The fifty-four-year old artist walked the streets of Fort Bragg, an old Northern Californian lumber town. He saw two places: the slowly gentrifying tourist hamlet it is now, and the decaying backwater it had been during his youth. He remembered days when this central street was lined with seedy bars and mill workers. Paychecks dispensed at the nearby docks rarely made it home.
The Kids Are All Right is the story of lesbian couple Nic and Jules Allgood, both in their 40’s, and their children, Joni (18) and Laser (15), conceived via artificial insemination with sperm from the same donor. The film — co-scripted by Lisa Cholodenko and Stuart Blomberg, directed by Cholodenko, and performed by Annette Bening and Julianne Moore as Nic and Jules, Mark Ruffalo as Paul (“donor dad”), and Mia Wasikowska and Josh Hutcherson as Joni and Laser – explores the multifarious ways that the family is disrupted by Laser’s desire to bring his “donor dad,” Paul, into the otherwise female context he inhabits.
Teachers of writing want students to think of themselves as writers. This simple shift in identification indicates a larger move from being a passive learner to being an active participant in the classroom and in the writing, thinking world. Teachers want students to feel a sense of agency as they write—the ability to consciously control language—and to feel a sense of agency through writing—to know that what they write matters and is nothing less than a platform for their voices to be heard. In this regard, there is a vast discrepancy between courses in creative writing and composition.
With the rise of the digital age and this time of one-hundred-plus TV channels, the ways in which TV shows compete for viewers is constantly evolving and heavily dependent on visual strategies of persuasion. Print and online advertisements, billboards, and TV commercials all attempt to engage audiences in ways that “mobilize symbols to influence diverse publics” (Olsen 9). One particularly interesting area in which visual rhetoric is used to attract and retain viewership is the opening credits of a television show; sometimes these credits have a residual identity—especially in terms of pop-culture—that far surpasses the show itself.
This paper will focus on various aspects of the San Pasqual Battlefield, located in Escondido, California. The notion of public memory, which emerges from the intersection of official and vernacular cultural expressions, will be explored through the history the San Pasqual Battlefield portrays (Bodnar 13). At a California State Park, such as the San Pasqual Battlefield, it is fair to say that visitors expect an unbiased assessment of the battle between the Californios and the Americans.
Abstract: The field of cultural studies has a long and varied history. It was estab-lished in the 1930s by scholars associated with the Frankfurt School. The tradition was continued by Stuart Hall and others at the Birmingham School of Cultural Studies in Great Britain. By the late 1980s and early 1990s, the field of study […]
“… I think of an Athenian Poland, but of an Athens immensely perfected by the greatness of Christianity” (19-year old Karol Wojtyla, in a letter to a friend in 1939, on the eve of World War II. Quoted in Shulz 108). NOTE: This is a draft manuscript; please do not quote. Work for this project was supported […]