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Full-Text Articles in Arts and Humanities
Classifying Gilbert And Sullivan, Joshua Rutsky
Classifying Gilbert And Sullivan, Joshua Rutsky
Honors Papers
The musical comedienne Anna Russell once said that it seemed to her that everywhere she was traveling, there was always someone in the process of staging a Gilbert and Sullivan opera. While she was joking, her claim is not that far from the truth. Until the D'Oyly Carte Company ceased its operation in February 1982, due to termination of its government funding, a professional company devoted solely to producing these shows existed in England. In the United States, amateur Gilbert and Sullivan societies abound; even at Oberlin College, Gilbert and Sullivan operas have been presented nearly every year for a …
"As If I Could Do Anything Except Just Sit And Stare": A Gaze Of A Viewer/Reader In Psycho And To The Lighthouse, Stephanie Hunt Hegstad
"As If I Could Do Anything Except Just Sit And Stare": A Gaze Of A Viewer/Reader In Psycho And To The Lighthouse, Stephanie Hunt Hegstad
Honors Papers
At the end of Alfred Hitchcock's film Psycho, the figure of Norman Bates (or maybe the figure of his mother--at this point, the distinction is fogged) hugs a blanket around him as he sits in his prison cell, staring, perfectly still except for the movements of his eyes, the expressions on his face, the slight movement of his head. He stares directly at the camera, the audience, while the phantom voice of Mother explains her trouble with her son ("he was always--bad"). The camera does not shift angles during this scene to relieve us of this penetrating gaze, but …
Spaces Between: Towards Depolarized Readings Of Incidents In The Life Of A Slave Girl, Bethany Suzanne Schneider
Spaces Between: Towards Depolarized Readings Of Incidents In The Life Of A Slave Girl, Bethany Suzanne Schneider
Honors Papers
Harriet Jacobs' Incidents in the Life of A Slave Girl is a text which, written in a culture divided between polarities of race and gender, has continued in the 130 years of its reception to traverse a landscape of mutably yet continually divided racisms and sexisms, changeably yet continually cloven raced and gendered identities. The text itself, due to the legally and socially constructed polar ontologies of race and gender in 19th century America, is tom between what can be said and what can't, what is true and what is false, what is black and what is white. The "tears" …
Say What I Mean: Metaphor And The Exeter Book Riddles, Sarah L. Thomson
Say What I Mean: Metaphor And The Exeter Book Riddles, Sarah L. Thomson
Honors Papers
The Exeter Book riddles are a heterogeneous collection, and at first glance it seems they have little III common beyond the riddle format and the final teasing challenge, "Say what I mean," or "Say what I am." The riddles range in length from a few lines to over a hundred, in tone from the religious to the mundane to the obscene; their subjects can be as specific as a butter churn or as broad as creation itself. One crucial similarity, however, does unify the riddles: all (well, almost all) are built around underlying, unstated metaphors. These metaphors-- such as a …