Arts and Humanities Commons^™

One Of Two, Hanna Andrews

CutBank

No abstract provided.

Two Poems, William S. Barnes

CutBank

No abstract provided.

Red Cinquefoil, Daniel Mueller

CutBank

No abstract provided.

June's Hide Taken Off Distant Hedges, Karyna Mcglynn

CutBank

No abstract provided.

Arden 2007, Melanie K. Greenwood

The Arden

An amalgamation of creative student works. Items contained include, but are not limited to, art, photography, short stories, prose, poetry, and other avenues of creative composition.

Review: 'The Gospel Of Faith And Justice', Cyril Orji

Theology and Religious Studies Faculty Publications

No abstract provided.

Beowulf, Anthony Alvarado

Masters Theses

My composition is a tone poem based on the Old English epic poem Beowulf Specifically, this piece depicts Beowulf s three battles with three diverse monsters. The first Grendel, second Grendel's mother, and last a dragon. In this composition, the music does not follow any specific or traditional forms. Instead, each episode is presented as a picture of each event.

The choice to depict the story of Beowulf was an interesting choice. While historically the story is significant, it is not a very popular one. The poem is the oldest surviving manuscript written in Old English. However, more recent (relatively) …

Orchestra Sketch, Lei Li

Masters Theses

This orchestra piece consists of two movements inspired by the beauty and power of nature. The entire piece uses colorful orchestration and sensitive harmonic language as a palette to draw nature's colors.

As I began sketching out the first movement in early spring, every living creature was gradually emerging from its winter slumber, bringing bright colors into the world. The green grass appeared under the white snow, brown trees tum green, and many yellow daffodils and white tulips started to blossom. This first movement uses lyrical dialogues between strings and the orchestra to express the romantic emotions of spring's blossoms. …

Social Fora: Representing Resistance And Alternatives? Critique And Alternative Interpretation From A Feminist Perspective, Magdalena Freudenschuss

Journal of International Women's Studies

The World Social Forum is only one in the worldwide process of social fora, which mark a new phase in the era of globalisation. This critical form of globalisation from below challenges neoliberal hegemony and sets up a space to develop alternatives symbolised by the Forum’s motto, “Another World is Possible.” Collectively, the fora make up a part of the forces of global resistance, but in a more concrete way, opinions on resulting strategies and aims diverge concerning the foras’ character and function. At the same time, criticism is formulated inside the fora, leading to heavy debates. Among these critiques …

Naked Protest: Memories Of Bodies And Resistance At The World Social Forum, Barbara Sutton

Journal of International Women's Studies

This article draws on memories from the 2003 World Social Forum in Porto Alegre, Brazil in order to examine the role of naked bodies in relation to politics. Focusing on a specific moment within the flurry of (embodied) activities at the World Social Forum, this piece explores the tensions, contradictions, and opportunities arising from the use of nakedness as a political tool. The naked body is examined as a subject of political resistance and as an object of repression, highlighting how the meanings of nakedness are marked by gender and connected systems of social inequality. The analysis shows that while …

A Liberatory Space? Rumors Of Rapes At The 5th World Social Forum, Porto Alegre, 2005, Sara Koopman

Journal of International Women's Studies

Rumors were that 90 women were raped in the youth camp at the Fifth World Social Forum in Porto Alegre, in January of 2005. Later reports were that there had been two. Yet the rumors speak to how the space of the forum is socially produced and what sort of space it is. How does space then shape the forum and what we can do from there? Lefebvre argues that revolutionary festivals are an important challenge to the abstract space of capitalism. Revolutionary festivals can liberate us, but our bodies must be free if we are to create a revolutionary …

Reflections On The 3rd International Feminist Dialogues: Notes From A Newcomer, Janet Conway

Journal of International Women's Studies

The World Social Forum Nairobi 2007 was the first time the author participated in the Feminist Dialogues and this article records her first impressions and limited analysis of that event. This article includes discussion of who was in attendance and information on a panel presentation by the African Feminist Forum.

From Consciousness To Callousness: The Misdirected Path Of Rap, Pamela Collins

Undergraduate University Honors Capstones

This paper describes the misdirected path and tainting of rap music from its positive origins to the commercially violent genre it is thought of today. Variables in this devolution of rap include the influence of record and distribution companies, deindustrialization, white flight, migration of gangs, and the introduction of prison culture. This paper introduces a new variable which is the relationship between the emergence of crack cocaine and the devolution of rap music. Other work has begun to appear that mentions one or several variables but not all of them. Arguing that none of these factors can be fully understood …

Establishing Shot: The Scope Of Mormon Cinema, Gideon O. Burton

BYU Studies

Gideon O. Burton introduces the special issue dedicated to Mormon cinema by giving a brief overview of the other articles appearing in the issue and clarifying what Mormon cinema is: any film made by or about Mormons, from Church-produced movies used for teaching and training to YouTube segments; from student-made films to theatrically released movies. He also discusses the importance of film criticism in creating a quality Mormon cinema tradition.

A History Of Mormon Cinema, Randy Astle, Gideon O. Burton

BYU Studies

LDS Church members who heralded Richard Dutcher's 2000 film, God's Army, as the first Mormon movie may not have known about similar public sentiments expressed about previous landmark Mormon movies, like the 1940 motion picture Brigham Young. The history of Mormon cinema stretches back to the early 1900s and is divided into five "waves." The authors examine the waves in detail, discussing each era's Church-made films, Mormon-themed films made by independent filmmakers, mainstream films made by Latter-day Saints, and films that depicted Mormons—accurately or not. The authors also touch on developing trends in how film is made, criticized, …

The First Wave: The Clawson Brothers And The New Frontier (1905-1929), Randy Astle, Gideon O. Burton

BYU Studies

In calling this era the new frontier, there is some danger of forgetting the large industrial organizations that supported film’s early pioneers. The analogy, however, is of some use here not only because of Utah’s recent pioneer past at the turn of the century—only a generation removed—but primarily because of the proud, isolationist stance LDS filmmakers were forced to assume in response to the mainstream industry’s attacks on their religion. With no political redress or recourse to non-Mormon allies, the Latter-day Saints were left to their own devices to depict what they saw as the glories of their scriptures, forebears, …

The Second Wave: Home Cinema (1929-1953), Randy Astle, Gideon O. Burton

BYU Studies

The Second Wave differed from the First in various respects. For instance, by the 1930s the global film industry was well past its primitive pioneer era, and, within Mormonism, the increased sophistication of Second Wave films reflects this progress. In addition, technical advances (principally sound, but also color) renewed enthusiasm about the medium, both generally and among the Latter-day Saints. While this optimism did propel institutional and independent Mormon filmmaking toward some major projects, the decade of the 1930s—and to a lesser extent the 1940s— has generally been described for its lack of Mormon film production. Such a perception, however, …

The Third Wave: Judge Whitaker And The Classical Era (1953-1974), Randy Astle, Gideon O. Burton

BYU Studies

The Third Wave of Mormon cinema is unquestionably the age of Judge Whitaker. He represents the development of Mormon film from its pioneer infancy into classical maturity. The similarities to Hollywood’s classical era are numerous (with important exceptions). Most obviously, Mormon film finally left behind the multitasking artisanal mode of prior decades in favor of a studio-based industrial infrastructure featuring specialized workers. Equally important, the BYU studio produced films of an identifiable, consistent, and aesthetically and culturally conservative style deeply rooted in Hollywood norms. It supplied a steady stream of products to a vertically integrated distribution and exhibition network. Finally, …

The Fourth Wave: The Mass Media Era (1974-2000), Randy Astle, Gideon O. Burton

BYU Studies

The Fourth Wave deserves to be known as the Mass Media Era for at least three reasons. First, it was the first period dominated by video technology and various media besides traditional film; though I shall continue to use the term filmmaking, the majority of productions were now distributed electronically, even if they did not originate that way. Second, because of electronic distribution and the inexpensiveness and ubiquity of video, this era was marked by an incredibly wide dissemination of film compared with previous eras. Television, VHS, and satellite broadcasts revolutionized distribution by making obsolete the exhibition of an …

Finding An Audience, Paying The Bills: Competing Business Models In Mormon Cinema, Eric Samuelsen

BYU Studies

The Hollywood business model most filmmakers employ involves both a production company and a film studio. The two entities make a deal, and the production company shoots the movie before the studio promotes and sells the movie. Hence, films that don't attract the support of a studio often can't be advertised and distributed as widely. In many cases, the movies can't even be made without a studio's financial backing. In the Mormon film industry, some filmmakers have employed the usual Hollywood business model. Others have created their own studios to market their films, like Halestorm, and some filmmakers bypass the …

A Manifesto For "Fit For The Kingdom": Dean Duncan's Proposal For A Mormon Documentary Series, Gideon O. Burton

BYU Studies

Developments in Mormon cinema in the last few years have taken place not only with popular narrative feature films intended for theatrical exhibition. Independently produced documentary film, which actually has a stronger tradition within Mormonism, has also been growing. One group, a coalition of Brigham Young University faculty and students and independent filmmakers led by Dean Duncan of BYU’s Theatre and Media Arts Department, has been creating a series of documentary films entitled “Fit for the Kingdom.”

Toward A Mormon Cinematic Aesthetic: Film Styles In Legacy, Thomas J. Lefler, Gideon O. Burton

BYU Studies

Latter-day Saints aspire to movies that enhance, rather than undermine, their spiritual lives and that respect their religious convictions. However, discussion among Mormons about film tends to focus primarily on content—the presence of inappropriate content or the desire for more family-friendly subjects. Mormons are not alone in looking to film as a way of powerfully presenting religious themes and ideas. Biblical films, for example, have been a staple from the beginning of motion pictures. However, a film’s content is not its only religious dimension. Many films that portray ostensibly religious subjects, argues film theorist Michael Bird, “have too often erred …

The Mormons. Produced By Helen Whitney., Brian Q. Cannon, Mario S. De-Pillis, Richard E. Bennett

BYU Studies

The Mormons. Produced by Helen Whitney. Melbourne, Fla.: PBS Video, 2007

New York Doll. Directed By Greg Whiteley., Nathan Richardson

BYU Studies

New York Doll. Directed by Greg Whiteley. One Potato Productions, 2005

Angie. Produced By The Tom Russell Family., Randy Astle

BYU Studies

Angie. Produced by the Tom Russell family. Fit for the Kingdom, 2006

Full Issue, Byu Studies

BYU Studies

No abstract provided.

Table Of Contents

The Dark Man: The Journal of Robert E. Howard & Pulp Studies

Articles:

Editorial Comments (The Dark Man V3n2),by Charles Allen Gramlich [as by Charles Gramlich]

The Influence of Joseph A. Altsheler’s “Young Trailers” Series on Howard’s Pictish Wilderness Fiction, by Robert M. McIlvaine

Mind-forg’d Manacles? Back to School with Robert E. Howard, by Steve Tompkins

Conan the Shakespearean / Hamlet the Barbarian, by Jeffrey Kahan

News (The Dark Man V3n2), by Paul Herman and S. T. Joshi

Letters to the Editor (The Dark Man V3n2), by Jeffrey Kahan

Letter (The Dark Man V3n2), by Mark Finn

Letter (The Dark Man V3n2), by Chris Gruber

Letter (The Dark Man V3n2), by Darrell …

Calvin Theological Journal (Vol 42 No 1 - April 2007), Calvin Theological Seminary

Calvin Theological Journal

Editor’s Notes - 7 / Articles: Christian Reformed History in German Mirrors by James D. Bratt - 9 / The Other Reformed: Dutch Presbyterians in Nineteenth-Century America by Richard H. Harms - 33 / Accountability or Parity: Ecumenical Principles in Tension between the CRC and RCA, 1898–1904 by James A. De Jong - 50 / From Princeton to Wheaton: The Course of Neo-Calvinism in North America by John Bolt - 65 / Harry Bultema and the Maranatha Controversy in the Christian Reformed Church by Michael G. Borgert - 90 / Singing Hymns? We’ve Never Done That Before! The CRC’s …

Forms Of Tradition In Contemporary Spain, Jo Farb Hernandez

Faculty Publications

No abstract provided.

Professional Product Review Vol. 2 No. 2, American Dental Association, Council On Scientific Affairs

Professional Product Review

A user-friendly newsletter from the ADA Council on Scientific Affairs offering scientifically sound, unbiased, and clinically relevant information to member dentists about professional dental products tested by the ADA. This collection is historical and may not reflect current standards. For up-to-date information contact the ADA.