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Articles 180991 - 181020 of 572462

Full-Text Articles in Arts and Humanities

Acoustic And Aerodynamic Data On Somali Chizigula Stops, Michal Temkin Martinez, Vanessa Rosenbaum Jan 2017

Acoustic And Aerodynamic Data On Somali Chizigula Stops, Michal Temkin Martinez, Vanessa Rosenbaum

English Literature Faculty Publications and Presentations

In recent years, traditional language descriptions as well as preservation and revitalization efforts have benefited from experimental approaches utilized in other fields of linguistics.• The integration of phonetic experimental methods has assisted in scientifically defining certain articulatory and acoustic parameters that would be impossible to identify otherwise (Hudu et al. 2009; Miller 2008; Miller & Finch 2011). Additionally, the use of psycholinguistic methods in O'Grady et al. (2009) aids in the documentation and assessment of language fluency for language revitalization purposes. This chapter reports acoustic and aerodynamic data collected to complement the description of stops in Somali Chizigula. Results from …

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Romanticism, Samantha C. Harvey Jan 2017

Romanticism, Samantha C. Harvey

English Literature Faculty Publications and Presentations

While Thoreau has sometimes been represented as a provincial figure who traveled relatively little, his extensive engagement with texts from across the Atlantic reveals a much fuller and more cosmopolitan picture of Thoreau, a writer who engaged with Romanticism not only directly, through his careful study of texts by Coleridge, Wordsworth, Carlyle, Goethe, and others, but also indirectly, since Romanticism saturated the Transcendentalist context within which he developed and operated. Thus there is a clear need to understand Thoreau in light of a larger movement: transatlantic Romanticism. Thoreau's awareness of transatlantic religio-philosophical, scientific, and literary contexts is especially evident in …

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The End Of Postmodernism, Ralph Clare Jan 2017

The End Of Postmodernism, Ralph Clare

English Literature Faculty Publications and Presentations

Appearing at the start of the millennium, Percival Everett's Erasure (2001) features Monk Ellison, a writer who is questioning his one-time embrace of postmodern aesthetics and who raises the ire of "innovative" writer and fellow member of the Nouveau Roman Society after delivering a conference paper, F/V, part parody of and part homage to Roland Barthes's S/Z. Becoming belligerent, the writer proclaims to Ellison that postmodernists did not "have time to finish what we set out to accomplish" because any art which "opposes or rejects established systems of creation ... has to remain unfinished." His unsuccessful attempt to …

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Histories, Lisa Zou Jan 2017

Histories, Lisa Zou

The Lindenwood Review: a journal of literary prose

No abstract provided.

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How To Avoid Falling In Love With A Raven, Lara Dunning Jan 2017

How To Avoid Falling In Love With A Raven, Lara Dunning

The Lindenwood Review: a journal of literary prose

No abstract provided.

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Rhetorical Commonsense And Child Molester Panic--A Queer Intervention, Ian Barnard Jan 2017

Rhetorical Commonsense And Child Molester Panic--A Queer Intervention, Ian Barnard

English Faculty Articles and Research

This article considers how contemporary representations of child molesters in scholarly, political, and popular culture participate in projects that revolve around the recuperation of heteronormativity. I argue that these multimodal obsessions with child molestation displace the resilience of entrenched homophobic fears, prejudices, and dispositions, giving the lie to the commonplace that the political advance of same-sex marriage in the United States signals the apotheosis of gay rights. My analysis focuses on two representative popular and scholarly texts: the long-running television series Law and Order: SVU and a scholarly article about the Jerry Sandusky case published in jac. The former …

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On The Heterogeneity Of Northern Paiute Directives, Tim Thornes Jan 2017

On The Heterogeneity Of Northern Paiute Directives, Tim Thornes

English Literature Faculty Publications and Presentations

In this chapter, I explore a variety of grammatical constructions involved in expressing or asserting a desired action or outcome-what properly (and traditionally) fall under the functional domain of commands (or directives)-in Northern Paiute (Western Numic; Uta-Aztecan). I also discuss the various situational contexts appropriate to their use and make a preliminary assessment of their historical developments, as both grammatical and sociocultural phenomena. This study is intended to contribute to the typological literature on commands and on nondeclarative speech acts more generally (see, especially, Konig and Siemund 2007 and Aikhenvald 2010, inter alia).

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Magic Sheet, Brandon Washington Jan 2017

Magic Sheet, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Electrical Equipment List, Brandon Washington Jan 2017

Electrical Equipment List, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Instrument Schedule, Brandon Washington Jan 2017

Instrument Schedule, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Wish List, Brandon Washington Jan 2017

Wish List, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Rhythm Analysis, Brandon Washington Jan 2017

Rhythm Analysis, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Research Analysis: Act Iii, Scene Iii, Brandon Washington Jan 2017

Research Analysis: Act Iii, Scene Iii, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Conceptual Hookup, Brandon Washington Jan 2017

Conceptual Hookup, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Storyboard: Act Iii, Scene Ii, Brandon Washington Jan 2017

Storyboard: Act Iii, Scene Ii, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Storyboard: Act Ii, Scene Ii, Brandon Washington Jan 2017

Storyboard: Act Ii, Scene Ii, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Storyboard: Act Ii, Scene I, Brandon Washington Jan 2017

Storyboard: Act Ii, Scene I, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Storyboard: Act I, Scene I, Brandon Washington Jan 2017

Storyboard: Act I, Scene I, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Lighting Section: Red Dawn Barber, Brandon Washington Jan 2017

Lighting Section: Red Dawn Barber, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Lighting Section: Red Dawn, Brandon Washington Jan 2017

Lighting Section: Red Dawn, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Lighting Section: Osborne Path, Brandon Washington Jan 2017

Lighting Section: Osborne Path, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Lighting Section: Circle Moment Front Light, Brandon Washington Jan 2017

Lighting Section: Circle Moment Front Light, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

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Lighting Section: Candle Support Front Diagonal Light, Brandon Washington Jan 2017

Lighting Section: Candle Support Front Diagonal Light, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Acting Areas, Brandon Washington Jan 2017

Acting Areas, Brandon Washington

Journey's End (2017) - Lighting

The lighting design for Journey's End needed to create the dark and claustrophobic environment of a war dug-out. Candles from low angles and slivers of natural light that could barely penetrate the dug-outs were the only sources of illumination. The high-contrast world that was composed only added to the hell that these soldiers endured.

Go to article

Textual Matrix, Brandon Washington Jan 2017

Textual Matrix, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

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Wish List, Brandon Washington Jan 2017

Wish List, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

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Instrument Schedule, Brandon Washington Jan 2017

Instrument Schedule, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

Go to article

Lighting Section: Screen Bounce, Brandon Washington Jan 2017

Lighting Section: Screen Bounce, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

Go to article

Rhythm Analysis, Brandon Washington Jan 2017

Rhythm Analysis, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

Go to article

Scene Breakdown, Brandon Washington Jan 2017

Scene Breakdown, Brandon Washington

The Flick (2017) - Lighting

The realistic environment, story, dialogue, and characters fed the ideas of light that would help tell this story. Later in the show, the movie theater called “The Flick” is taken under new ownership and is remodeled into “The Venue.” Changes in color accents and temperature of light within the theater provided us with the larger visual switch and passage of time that happens towards the last quarter of the play.

Go to article

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