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The Shanachie, Volume 33, Number 3, Connecticut Irish-American Historical Society
The Shanachie, Volume 33, Number 3, Connecticut Irish-American Historical Society
The Shanachie (CTIAHS)
In this issue: Theater presents musical on career of ace softball pitcher Joan Joyce -- The railroad era and an Irish family -- Lyons family immigrated to Connecticut by way of Quebec -- Plumber with Leitrim roots linked to New Haven Fenians -- Collection of Irish railroad wife's writings preserved at UConn.
George Carlin As Philosophy: It’S All Bullshit. Is It Bad For Ya?, Kimberly S. Engels Phd
George Carlin As Philosophy: It’S All Bullshit. Is It Bad For Ya?, Kimberly S. Engels Phd
Faculty Works: PHI (2010-2021)
This chapter explores the comedy of George Carlin (1937–2008) as a powerful statement about the value of truth over ignorance. Carlin challenged his audience to confront the truth, regularly using clever rhetorical strategies to force viewers to grapple with inconvenient realities about the world in which they lived. This chapter examines historical and contemporary philosophical arguments for the importance of the pursuing truth over comforting fictions. I begin with Plato’s Allegory of the Cave, which argues it is preferable to know reality as it truly is over appearances of the truth, even when it’s painful or difficult. I then discuss …
Sonic Femininity: The Ronettes' Transgressive Gender Performance, Hilarie Ashton
Sonic Femininity: The Ronettes' Transgressive Gender Performance, Hilarie Ashton
Publications and Research
Iconic sixties girl group the Ronettes are frequently (and justly) celebrated for anchoring the Wall of Sound and inspiring the Beatles, but in their own right, they transgressed social, gendered expectations in revolutionary ways. Framed by a notion I call the sonic feminine, a recuperative theoretical space for the revolutionarily transgressive work of female and femme artists, I argue that the Ronettes, and lead singer Ronnie Spector in particular, enacted a kind of cultural rebellion: they crafted their images to made-up heights that tease the boundaries of drag across the spaces of the stage, the recording studio, the bathroom, and …