...In the article, Queer Cyborgs and New Mutants: Race, Sexuality, and Prosthetic Sociality in Digital Space, Mimi Nguyen analyzes the dialectic relationship between organic bodies and technologies in society by conducting an intersectional analysis. Specifically, Nguyen utilizes a narrative about Karma, a mutant who was a Vietnamese war refugee with the ability to “seize control of other peoples mind and bodies” (Nguyen 38). Nguyen, also of Vietnamese descent, use this first-personal narrative to not only relate herself to Karma, but to also humanize the subject at hand. Nguyen exhorts that being a cyborg or mutant is considered to be the ‘other’ in society. She claims that al though these mutants were brought together to fight evil mutants, these “New Mutants are nonetheless viewed with fear and suspicion by the non-mutant population” (Nguyen 374). These cyborgs and mutants are characterized as outsiders because their bodies are subjected to specific stereotypes that do not fit in the overwhelmingly “normal” society. Nguyen continues to say, “in these science fictions mutant bodies and cyborg bodies are analogized as minoritarian bodies, subjected and subjugated…” (377). Relating back to class discussion, these bodies are actually constructing the space around them. Since these mutants are so different and are being put in a space where they are considered to be the “other,” a majority believes it is there duty to remove them from that space. Even with their unique powers and...
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...Zhibo Yang Professor Collins-Porter 11/18/2015 FILM 101 Children of Men Children of Men, directed by Alfonso Cuaron, is a science fiction thriller film in 2006. After watching it, I start to think deeply because this film contains much information about political statements, philosophy, and religions. Children of Men tells the story of Theo Faron, one of the many bureaucrats from the energy department in UK. He seems like a common citizen, but does something uncommon later. In fact, the first thirty minutes is not quite interesting for me, but things has changed significantly after Julian is killed by shot. Later, Theo becomes a hero by rescuing Kee’s child, the child of miracle. This film has many advanced and significant aspects on many perspectives. So this paper is going to analyze the unique features in it. Narrative The story is located at the United Kingdom in 2027. At that time, human beings have experienced 18 years of infertility. Children of Men is a film with realistic narrative, because the story runs chronologically. And it follows the classic five-part narrative structure. We can clearly recognize the introduction: Theo hears the news about the death of baby Diego. Conflict and obstacles are throughout the story that Theo finds out Luke’s plan and helps Kee escape to “The Tomorrow”. Later climax comes with the ceasing fire of government army and revolt when they see Kee’s kid. And by the end of the film, we can hear kids laughing, which leaves us a hope...
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...When I’m asked about the differences between fiction and nonfiction, I often find myself attempting to answer this simultaneously impossible and obvious question by rattling on about “Huckleberry Finn.” One distinction is that a masterpiece like Twain’s can make us feel exactly what it was like to live at another time, in another culture; it’s easier for the novel than for even the most incisive biography or historical study to make the reader experience the subject from the inside. The liberties and devices of fiction (dialogue, voice, characterization and so forth) enable the writer to take us into the mind and heart of a person not unlike ourselves who talks to us from a distant period and place, and so becomes our guide to its sights and sounds, its sorrows and satisfactions. One reason “The Adventures of Huckleberry Finn” remains so affecting and so profoundly threatening is that Huck shows us what it meant to grow up in a slave-holding society and learn to navigate its pathologies. Huck compels us to believe him, which means that we are obliged once again to acknowledge that we live in a country in which ordinary citizens actually bought and sold human beings like Jim. WHAT IS THE WHAT The Autobiography of Valentino Achak Deng: A Novel. By Dave Eggers. 475 pp. McSweeney’s. $26. Readers’ Opinions Forum: Book News and Reviews Dave Eggers’s “What Is the What” is, like “Huckleberry Finn,” a picaresque novel of adolescence. But the injustices, horrors and follies that...
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...earned over $1 billion in its first three weekends. The story-line is simple and timely. In the year 2154, the fictional RDA Corporation (from earth) attempts to move the Na’vi, an alien race on the distant planet Pandora, off of their land to mine for a valuable mineral called unobtanium. RDA Corporation partners with earth mercenaries. These mercenaries are a back-up, in case the RDA Corporation science project - using avatars (Na’vi-human hybrids developed and managed by Grace Augustine/Sigourney Weaver) - fails to accomplish the task peacefully. Na’vi are colorful blue-skinned humanoids, who live in harmony with nature and worship their mother earth goddess Eywa, embodied in huge, luscious trees. This action/science fiction/thriller narrative features Jake sully/Sam Worthington and Neytiri/Zoe Saldana. Jake, in his avatar body and with help from Neytiri, is eventually cured of “his insanity” of greed and fights with the Na’vi to save their land and way of life. The message is antithetical to messages we see or experience around the world. Corporate greed seems unstoppable. A prayer to Eywa by Jake while attempting to save the Na’vi from RDA and mercenaries reminds me of situations on earth....
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...through Theatre This paper sets out to explore how processes of theatre making employed by The Mothertongue project, provide spaces for women to remap their personal narratives. Mothertongue works from the premise that the development and subsequent performance of stories in theatrical processes affords women the opportunity to re-write and remap their personal narratives and in so doing insert their voices into the landscape of South African Theatre. In an attempt to redress the gender imbalances and androcentricism prevalent in post-apartheid theatre, this paper speaks to the relationship between theatre, liminality and communitas. I am interested in unpacking how collaborative processes of theatre-making provide spaces for women to remap their personal narratives. Remapping in this instance refers to processes of transforming lived experience through story. I address how, through engaging in ritual activities that are central to the stories performed, actors, audiences and the owners of the source stories are invited to physically participate in remapping and transforming lived experience. Linked to this is the choice of form(s) and how this affects or impacts on the performed stories as well as on the construction of performed rituals and ultimately on the processes of remapping personal narratives. I focus specifically on Mothertongue’s 2004 production, Uhambo: pieces of a dream. The production was an integration of theatre and visual art in the form of performances...
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...Naomi Summary Summary (Literary Essentials: World Fiction) Naomi is an ironic account of a seemingly proper gentleman in his mid-twenties who meets a young girl named Naomi, who is working as a waitress in a cafe. The story is told by its protagonist, Joji Kawai. Fascinated by her Western-sounding name and her sensuous beauty, which reminds him of American silent film star Mary Pickford (highly popular in Japan in the 1920’s), Joji decides that he intends to marry Naomi; soon he falls into a Pygmalion-like relationship as he attempts to tame this selfish and willful creature. Joji gives Naomi money for English and voice lessons, only to learn that she is less talented than he had first supposed. She refuses to do any work in the house, buys extravagant clothes, and manipulates Joji into borrowing money under false pretenses from his doting mother, who lives in the country. Naomi next takes up Western dancing and forces Joji to accompany her to her lessons and to Tokyo dance halls. There he realizes that she has developed a whole coterie of younger male friends unknown to him. The young student Kumagai in particular speaks with Naomi in a fashion which suggests that they have been intimate. Joji’s illusions shatter; his work suffers, and he begins to lose control of himself. At Naomi’s suggestion, Joji decides to rent a cottage for the summer in the resort town of Kamakura, south of Tokyo. He commutes from there to his job in Tokyo. Naomi seems happy with this arrangement,...
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...States 1 Caught in a meager, anonymous space outside a drab Arab city, outside a refugee camp, outside the crushing time of one disaster after another, a wedding party stands, surprised, sad, slightly uncomfortable. Palestinians — the telltale mixture of styles and attitudes is so evidently theirs — near Tripoli in northern Lebanon. A few months after this picture was taken their camp was ravaged by intra-Palestinian fighting. Cutting across the wedding party’s path here is the ever-present Mercedes, emblazoned with its extra mark of authenticity, the proud D for Deutschland. A rare luxury in the West, the Mercedes — usually secondhand and smuggled in — is the commonest of cars in the Levant. It has become what horse, mule, and camel were, and then much more. Universal taxi, it is a symbol of modern technology domesticated, of the intrusion of the West into traditional life, of illicit trade. More important, the Mercedes is the all-purpose conveyance, something one uses for everything — funerals, weddings, births, proud display, leaving home, coming home, fixing, stealing, reselling, running away in, hiding in. But because Palestinians have no state of their own to shield them, the Mercedes, its provenance and destination obscure, seems like an intruder, a delegate of the forces that both dislocate and hem them in. “The earth is closing on us, pushing us through the last passage,” writes the poet Mahmoud Darwish. Tripoli, Badawi camp, May 1983. 2 The paradox of mobility...
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...period, the prevailing gender power-relations evolved into gendered appraisals of the impact of the crisis and this created the potential for rather universal and androcentric conclusions. The consequent eclipse of female-centric voices of the political and gender struggle tends to suppress women’s perspectives, consequently inhibiting a gender-inclusive imagining of the nation. This article argues that discourses about gender struggle in Zimbabwe’s post-2000 crisis have not sufficiently addressed the question of space; that is, the significance of the oppressed women’s physical and social space in shaping their grievances and imaginings of exit routes. Similarly, the article argues that representations of this historic period in literary fiction have accentuated the wider political and economic struggles at the expense of other (especially gender) struggles, thereby rendering them inconsequential. Using two short stories by Valerie Tagwira (“Mainini Grace’s Promise” and “The Journey”), the article explores the stories’ focalization of gender-entangled women in an urban space to understand the literary evocation of the condition of women caught up in a crisis in urban settings. INTRODUCTION The Organization for Social Science Research in Eastern and...
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...82751 01 001-026 r6 ko 8/24/09 7:41 AM Page 2 Learning Objectives After reading this chapter, you should be able to ✔ appreciate the difference between passively watching movies and actively looking at movies. ✔ understand the defining characteristics that distinguish movies from other forms of art. ✔ understand how and why most of the formal mechanisms of a movie remain invisible to casual viewers. ✔ understand the relationship between viewers’ expectations and filmmakers’ decisions about the form and style of their movies. ✔ explain how shared belief systems contribute to hidden movie meaning. ✔ explain the difference between implicit and explicit meaning, and understand how the different levels of movie meaning contribute to interpretive analysis. medium. With so much experience, no one could blame you for wondering why you need a course or this book to tell you how to look at movies. After all, you might say, “It’s just a movie.” For most of us most of the time, movies are a break from our daily obligations—a form of escape, entertainment, and pleasure. Motion pictures had been popular for fifty years before even most filmmakers, much less scholars, considered movies worthy of serious study. But motion pictures are much more than entertainment. The movies we see shape the way we view the world around us and our place in that world. What’s more, a close analysis of any particular movie can tell us a great deal about the artist, society...
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...University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2010 Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context Leah Rang University of Tennessee - Knoxville, lrang@utk.edu Recommended Citation Rang, Leah, "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context. " Master's Thesis, University of Tennessee, 2010. http://trace.tennessee.edu/utk_gradthes/655 This Thesis is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact trace@utk.edu. To the Graduate Council: I am submitting herewith a thesis written by Leah Rang entitled "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Urmila Seshagiri, Major Professor We have read this thesis and recommend its acceptance: Lisi Schoenbach, Bill Hardwig Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) To the Graduate Council:...
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...Raven Kennedy Professor Borton World Lit. II 11/11/15 Claude Simon Claude Simon was a profound French author; his works touched and influenced many author of today. He was born to middle –classed parents he was the son of Louis and Suzanne in Tananarive, Madagascar on October 10th 1913. He was the only child to his parents he grew up in Perpignan in the middle of the wine district of Roussillon. Simon’s father died in First World War August 27, 1914 in the line of duty when Claude was less than a year old. He was a Captain in the regiment of colonial infantry. His mother was from a respected catholic family who was established in a town south-west of France and raised him with a catholic upbringing. Soon after his mother died of an agonizing illness while he was still a young boy. He lived with his mother’s family until he was orphaned by the age of eleven, he was later sent a boarding school in Paris but often spent has breaks with family. Simon had a happy and content childhood growing up even though he had to live in orphanage. He had the love of his cousins and uncles and other close family members that showed him love throughout his childhood which made it easier for him to cope with the loss of his parents at his young age. (Duncan, 102) Simon attended Stanislas College, which is actually a grammar school in Paris. His mother was very pious and had wanted him to obtain a religious education. With him going to this institution eventually Simon becomes an atheist...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...Tradition And Modernity In the instinctive mode of western scholars, I had once thought of Tradition and Modernity as individual chapters, each of them thinking about its topic as an entity to be understood in its respective essence and unity. But I have come to understand in perhaps an equally perennial move by western students of Indian culture that these two terms do not in themselves exist. But they do function, dialogically. They work in relation with each other. Modernity functions as an economic and social tool to achieve some wealth, flexibility, and innovation for individuals and groups; Tradition functions, partly and at times largely, as a mythological state which produces the sensation of larger connectedness and stability in the face of shockingly massive social change over the last half-century. One might also say that Modernity is an economic force with social, cultural, and political correlatives; Tradition is a cultural force with social, economic, and political correlatives. Satisfyingly asymmetrical in their relation, they require us, in talking of one, to talk also of the other, just as they induce us to move as nimbly as possible between theoretical abstraction and experiential reality. But their separation is itself part of the mythological drama in current Indian thought, just as their mutual implication is the import of the same ironic smile that brings to an effective close any conversation one hears here about them. And so we take them in turn only...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...Hari Kunzru Literature Resource Center | Ratcliffe, Sophie. "Hari Kunzru." British Writers: Supplement 14. Ed. Jay Parini. New York: Charles Scribner's Sons, 2009. Literature Resource Center. Web. 12 Mar. 2012.Document URL http://go.galegroup.com/ps/i.do?id=GALE%7CH1483000135&v=2.1&u=monroecc&it=r&p=LitRC&sw=w | Title: Hari Kunzru British Writer ( 1969 - )Author(s): Sophie RatcliffeSource: British Writers: Supplement 14. Ed. Jay Parini. New York: Charles Scribner's Sons, 2009. From Scribner Writers Series.Document Type: Biography, Critical essay[Image Omitted: ]Table of Contents:Biographical EssayFurther ReadingsWorks In 2007, visitors encountering Hari Kunzru's website for the first time might have been a little surprised. Those searching for more information about this British author would have come across an old school photograph of a small boy aged perhaps five or six years old. A few lines of curt white typeface gave a few brief details: his current age, the fact that he was born in London in 1969, and, perhaps surprisingly, his blood group (HbAD) and a hyperlink to his genotype (human). Kunzru is joking, here, about the contemporary thirst for biographical details about writers. As he puts it, nowadays, "British journalists seem more interested in your biography or your publishing deal--the British press is interested in writers, but it isn't interested in writing" (Litt, 2004). The starkly playful nature of Kunzru's 2007 website poked fun both...
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