DOCSLIB.ORG

Rhetorically Exploring the Narrative

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rhetorically Exploring the Narrative Remembering the Past in Visual and Visionary Ways: Rhetorically Exploring the Narrative Potentialities of Esther Parada’s Memory Art A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Stephanie L. Young August 2009 © 2009 Stephanie L. Young. All Rights Reserved. This dissertation titled Remember the Past in Visual and Visionary Ways: Rhetorically Exploring the Narrative Potentialities of Esther Parada’s Memory Art by STEPHANIE L. YOUNG has been approved for the School of Communication Studies and the Scripps College of Communication by William K. Rawlins Stocker Professor of Communication Studies Gregory J. Shepherd Dean, Scripps College of Communication ii ABSTRACT YOUNG, STEPHANIE L., Ph.D., August 2009, Communication Studies Remembering the Past in Visual and Visionary Ways: Rhetorically Exploring the Narrative Potentialities of Esther Parada’s Memory Art (264 pp.) Director of Dissertation: William K. Rawlins Rhetorical scholars have examined the ways in which memory is visually and materially enacted. While most research has concentrated on national scale subjects (e.g., the Vietnam War, the Oklahoma City bombing, the attacks of September 11th) when exploring collective memory, little attention has been given to vernacular engagements with the past. Memory art provides a rich area of inquiry for investigating rhetorical techniques used by artists to memorialize and inventively (re)create visions of familial memory and communal pasts. This dissertation explores the narrative capacity of artwork and how visual texts can be narratively experienced to engage with collective memories. Drawing upon theories in feminism, rhetoric, and collective memory, I theorize a visual narrative perspective grounded in a Bakhtinian understanding of dialogic intertextuality. This perspective views narrative as a sense-making process in which the rhetor and viewer intertextually co-construct textual meanings. Textual meanings of photographic images, specifically memory art, are intertextually co-produced through the dialogic interaction amongst rhetor, artifact, and viewer. Audiences converse with artists through images, merging their subjective knowledges and voices with the artist’s intentions. Specifically, I examine three artworks by Chicago-based artist Esther Parada to highlight this theory of visual narrativity. First, I explore the photomural Past Recovery iii and examine how Parada utilizes different visual tropes to invite me into the text. Then, I investigate the hypertext, Transplant: A Tale of Three Continents, and consider how the multilinear structure elicits narrative co-constructions. Finally, I analyze the multimedia installation piece, When the Bough Breaks and examine how different traces encourage a (re)piecing together of loss and memories. Collectively, Parada’s photographic works provide alternative ways of seeing and remembering personal and collective pasts. Approved: _____________________________________________________________ William K. Rawlins Stocker Professor of Communication Studies Approved: _____________________________________________________________ Benjamin R. Bates Assistant Professor of Communication Studies iv For my parents and Jeremy, with love v ACKNOWLEDGMENTS I would like to thank several people for their contribution to this dissertation. First, I thank my co-advisor, Dr. William K. Rawlins, for his belief in me and in my abilities as a scholar. I thank Dr. Rawlins, an amazing mentor and friend who encouraged me to be vulnerable in my writing, for his rich feedback, his guidance, and his enthusiasm for this project. I also extend my deepest gratitude to my co-advisor, Dr. Benjamin R. Bates, for his meticulous editorial skills and rhetorical expertise and for continuously challenging me to write beyond what I thought I was capable of doing. I thank my dissertation committee—Dr. Raymie McKerrow, Dr. Lynn Harter, and Dr. Thomas Patin—for their commitment to making this dissertation a solid contribution to the field of communication. I thank Esther Parada's family and friends, especially her sisters Margo and Susie who shared with me their love and memories of "Essie." They donated vital personal and academic documents and granted me access to Esther's papers at the University of Illinois in Chicago. Without their blessings, this dissertation would not have been possible. A big thank you to Rod Slemmons, Director of the Museum of Contemporary Photography at Columbia College in Chicago; Julia Hendry, University Archivist at the University of Illinois in Chicago; and all of the archival specialists at UIC. I also am grateful for all of my friends who supported me in this scholarly and personal endeavor. I thank Sarah Smith and Anne Mitchell, my two writing group friends, who offered me their rich, constructive criticism and emotional support with each chapter. I warmly thank Dr. Tabassum "Ruhi" Khan for her friendship and our dynamic conversations. A special thank you to Sharon and Joe Lime for their succor. And I thank vi my friends Laura, Sukanya, Suzy, Heather, Jen, Eileen, and Corey for all of their thoughts and words of confidence. I also am indebted to my parents, Tom and Soon Young, for all of their love and support. Since I was very young, they have instilled in me a thirst for knowledge and a deep conviction in education. I appreciate my brother, Steve, for serendipitously empowering me with patience and perseverance. I especially thank Jeremy, my best friend and life partner, for his enduring love and faith in me. I thank him for his compassionate words of encouragement, for being an intimate part of the writing and revision process, and for putting up with all of my madness these past few years. His editorial fingerprints may be found all over this scholarly project. Finally, I thank Esther Parada for her passion to connect visually and creatively with others. Through her artwork, Esther has inspired me to explore issues of memory, family, and the past. With this dissertation, I honor her memory. vii TABLE OF CONTENTS Page Abstract .............................................................................................................................. iii Dedication ........................................................................................................................... v Acknowledgments.............................................................................................................. vi Chapter 1: Introductions ..................................................................................................... 1 Chapter 2: Review of Literature ....................................................................................... 10 Collective Memory: How We Remember, How We Forget ........................................ 10 Memory Art .................................................................................................................. 16 Photography and the Familial ....................................................................................... 22 Photography and Narrative Sense-Making ................................................................... 28 Chapter 3: Reflecting on Rhetorical Practices: A Research Narrative ............................. 41 Extending Rhetorical Criticism: A Visual Narrative Perspective ................................ 41 Diving into the Archives: Selection, Reconstruction, and Analysis ............................. 46 (Re)collecting Intertextual Fragments ...................................................................... 46 Narratively Experiencing and Rhetorically Analyzing Visual Texts ........................ 51 Writing as a Way of Knowing ...................................................................................... 58 Concluding Thoughts .................................................................................................... 61 Chapter 4: Resassembling the Past: Examining Visual Tropes and a Rhetoric of Montage in Esther Parada's Past Recovery ...................................................................................... 65 Visual Tropes ................................................................................................................ 67 The Grid ........................................................................................................................ 70 Theoretical background ............................................................................................ 70 viii Grid as narrative plotting .......................................................................................... 73 Superimposition ............................................................................................................ 78 Theoretical background ............................................................................................ 78 Superimposition: Revealing Spatial, Temporal, and Mental Spaces ........................ 80 Disruption and Re-conception: A Rhetoric of Montage ............................................... 86 Conclusion .................................................................................................................... 90 Chapter 5: Hypertextual Narratives and (Re)presentations of the Past: Investigating Parada's Transplant ........................................................................................................... 94 Hypertextuality ............................................................................................................
Load more

Recommended publications
  • Read Book ~ Spirit Into Matter: the Photographs of Edmund Teske
    VCK6BKPUKIO7 < Book « Spirit into Matter: The Photographs of Edmund Teske Spirit into Matter: The Photographs of Edmund Teske Filesize: 2.7 MB Reviews This pdf is so gripping and intriguing. I could comprehended almost everything using this composed e ebook. You are going to like just how the article writer create this ebook. (Miss Dakota Zulauf) DISCLAIMER | DMCA DHVCKBNWIIZA » PDF / Spirit into Matter: The Photographs of Edmund Teske SPIRIT INTO MATTER: THE PHOTOGRAPHS OF EDMUND TESKE To read Spirit into Matter: The Photographs of Edmund Teske eBook, remember to refer to the link under and download the document or get access to additional information that are in conjuction with SPIRIT INTO MATTER: THE PHOTOGRAPHS OF EDMUND TESKE ebook. Getty Trust Publications. Paperback. Book Condition: new. BRAND NEW, Spirit into Matter: The Photographs of Edmund Teske, Julian Cox, Edmund Teske (1911-1996) was one of the alchemists of twentieth-century American photography. Over a sixty-year period, he created a diverse body of work that explored the expressive and emotional potentials of the medium. His drive to experiment with sophisticated techniques, such as solarization and composite printing, liberated a younger generation of American photographers; at the same time, his subject matter - sometimes abstract, oen homoerotic, and always lyrical and poetic - opened up new areas for photographers to explore. Spirit into Matter is published to coincide with the first major retrospective of Teske's work, to be held at the Getty Museum from June 15 to September 19, 2004. Julian Cox provides an introduction and extensive biocritical essay on Teske that traces his long and varied career, from Chicago in the 1930s to Los Angeles, where the photographer took up residence in 1943.
    [Show full text]
  • Rosenblum: Photographers at Work: a Sociology of Photographic Styles
    Studies in Visual Communication Volume 6 Issue 1 Spring 1980 Article 13 1980 Rosenblum: Photographers at Work: A Sociology of Photographic Styles Dan Schiller Centre for Mass Communication Research, University of Leicester; Temple University Recommended Citation Schiller, D. (1980). Rosenblum: Photographers at Work: A Sociology of Photographic Styles. 6 (1), 87-90. Retrieved from https://repository.upenn.edu/svc/vol6/iss1/13 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol6/iss1/13 For more information, please contact [email protected]. Rosenblum: Photographers at Work: A Sociology of Photographic Styles This reviews and discussion is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol6/ iss1/13 Reviews and Discussion 87 derlying assumptions of the system or the powerful analytic capacity that it has. Nahumck is successful in this book to the extent Barbara Rosenblum. Photographers at Work: A that she introduces Laban's concepts and gives the Sociology of Photographic Styles. New York and reader some idea of the scope and conceptual power London: Holmes and Meier Publishers, 1978, 144 pp. of his system. She clearly documents her belief, which I share, in the primacy of Laban's system as the most $19.50. precise one available for analyzing movement in its Reviewed by Dan Schiller own terms. The book is particularly useful for readers Centre for Mass Communication Research, University of interested in a purely structural application of the nota­ tion system independent of the kinesthetic context, Leicester; Temple University. such as the comparative analysis of the steps of two related dance forms.
    [Show full text]
  • {PDF} Minor White: Manifestations of the Spirit Pdf Free Download
    MINOR WHITE: MANIFESTATIONS OF THE SPIRIT PDF, EPUB, EBOOK Paul Martineau | 200 pages | 08 Jul 2014 | Getty Trust Publications | 9781606063224 | English | Santa Monica CA, United States Minor White: Manifestations of the Spirit PDF Book He had them all read photographs, and the group that had completed the exercises came up with much more profound insights and reactions to the photographs. Some of the results are dark, moody, and romantic. The subtitle of your show is Manifestations of the Spirit. Although I cannot view this exhibition, I have seen the checklist of all the works in the exhibition. The only reason that I did not give it the top rating was that I thought it bordered on the hagiographic in several aspects of the description of his life and manner of working. Throughout his career, White sought to photograph things not only for what they are but also for what they may suggest, and his pictures teem with symbolic and metaphorical allusions. Paul Getty Museum in Los Angeles. Average rating 4. Inconspicuous at first, the photograph depicts two trees in a small secluded clearing, crusted with patches of dry moss, surrounded everywhere by dead leaves and so close as to be united at the base. Get The Deal. Search z. Nothing anyone can say can take away from the sheer simple pleasure of really looking at photographs by these two icons of the art form. Paul Martineau is associate curator in the Department of Photographs at the J. It also discusses his role as a teacher, and as the editor of Aperture magazine from its inception in through , and his relationships with other photographers of that era, including Alfred Stieglitz, Edward Weston, Paul Brandt, Dorothea Lange and Ansel Adams.
    [Show full text]
  • Visual Literacy of Infographic Review in Dkv Students’ Works in Bina Nusantara University
    VISUAL LITERACY OF INFOGRAPHIC REVIEW IN DKV STUDENTS’ WORKS IN BINA NUSANTARA UNIVERSITY Suprayitno School of Design New Media Department, Bina Nusantara University Jl. K. H. Syahdan, No. 9, Palmerah, Jakarta 11480, Indonesia [email protected] ABSTRACT This research aimed to provide theoretical benefits for students, practitioners of infographics as the enrichment, especially for Desain Komunikasi Visual (DKV - Visual Communication Design) courses and solve the occurring visual problems. Theories related to infographic problems were used to analyze the examples of the student's infographic work. Moreover, the qualitative method was used for data collection in the form of literature study, observation, and documentation. The results of this research show that in general the students are less precise in the selection and usage of visual literacy elements, and the hierarchy is not good. Thus, it reduces the clarity and effectiveness of the infographic function. This is the urgency of this study about how to formulate a pattern or formula in making a work that is not only good and beautiful but also is smart, creative, and informative. Keywords: visual literacy, infographic elements, Visual Communication Design, DKV INTRODUCTION Desain Komunikasi Visual (DKV - Visual Communication Design) is a term portrayal of the process of media in communicating an idea or delivery of information that can be read or seen. DKV is related to the use of signs, images, symbols, typography, illustrations, and color. Those are all related to the sense of sight. In here, the process of communication can be through the exploration of ideas with the addition of images in the form of photos, diagrams, illustrations, and colors.
    [Show full text]
  • The Importance of Vision Linda Lawrence MD, Richard D House
    The Importance of Vision Linda Lawrence MD, Richard D House, BFA, BA, Lauren E Vaughan, BFA, Namita Jacob PhD December 2017 Introduction Why is the vision so important? What special role does it play in learning and guiding development from the moment of birth? What is the value of good visual functioning? How does vision affect and impact the development and activities of daily living of children and adolescents? The peripheral organs responsible for vision in humans are the eyes. Through a complex pathway that begins with focusing of the image by the eye, reception and transformation of light rays into neurological information is transmitted to the brain where we “see”. The information is then stored in the occipital lobe (the brain’s visual processing center) and is in turn transferred to other regions of the brain, where interpretation and use for motor (movement), cognition (thinking), learning and social interactions take place. Taste via the tongue’s gustatory pathways, smell through the nose’s olfactory pathways, hearing from the ears’ auditory pathways, and touch from the skin’s somatosensory pathways are the other peripheral senses that gather information from the environment and ultimately may rely on vision for interpretation. All this information is transported via complex biochemical and electrochemical pathways through the body, and integrated it into a meaningful context in the brain that is eventually acted upon by the person. Vision, as experienced through the visual system and visual perception, allows us to observe and extract information from the outside environment. Vision provides information that is not available through the other senses, and works in conjunction with different systems to help orient us in the environment, in time and space and at different ages and stages.
    [Show full text]
  • Some Notes on John Zorn's Cobra
    Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come.
    [Show full text]
  • Nigerian Women Artists' Visibility in Twenty-First
    DOI: https://dx.doi.org/10.4314/gjss.v20i1.6 GLOBAL JOURNAL OF SOCIAL SCIENCES VOL 20, 2021: 59-67 COPYRIGHT© BACHUDO SCIENCE CO. LTD PRINTED IN NIGERIA. ISSN 1596-6216 59 www.globaljournalseries.com; [email protected] NIGERIAN WOMEN ARTISTS’ VISIBILITY IN TWENTY-FIRST CENTURY CONTEMPORARY ART PRACTICES: A TRIUMPH AGAINST EXCLUSIONS FROM ART GROUPS AND COLLECTIVES IN NIGERIA NKIRUKA JANE NWAFOR (Received 26 April 2021, Revision Accepted 6 July 2021) ABSTRACT Nigerian artists began forming art groups and schools from the 1950s and 1960s. These art groups advanced the reclaiming of Nigeria‟s artistic cultural heritages. However, even in the post-colonial and post-Civil War 1970s and 1980s many art groups and art institutions had few or no female members that participated in their activities. This essay reviews notable art groups in Nigeria from the earliest to the more recent. It also identifies the prominent women artists that had contributed to modern Nigerian art history. The essay also looks at the changes in the 1990s‟ and identifies contemporary art and its liberal and individualistic approaches as what caused decline in art groups in the twenty-first century. It will identify the women making impact in Nigeria‟s art scenario in the twenty-first century. The essay argues therefore that the liberalizing nature of twenty-first century contemporary art practices in Nigeria may have endeared more visibility to Nigerian women artists. KEYWORDS: Nigerian women artists, art groups, art schools, modern Nigerian art, contemporary art, post-colonial art, twentieth century, twenty-first century. INTRODUCTION The essay also looks at the vicissitudes in the 1990s‟ and the more recent 2000s‟ contemporary Art groups and associations were critical in art practices in Nigeria.
    [Show full text]
  • Bibliography
    Bibliography Abell, Sam. Stay this Moment : The Photographs of Sam Abell. Rochester, N.Y.; Charlottesville, Va: Professional Photography Division, Eastman Kodak Co; Thomasson-Grant, 1990. Print. Aberth, Susan L., and Leonora Carrington. Leonora Carrington : Surrealism, Alchemy and Art. Aldershot, Hampshire; Burlington, VT: Lord Humphries; Ashgate, 2004. Print. Abram, David. Becoming Animal : An Earthly Cosmology. 1st ed. New York: Pantheon Books, 2010. Print. ---. The Spell of the Sensuous. New York: Pantheon Books, 1996. Print. Using descriptive personal stories of interaction with nature David Abram introduces the reader to phenomenology. This philosophy rejects the separation of the human mind by Descartes and believes all observation is participatory. Abram brings Merleau-Ponty’s theory that the human body is the true subject of experience through examples, often as his outings in nature. I related to this work for I believe humans aren’t superior, that we are interconnected and part of the chain of life with other creatures. I never knew my beliefs were part of an existing philosophy. It is through full sensory interaction with the earth that we realize we must do more to save it. Abram’s book is a call to all humans to join in this activity, reawakening our senses to the rest of the world. Allmer, Patricia, and Manchester City Art Gallery. Angels of Anarchy : Women Artists and Surrealism. Munich ; New York: Prestel, 2009. Print. Anderson, Adrian. Living a Spiritual Year: Seasonal Festivals in Northern and Southern Hemispheres : An Esoteric Study. Rudolph Steiner Press, 1993. Print. Avedon, Richard, et al. Evidence, 1944-1994. 1st ed. New York: Random House, Eastman Kodak Professional Imaging in association with the Whitney Museum of American Art, 1994.
    [Show full text]
  • The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
    2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission.
    [Show full text]
  • 7TH ANNUAL GROUP SHOW CATALOG ONLINE 2021 Juried by Paula Tognarelli Executive Director and Curator, Griffin Museum of Photography
    7TH ANNUAL GROUP SHOW CATALOG ONLINE 2021 Juried by Paula Tognarelli Executive Director and Curator, Griffin Museum of Photography 114 Warren St. Hudson NY 12534 http://davisortongallery.com [email protected] o Debra Achen o Olga Merrill o Julia Arstorp o C E Morse o Deyva Arthur o Xuan-Hui Ng o Gary Beeber o Catherine Panebianco o Bruce Berkow o Bruce Panock o Joan Lobis Brown o Thomas Pickarski o Jenny Carey o Michalis Poulas o Syl Arena o Michael Prais o John A Benigno o Susan Richman o Linda Cassidy o Russ Rowland o Sally Chapman o Jacque Rupp o Patricia Houghton Clarke o Meryl Salzinger o Ellen Feldman o Paul David Shea o Diane Fenster o Vicky Stromee o Beth Galton o Edgar Takoyaki o Steven Parisi Gentile o Larry Torno o Karen Ghostlaw o Benjamin Tankersley o Danielle L Goldstein o John Tunney o Katie Golobic o Jim Turner o Rohina Hoffman o Karey Walter o Susan Higgins o Molly Wood o David Kulik o Thomas Yackley o Randy Matusow 114 Warren St. Hudson NY 12534 http://davisortongallery.com [email protected] Debra Achen Conveyance Portfolio Title: Frequency Shift: The Stonehenge Continuum 11 x 15” Size of edition: 10 + 2AP Archival Pigment Price of print only: $375 Other size available: 14 x 20" $450 Artist Statement: The “Frequency Shift” portfolio explores the vibrant energy I experienced while visiting Stonehenge. I consider the source of this energy to be aligned with the monument’s evolving continuum in history… a story that changes over time with prevailing thought and scientific discoveries of each era.
    [Show full text]
  • Najbauer Donne Disszertáció
    Eötvös Loránd Tudományegyetem Bölcsészettudományi Kar DOKTORI DISSZERTÁCIÓ NAJBAUER NOÉMI MÁRIA “THE ART OF SALVATION , IS BUT THE ART OF MEMORY ”: MEMORY AS ART AND DEVOTION IN THE SERMONS OF JOHN DONNE Irodalomtudományi Doktori Iskola Dr. Kulcsár Szabó Ern ő MHAS, egyetemi tanár Reneszánsz és Barokk Angol Irodalom Doktori Program Dr. Kállay Géza PhD, egyetemi tanár A bizottság tagjai: Dr. Géher István CSc, professor emeritus Dr. Tóta Péter Benedek PhD, docens Dr. Almási Zsolt PhD, adjunktus Dr. Ittzés Gábor PhD, docens Dr. Pikli Natália PhD, adjunktus Dr. Vassányi Miklós PhD, docens Dr. Hargitai Mária PhD, adjunktus Témavezet ő: Dr. Fabiny Tibor CSc, egyetemi tanár BUDAPEST, 2010 Acknowledgments I am both humbled and heartened as I recognize those who contributed to the success of this dissertation. I am grateful to my colleagues at the Institute of English Studies, University of Pécs for welcoming me among their ranks in a spirit of trust and for setting high standards of scholarship and pedagogy. I thank especially Mária Kurdi for her professional guidance and goodwill in these first years of my teaching career, Gabriella Hartvig for her expert help with the bibliography and MLA formatting, and Csaba Németh of the Department of Aesthetics for sharing valuable sources. I honor my students of almost six years for their hard work, respect and love. ♦ I owe a debt of gratitude to my learned professors in the English Literature of the Renaissance and Baroque Doctoral Program at the University of Budapest, especially to Péter Dávidházi,
    [Show full text]
  • 17-06-27 Full Stock List Drone
    DRONE RECORDS FULL STOCK LIST - JUNE 2017 (FALLEN) BLACK DEER Requiem (CD-EP, 2008, Latitudes GMT 0:15, €10.5) *AR (RICHARD SKELTON & AUTUMN RICHARDSON) Wolf Notes (LP, 2011, Type Records TYPE093V, €16.5) 1000SCHOEN Yoshiwara (do-CD, 2011, Nitkie label patch seven, €17) Amish Glamour (do-CD, 2012, Nitkie Records Patch ten, €17) 1000SCHOEN / AB INTRA Untitled (do-CD, 2014, Zoharum ZOHAR 070-2, €15.5) 15 DEGREES BELOW ZERO Under a Morphine Sky (CD, 2007, Force of Nature FON07, €8) Between Checks and Artillery. Between Work and Image (10inch, 2007, Angle Records A.R.10.03, €10) Morphine Dawn (maxi-CD, 2004, Crunch Pod CRUNCH 32, €7) 21 GRAMMS Water-Membrane (CD, 2012, Greytone grey009, €12) 23 SKIDOO Seven Songs (do-LP, 2012, LTM Publishing LTMLP 2528, €29.5) 2:13 PM Anus Dei (CD, 2012, 213Records 213cd07, €10) 2KILOS & MORE 9,21 (mCD-R, 2006, Taalem alm 37, €5) 8floors lower (CD, 2007, Jeans Records 04, €13) 3/4HADBEENELIMINATED Theology (CD, 2007, Soleilmoon Recordings SOL 148, €19.5) Oblivion (CD, 2010, Die Schachtel DSZeit11, €14) Speak to me (LP, 2016, Black Truffle BT023, €17.5) 300 BASSES Sei Ritornelli (CD, 2012, Potlatch P212, €15) 400 LONELY THINGS same (LP, 2003, Bronsonunlimited BRO 000 LP, €12) 5IVE Hesperus (CD, 2008, Tortuga TR-037, €16) 5UU'S Crisis in Clay (CD, 1997, ReR Megacorp ReR 5uu2, €14) Hunger's Teeth (CD, 1994, ReR Megacorp ReR 5uu1, €14) 7JK (SIEBEN & JOB KARMA) Anthems Flesh (CD, 2012, Redroom Records REDROOM 010 CD , €13) 87 CENTRAL Formation (CD, 2003, Staalplaat STCD 187, €8) @C 0° - 100° (CD, 2010, Monochrome
    [Show full text]