powerful vision of beauty and excitement. The dancers use the strength of an athlete, the balance of a gymnast and the sensitivity of a violinist to tell stories through their dancing. Here is some of the best music which has propelled dancers for hundreds of years. 2 Tchaikovsky Swan Lake Stravinsky The Firebird 1 Scene 2:37 3 Scene I. The Firebird’s Dance 1:19 Keyword: Oboe Keyword: Fire Swan Lake is a ballet from Russia about a prince called Siegfried. In the forest he finds A firebird is a brightly coloured magical bird that comes a mysterious lake where swans are swimming, led by a beautiful but sad swan wearing out of the fire. -
Desajustamento: a Hermenêutica Do Fracasso E a Poética Do
PERFORMANCE PHILOSOPHY E-ISSN 2237-2660 Misfitness: the hermeneutics of failure and the poetics of the clown – Heidegger and clowns Marcelo BeréI IUniversity of London – London, United Kingdom ABSTRACT – Misfitness: the hermeneutics of failure and the poetics of the clown – Heidegger and clowns – The article presents some Heideggerian ideas applied to the art of clowning. Four principles of practice of the clown’s art are analysed in the light of misfitness – a concept based on the clown’s ability not to fit into theatrical, cinematic and social conventions, thus creating a language of his own. In an ontological approach, this article seeks to examine what it means to be a clown-in-the-world. Following a Heideggerian principle, the clown is analysed here taking into account his artistic praxis; a clown is what a clown does: this is the basic principle of clown poetics. The conclusion proposes a look at the clown’s way of thinking – which is here called misfit logic – and shows the hermeneutics of failure, where the logic of success becomes questionable. Keywords: Heidegger. Clown. Phenomenology. Philosophy. Theatre. RÉSUMÉ – Misfitness (Inadaptation): l’herméneutique de l’échec et la poétique du clown – Heidegger et les clowns – L’article présente quelques idées heideggeriennes appliquées à l’art du clown. Quatre principes de pratique de l’art du clown sont analysés à la lumière de l’inadéquation – un concept basé sur la capacité du clown à ne pas s’inscrire dans les conventions théâtrales, cinématiques et sociales, créant ainsi son propre langage. Dans une approche ontologique, cet article cherche à examiner ce que signifie être un clown dans le monde. -
Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro. -
Archetypes in Literature
Archetypes in Literature Situational, Character and Symbolic What is an archetype? • An archetype is a term used to describe universal symbols that evoke deep and sometimes unconscious responses in a reader • In literature, characters, images, and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes. Situational Archetype • Situations that occur over and over in different versions of the story. • For example, in versions of Cinderella, a young girl seeks freedom from her current situation. She undergoes some kind of transformation and is better off at the end of the story. Situational- The Quest • Describes the search for someone or something, which when found and brought back will restore balance to the society. Situational- The Task • The task is the superhuman feat must be accomplished in order to fulfill the ultimate goal. Situational- The Journey • The hero is sent in search for some truth of information necessary to restore life, justice, and/or harmony to the kingdom. • The journey includes a series of trials the hero will face along the way. Situational- The Initiation • The initiation refers to the moment, usually psychological, in which the hero comes into maturity. • The hero gains a new awareness into the nature of problems and understands his/ her responsibility for trying to solve the issue. Situational- The Fall • This archetype describes a descent in action from a higher to a lower position in life. • This fall is often accompanied by expulsion from a kind of paradise as a penalty for breaking the rules. Situational- Death and Rebirth • This is the most common of situational archetypes. -
Surviving Set Theory: a Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory
Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Angela N. Ripley, M.M. Graduate Program in Music The Ohio State University 2015 Dissertation Committee: David Clampitt, Advisor Anna Gawboy Johanna Devaney Copyright by Angela N. Ripley 2015 Abstract Undergraduate music students often experience a high learning curve when they first encounter pitch-class set theory, an analytical system very different from those they have studied previously. Students sometimes find the abstractions of integer notation and the mathematical orientation of set theory foreign or even frightening (Kleppinger 2010), and the dissonance of the atonal repertoire studied often engenders their resistance (Root 2010). Pedagogical games can help mitigate student resistance and trepidation. Table games like Bingo (Gillespie 2000) and Poker (Gingerich 1991) have been adapted to suit college-level classes in music theory. Familiar television shows provide another source of pedagogical games; for example, Berry (2008; 2015) adapts the show Survivor to frame a unit on theory fundamentals. However, none of these pedagogical games engage pitch- class set theory during a multi-week unit of study. In my dissertation, I adapt the show Survivor to frame a four-week unit on pitch- class set theory (introducing topics ranging from pitch-class sets to twelve-tone rows) during a sophomore-level theory course. As on the show, students of different achievement levels work together in small groups, or “tribes,” to complete worksheets called “challenges”; however, in an important modification to the structure of the show, no students are voted out of their tribes. -
Resistance Through 'Robber Talk'
Emily Zobel Marshall Leeds Beckett University [email protected] Resistance through ‘Robber Talk’: Storytelling Strategies and the Carnival Trickster The Midnight Robber is a quintessential Trinidadian carnival ‘badman.’ Dressed in a black sombrero adorned with skulls and coffin-shaped shoes, his long, eloquent speeches descend from the West African ‘griot’ (storyteller) tradition and detail the vengeance he will wreak on his oppressors. He exemplifies many of the practices that are central to Caribbean carnival culture - resistance to officialdom, linguistic innovation and the disruptive nature of play, parody and humour. Elements of the Midnight Robber’s dress and speech are directly descended from West African dress and oral traditions (Warner-Lewis, 1991, p.83). Like other tricksters of West African origin in the Americas, Anansi and Brer Rabbit, the Midnight Robber relies on his verbal agility to thwart officialdom and triumph over his adversaries. He is, as Rodger Abrahams identified, a Caribbean ‘Man of Words’, and deeply imbedded in Caribbean speech-making traditions (Abrahams, 1983). This article will examine the cultural trajectory of the Midnight Robber and then go on to explore his journey from oral to literary form in the twenty-first century, demonstrating how Jamaican author Nalo Hopkinson and Trinidadian Keith Jardim have drawn from his revolutionary energy to challenge authoritarian power through linguistic and literary skill. The parallels between the Midnight Robber and trickster figures Anansi and Brer Rabbit are numerous. Anansi is symbolic of the malleability and ambiguity of language and the roots of the tales can be traced back to the Asante of Ghana (Marshall, 2012). -
Bibliography
BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.