864 research outputs found
Oil ecocide in Three nights for five dogs, by Gustavo Ott
No full textIn this work we analyze the play Three nights for five dogs, by Gustavo Ott. Piece that questions and denounces the damage to the ecosystem caused by the explosion of the oil platform
called “Deepwater Horizon” operated by British Petroleum. This event occurred in 2010 in the Gulf of Mexico and became the most devastating ecocide perpetrated by any transnational. We
have identified aspects of reality that are transposed in the work by
the author and incardinated the work within what is called ecotheater.
Ott seeks - through the work - to create awareness and environmental
awareness.En este trabajo se analiza la obra Tres noches
para cinco perros, de Gustavo Ott. Pieza que cuestiona y denuncia
el daño al ecosistema producido por la explosión de la plataforma
petrolera llamada “Deepwater Horizon” operada por la
British Petroleum. Este hecho ocurrió en el año 2010 en el Golfo
de México y se convirtió en el más devastador ecocidio perpetrado
por transnacional alguna. Hemos identificado aspectos de
la realidad que son transpuestos en la obra por parte del autor e
incardinado la obra dentro de lo que se denomina ecoteatro. Ott
busca- través de la obra- crear concienciación y sensibilización
medioambiental
Bridging scholarly theory and forensic practice: toward a more pedagogical model of rhetorical criticism
No full textBrian Ott was a professor in the Department of Speech Communication at Colorado State University.Includes bibliographical references (pages 71-74).In this essay, the author contends that competitors in the event of rhetorical criticism, or communication analysis (CA) as it is alternatively called, are locked into a model that poses serious questions about the educational value of the event. In an effort to narrow the ever widening gap between theory and practice and to heighten the pedagogical value of contest rhetorical criticism, the author proposes to chart briefly the chief features of the existing RC model, to identify the limitations posed by that model, and to suggest several viable alternatives
Entre jeu et nostalgie. Les topoï courtois dans Les Trois Aveugles de Compiègne de Jean Ott
No full textThe subject of this paper is an analysis of Jean Ott’s theater play Les Trois Aveugles de Compiègne. In his adaptation of a 13th-century famed “fabliau” Jean Ott (1878–1935), a lesser-known French author, offers its receiver an interesting intertextual play. In a manner that is both parodic and nostalgic he appeals to the courtly topoi, treating it as a signpost that defines the development of action and the semantic scope of his work.The subject of this paper is an analysis of Jean Ott’s theater play Les Trois Aveugles de Compiègne. In his adaptation of a 13th-century famed “fabliau” Jean Ott (1878–1935), a lesser-known French author, offers its receiver an interesting intertextual play. In a manner that is both parodic and nostalgic he appeals to the courtly topoi, treating it as a signpost that defines the development of action and the semantic scope of his work.The subject of this paper is an analysis of Jean Ott’s theater play Les Trois Aveugles de Compiègne. In his adaptation of a 13th-century famed “fabliau” Jean Ott (1878–1935), a lesser-known French author, offers its receiver an interesting intertextual play. In a manner that is both parodic and nostalgic he appeals to the courtly topoi, treating it as a signpost that defines the development of action and the semantic scope of his work
A little help from our friends : security partnerships and the rebalance
No full textFor more about the East-West Center, see http://www.eastwestcenter.org/Marvin Ott, senior scholar at the Woodrow Wilson International Center, and Julia Allen, strategic studies major at Johns Hopkins University, explain that "the Rebalance will be unsustainable without heavy reliance on tangible expressions of regional support [from critical partners] Australia, the Philippines, and Singapore."
The views expressed in this publication are those of the author and do not necessarily reflect the policy or position of the East-West Center or any organization with which the author is affiliated
Cinema Panopticum, by Thomas Ott: images, terror and social control
No full textPropõe a análise crítica da história em quadrinhos Cinema Panotpticum (2021), de Thomas Ott. Na narrativa, uma garota vai a um parque de diversões onde assiste a pequenos filmes em cabines de cinetoscópio (um aparelho de projeção de imagens inventado em 1894). Pelo olhos da garota, o leitor acompanha, nos filmes, histórias macabras e cruéis. Inicialmente, a reflexão debruça-se, aqui, sobre o conceito de panóptico, estudado por Michel Foucault (2014), para estabelecer uma relação entre o universo das imagens e o controle social. Na sequência, busca-se esclarecer, com apoio em teorias do cinema, o diálogo criativo de Thomas Ott com o cinema expressionista alemão e sua atmosfera de terror; por fim, demonstra-se como o autor recupera algo do fascínio e temor dos primeiros espectadores em face das imagens cinematográficas.It proposes a critical analysis of the graphic novel Cinema Panotpticum (2021), by Thomas Ott. In the narrative, a girl goes to an amusement park where she watches short films in kinetoscope booths (an image projection device invented in 1894). By the girl\u27s eyes, the reader follows macabre and cruel stories in the films. Initially, the reflection focuses here on the concept of panopticon, studied by Michel Foucault (2014), to establish a relationship between the universe of images and social control. Next, we seek to clarify, with support from cinema theories, Thomas Ott\u27s creative dialogue with German expressionist cinema and its atmosphere of terror; finally, it is demonstrated how the author recovers something of the fascination and fear of the first spectators in the face of cinematic images
Memorializing the Holocaust: Schindler's List and public memory
No full textBrian Ott was a professor in the Department of Speech Communication at Colorado State University.Includes bibliographical references (page 457).No effort to memorialize the Holocaust has been as far reaching in American culture as Steven Spielberg's 1994 film, Schindler's List. As a result of its nearly unanimous acclaim, Schindler's List is now being heralded as a watershed event in Hollywood. Reviewers hold it up as a model of how entertainment can be used to convey a serious educational message? In light of its cultural scope, this essay seeks to describe the relationship between the film and public memory surrounding the Holocaust. While Schindler's List is undoubtedly an aesthetic and artistic masterpiece, the author contends that it not only fails to create but structurally disallows self-reflective spaces for internal memory-work. Rather than prompting us to struggle with the difficult issues of the Holocaust, the film is structured in such a way as to completely shoulder our memory-burden. By analyzing its formal elements, the author demonstrates how Schindler's List fuels our desire for resolution and comfort which it then fulfills by constructing an ideologically conservative sanctuary for the spectator. The author concludes the essay by considering the social and political implications of such a project. In advancing the argument of this essay, the author does not wish to judge the film in any simplistic sense. There is much about the film that is important, provocative, and productive. The author believes it is possible to retain these elements while at the same time suggesting the film's principal shortcomings
I'm Bart Simpson, who the hell are you? A study in postmodern identity (re)construction
No full textBrian Ott was a professor in the Department of Speech Communication at Colorado State University.Includes bibliographical references (pages 78-82).Difference- and subsequently, identity- is now defined and affirmed through consumer choice. Though generally the author is compelled by the theoretical claims surrounding this apparent shift, in this article he wishes to problematize and then clarify those claims in an important way. Efforts to theorize shifting conceptions of identity have preceded largely without, in Kellner's words, "systematic and sustained examination of the actual texts and practices of popular media culture". Indeed, van Poecke's essay, one of the most sophisticated treatments of this subject, makes not a single reference to a specific media text. Consequently, much of the existing literature regarding postmodern identity represents the break from modernist notions far too cleanly, and in a manner that does not adequately reflect the lived experiences of present-day subjects. The hope is that by studying a specific case, the theory can be refined so as to better assist people in negotiating their rhetorical environments. To accomplish this aim, this article undertakes an analysis of the Fox network's thirty-minute, award-winning animated series, The Simpsons
Relocating pleasure in media studies
No full textBrian Ott was a professor in the Department of Speech Communication at Colorado State University.Includes bibliographical references (pages 207-212).ab-stract, (n.) 1. a summary of points (as of a writing) usu. presented in skeletal form.(adj.) 1. difficult to understand: abstruse. (vt.) 1. dissociate, remove, separate. This essay concerns how language is, at once, structured (producing meaning) and infinite (destabilizing meaning). Both functions of language are tied to pleasure. Contemporary critical media studies, it is argued, has attacked the pleasure (plaisir) of language's structuring function while simultaneously repressing the pleasure (jouissance) of language's dismantling function. Is this to(o) abstract
Gustavo Ott, el espectáculo como estética de la alteridad
No full textEste trabajo tiene como fin analizar el teatro como una representación de los conflictos del ser y su relación con el mundo. Se centra en el teatro de Gustavo Ott, para quien el Espectáculo es la Alteridad de la sociedad contemporánea, sus obras dramáticas plantean en el tema y la puesta en escena conflictos existenciales del hombre, así como la violencia, la muerte, lo absurdo, lo oscuro, la crueldad y el humor. Por ello, la investigación pretende describir cómo el autor estetiza la violencia y experimenta puestas en escenas teatrales con la literatura y el cine, utilizando teorías y de La Alteridad de M. Bajtín; La Sociedad del Espectáculo, M. Vargas Llosa y El Cine de Q. Tarantino, por medio de una investigación cualitativa, con lectura analítica y amplios registros documentales.This article is intended to analyse the Teatro, As A Representation of the conflicts of the self and its relationship with the world. Search the Through the actors--the characters, the Other being no more than theSelf, evidencer A Concienc Cultural heritage in a Show society. The Research focuses on the theatre of Gustavo Ott, for whom The Show is la Alteridad of contemporarySocietyTheir Dramatic worksPose inthe subject and staging existential conflicts of man, as well as Violence, death,the Absurd,the dark,the crueltyAnd The humour. Therefore,the article intends to describe as the author merely aestheticised the violence and experiments in theatrical scenes with literature and cinema, using Theories and methods of La Alteridad of M. Bakhtin;La Sociedad of the Show, M. Vargas Llosa, The Cinema of Q. Tarantino, Through qualitative research, withanalyticalreading and extensive documentaryrecords
Between play and nostalgia. The courtly topoï in Les Trois Aveugles de Compiègne by Jean Ott
No full textThe subject of this paper is an analysis of Jean Ott’s theater play Les Trois Aveugles de Compiègne. In his adaptation of a 13th-century famed “fabliau” Jean Ott (1878–1935), a lesser-known French author, offers its receiver an interesting intertextual play. In a manner that is both parodic and nostalgic he appeals to the courtly topoi, treating it as a signpost that defines the development of action and the semantic scope of his work
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