6,762 research outputs found
"Hi George, I'm back, just wait 'til you see this quaint old relic I found" [Condoleezza Rice returning from Europe with a "Diplomacy" sign under her arm] [picture] /
No full textTitle devised by cataloguer.; "Jan 2005 - Condaleeza Rice US Secretary of State visits Europe"--Written in black ink on verso.; Condition: Good.; Published in the Sydney Morning Herald.; Part of the Moir collection of cartoons and drawings.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn3639627; Donated through the Australian Government's Cultural Gifts Program by Alan Moir, 2005
"I particularly like the bit about us encouraging people to stay in the workforce beyond normal retirement age" [Prime Minister John Howard commenting on the Budget Speech to Treasurer Peter Costello, 2005] [picture] /
No full textTitle devised by cataloguer.; "4.05.05"--Written in black ink on verso.; Published in the Sydney Morning Herald.; Part of the Moir collection of cartoons and drawings.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn3642089; Donated through the Australian Government's Cultural Gifts Program by Alan Moir, 2005
"I guess there's no reduntancy [ie. redundancy] package" [Saddam Hussein look-alikes looking for work] [picture] /
No full textCondition: Good.; Title devised by cataloguer.; "July 2004 - Saddam stand-ins (he used them in case of assassination attempts)"--Written in black ink on verso.; Published in the Sydney Morning Herald.; Part of the Moir collection of cartoons and drawings.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn3626832
Post-war British working-class fiction with special reference to the novels of John Braine, Alan Sillitoe, Stan Barstow, David Storey and Barry Hines
No full textThis study is about British working-class fiction in the post-war period.
It covers various authors such as Robert Tressell, George Orwell, Walter Greenwood, Lewis Grassic Gibbon and DH Lawrence from the early twentieth century; writers traditionally classified as 'Angry Young Men' like John Osborne, Arnold Wesker, Shelagh Delaney, John Wain and
Kingsley Amis; and working-class novelists like John Braine, Stan Barstow, David Storey, Alan Sillitoe and Barry Hines from the 1950s and 1960s.
Some of the main issues dealt with in the course of this study are language, form, community, self/identity/autobiography, sexuality and relationship with bourgeois art. The major argument centres on two questions: representation of working-class life, and the
relationship between working-class literary tradition and dominant ideologies.
We will be arguing that while working-class fiction succeeded in challenging and rupturing bourgeois literary tradition, on the level of language and linguistic medium of expression for example, it utterly failed to break away from dominant, bourgeois modes of literary production in relation to form, for instance.
Our argument is situated within Marxist approaches to literature, a political and aesthetic position from which we attempt an analysis and an evaluation of this working-class literary tradition. These critical approaches provide us also with the theoretical tool to define the political perspective of this tradition, and to judge whether it was confined to a descriptive mode of representation or
located in a radical, political outlook
"A Symbol of the New African": Drum magazine, popular culture and the formation of black urban subjectivity in 1950s South Africa.
No full textPhDThis thesis examines the emergence of black urban subjectivity in South Africa
during the 1950s, focussing on the ways in which popular American genres were
utilised in the construction of black urban identities that served as a means of
resistance to apartheid. At the centre of this process was Drum magazine:
founded in South Africa in 1951 , it became the largest selling magazine on the
African continent in 1956. Drum's success was due to the way in which it
enabled the relocation of black identity from the "traditional" towards the
"modern'. The 1940s gave rise to widespread migration of black South Africans
from rural to urban areas and this newly urbanised community was seeking
models of black urban identity. Yet the Nationalist government was attempting
to curtail the emergence of a black urban proletariat, which posed a threat to
white political supremacy. Through apartheid legislation black identity was
constructed as essentially tribal and rural. As a means of resisting this, urbanised
black South Africans turned to, and appropriated, readily available forms of
American culture. Drum published Americanised images and stories: gangsters,
black detectives, black comic heroes, and pulp romances. This popular material
appeared alongside some of the finest investigative journalism ever published.
While Drum magazine is widely acknowledged as having provided a platform
for the emergence of black South African writing in English, its popular content
has been dismissed by critics as apolitical escapism, imitation and capitulation to
American culture. This thesis challenges the dismissal of the popular that has
dominated analyses of Drum since the 1960s, arguing that such a position denies
the agency of local writers and audiences. My analysis reveals that American
forms were adopted in critically discerning ways and chosen for their ability to
convey local meaning and create positions from which to resist aparthei
Alan Moore Comics as Performance, Fiction as Scalpel
No full textEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Intro -- Contents -- Preface and Acknowledgments -- Introduction -- CHAPTER 1. Formal Considerations on Alan Moore's Writing -- CHAPTER 2. Chronotopes: Outer Space, the Cityscape, and the Space of Comics -- CHAPTER 3. Moore and the Crisis of English Identity -- CHAPTER 4. Finding a Way into Lost Girls -- Conclusion -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- ZEclectic British author Alan Moore (b. 1953) is one of the most acclaimed and controversial comics writers to emerge since the late 1970s. He has produced a large number of well-regarded comic books and graphic novels while also making occasional forays into music, poetry, performance, and prose. In Alan Moore: Comics as Performance, Fiction as Scalpel , Annalisa Di Liddo argues that Moore employs the comics form to dissect the literary canon, the tradition of comics, contemporary society, and our understanding of history. The book considers Moore's narrative strategies and pinpoints the main thematic threads in his works: the subversion of genre and pulp fiction, the interrogation of superhero tropes, the manipulation of space and time, the uses of magic and mythology, the instability of gender and ethnic identity, and the accumulation of imagery to create satire that comments on politics and art history. Examining Moore's use of comics to scrutinize contemporary culture, Di Liddo analyzes his best-known works-- Swamp Thing, V for Vendetta, Watchmen, From Hell, Promethea , and Lost Girls . The study also highlights Moore?s lesser-known output, such as Halo Jones, Skizz , and Big Numbers , and his prose novel Voice of the Fire. Alan Moore: Comics as Performance, Fiction as Scalpel reveals Moore to be one of the most significant and distinctly postmodern comics creators of the last quarter-century.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
I remember Seabrook School
No full textIn this "I remember," memoir, J. Alan Woodruff of Bridgeton, New Jersey, recalls his experiences of attending Seabrook schools and living near the Seabrook community. He believes that the influx of diverse students during the war helped distinguish the town's schools for academic and athletic excellence, as well as better prepared the students for succeeding in a multi-cultural world. Alan also remembers that other farms in the area benefitted economically as contractors to Seabrook, since work production dramatically increased. The Seabrook Educational and Cultural Center has been soliciting current and past residents of Seabrook Farms for an "I remember" project. Residents are asked to create narratives regarding their experiences at Seabrook Farms. These memories help preserve the history and multi-cultural heritage of Seabrook Farms
Black violence and the politics of representation: selected readings in the twentieth century American novel
No full textPhDThis thesis argues that the representation of black violence in the twentieth
century American novel is shaped by two principal rhetorical strategies, which I term
denial and demonisation. Denial refers to modes of literary discourse which seek to refute
the possibility of black violence, or to circumscribe it as an exclusively intraracial
phenomenon. Demonisation denotes textual strategies which figure a racially determined
form of violence as a natural element of black character. These strategies may appear
antithetical, but they are rarely deployed in isolation. Rather, they appear in complex
combinations in most representations of black violence in American literature, as I
demonstrate using a range of novels by black and white authors which span the twentieth
century. These strategies have their roots in racist ideologies which seek to obliterate any
connection between the impact of racism upon African Americans and black violence.
Hence they are most noticeable in literary texts which reflect and contribute to racist
ideology. However, texts which seek to expose social and cultural causes of black
violence are also unavoidably influenced by these modes of literary discourse, and this
includes the work of African American authors. They have to negotiate the racist tropes
and assumptions encoded within the language and literary forms of hegemonic American
culture, because they have no alternative, completely separate resources for cultural
production. External pressures experienced by any author representing black violence
compound these difficulties. These include the demands of black community leaders and
white liberals not to represent African Americans in ways which may hinder the cause of
racial equality, and the demands of publishers to represent black violence in ways with
proven commercial potential. Furthermore, despite the retreat of racism in modern
America, certain images and fantasies of blackness retain a hold over the American
cultural imaginary, and continue to influence literary discourse. As my thesis
demonstrates, this ensures that denial and demonisation can still be detected in
contemporary American novels
Black Applicants, Black Employees, and Urban Labor Market Policy
No full textIn this paper, I use data from a new survey of employers in four large metropolitan areas to analyze the flow of black applicants to different kinds of employers and the extent to which these applicants are hired. The results show that less-educated black workers apply less frequently for jobs in the suburbs than in central cities, especially at smaller establishments. Their lower tendency to apply for suburban jobs is mostly accounted for by the higher costs to central-city black residents of applying there, and by lower information flows as well. Black applicants, especially less-educated black males, are also less likely to be hired at suburban establishments, particularly where they must deal with white customers. These results suggest the need for policies to reduce the costs of applying for suburban jobs and to improve the flow of information about suburban employment prospects to less-educated blacks, and perhaps a need to complement such policies with more effective enforcement of antidiscrimination laws in small suburban establishments.
Alan Moore: Don't Let Me Die In Black and White
No full textFilmed in 1993, shortly before Alan's 40th birthday, this film was made during the period in which Alan was conducting research into the history of Northampton for the book 'Voice of the Fire'. Nothing was scripted, and there were no second takes. This edit of the film was made in 2000, and was shown to Sara Woodford at Id World, who commissioned the film 'Comic Tales with Alan Moore' for Channel 4. The title of the film comes from a line in Alan's song, 'Old Gangsters Never Die' (the B side of 'Sinister Ducks') - "If I die, and god knows I might, don't let me die in black and white.
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