47 research outputs found
Tarzan
No full textCreated by the author Edgar Rice Burroughs the fictional character Tarzan was born Lord Greystoke, a member of an aristocratic British family. Stranded in the African jungle as a small child, Tarzan is found and raised by a group of primates. The character was first introduced to the public in 1912 in Tarzan of the Apes, which appeared in the magazine All-Story. The twenty-five novels that followed between 1912 and 1947 were a huge commercial success, with over 100 million copies sold, and Tarzan has become symbolic of a primal form of masculinity untouched by Western industrial civilization, as well as an escapist fantasy for generations of boys and men
Edgar Rice Burroughs creator of Tarzan
No full textA concise biography of the prolific author who created Tarzan & was a pioneer of the science fiction genre. Annotation. One of the most successful writers of the twentieth century, Edgar Rice Burroughs's novels of adventure and imagination include Tarzan and the Apes
Author-as-franchise-product: Edgar Rice Burroughs Inc. and Tarzan™ as historical branded entertainment
No full textThis chapter explores the historical relationship between the branded media entertainment of Tarzan and the rise of consumer culture in the 1920s and 1930s. It argues that the successful licensing of this property across pulp magazines, comics, cinema, and radio reflected the embrace of brand-franchise logics throughout the business landscape of America at that time. I will document the industrial structures in place and those which evolved accordingly to enable Tarzan to be manufactured corporately and sold as narratively transmedial components of an historical branded media franchise. The chapter also analyses the function of Tarzan creator Edgar Rice Burroughs and his company, suggesting that his visibility as franchise-author played a crucial role in constructing these brand linkages between media products
Author-as-Franchise-Product
No full textThis chapter explores the historical relationship between the branded media entertainment of Tarzan and the rise of consumer culture in the 1920s and 1930s. It argues that the transmedia licensing of this property across pulp magazines, comics, and radio reflected the growing embrace of brand-franchise logics throughout the business landscape of America at that time. The author offers the metaphor of ‘stepping stones' to understand the brand linkages between these different media products in which consumption of one product led to the consumption of another. More importantly, the author analyses the function of Tarzan creator Edgar Rice Burroughs and his company, suggesting that his visibility as franchise-author played a crucial role in constructing these brand linkages between media products. Contextualised as part of the very different cultural landscape of 1920s and 1930s consumer culture, the author demonstrates how an authorial name operated commercially as much as a corporatised component of the branded entertainment products of Tarzan as the Tarzan character himself.</jats:p
Tarzan, un noir: pour une critique de l'économie politique du nom \"Afrique\"
No full textDepuis 1912, innombrables textes – romans, radio shows, bandes dessinées, séries de télévision, films – ont produit et articulé représentations de l'Afrique dans histoires dont le protagoniste est Tarzan, créé par l'étasunien Edgar Rice Burroughs (1875-1950). En prenant le nom « Afrique » comme référence, les textes qui orbitent et habitent le nom « Tarzan » appartiennent à une généalogie occidentale et à une histoire transculturelle. Après aborder l'économie de la marque « Tarzan » dans sa circulation globale, une description bref et schématique de la filmographie de Tarzan me permet d'interroger ce que j'appelle nomenclôture occidentaliste de l'Afrique. Finalement, par le moyen d'une lecture attentif de Moi, un noir (Jean Rouch 1959) comme un prisme à travers lequel la circulation globale de Tarzan peut être interprétée et réinventée, je suggère des possibilités de débordement imaginative, en ouvrant l'espacement transculturel de l'écriture de l'Afrique comme économie politique du nom « Afrique ».
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Desde 1912, inúmeros textos – romances, programas de rádio, histórias em quadrinhos, seriados de televisão, filmes – produziram e articularam representações da África em narrativas envolvendo Tarzan, criado pelo estadunidense Edgar Rice Burroughs (1875-1950). Tomando o nome de 'África' como referência, os textos que orbitam e habitam o nome de 'Tarzan' pertencem a uma genealogia ocidental e a uma história transcultural. Após abordar a economia da marca registrada 'Tarzan' em sua circulação global, uma descrição breve e esquemática da filmografia de Tarzan me permite interrogar o que chamo de nomenclausura ocidentalista da 'África'. Finalmente, por meio de uma leitura atenta de Moi, un noir (Jean Rouch 1959) como um prisma através do qual a circulação global de Tarzan pode ser interpretada e reinventada, sugiro possibilidades de transbordamento imaginativo, abrindo o espaçamento transcultural da escritura da 'África' como economia política do nome de 'África'.
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Since 1912, countless texts – novels, radio shows, comic strips, television serials, films – produced and articulated representations of Africa in narratives which feature Tarzan, a character created by the US-American author Edgar Rice Burroughs (1875-1950). Taking the name of 'Africa' as a reference, the texts which surround and inhabit the name of 'Tarzan' belong both to a Western genealogy and to a cross-cultural history. After addressing the economy of the trademark 'Tarzan' in its global circulation, a brief and schematic description of Tarzan's filmography allows me to interrogate what I call the occidentalist name-in-closure of 'Africa'. At last, by means of a close reading of Jean Rouch's \"Moi, un noir\" (1959) as a prism through which Tarzan's global circulation can be interpreted and reinvented, I suggest possibilities of imaginative overflow, opening up the cross-cultural spacing of the writing of 'Africa' as political economy of the name of 'Africa'
Tarzan, um negro: para uma crítica da economia política do nome de “África”
No full textSince 1912, countless texts – novels, radio shows, comic strips, television serials, films – have produced and articulated representations of Africa in narratives featuring Tarzan, a character created by the US author Edgar Rice Burroughs (1875-1950). Taking the name of “Africa” as a reference, the texts which surround and inhabit the name of “Tarzan” belong both to a Western genealogy and to a cross-cultural history. After examining the economy of the global circulation of the “Tarzan” trademark, I give a brief and schematic description of Tarzan’s filmography, which allows me to interrogate what I call the occidentalist name-in-closure of “Africa”. At last, by means of a close reading of Jean Rouch’s Moi, un noir (1959) as a prism through which Tarzan’s global circulation can be interpreted and reinvented, I suggest possibilities of imaginative overflow, opening up the cross-cultural spacing of the writing of “Africa” as political economy of the name of “Africa”.
Desde 1912, inúmeros textos – romances, programas de rádio, histórias em quadrinhos, seriados de televisão, filmes – produziram e articularam representações da África em narrativas envolvendo Tarzan, criado pelo estadunidense Edgar Rice Burroughs (1875-1950). Tomando o nome de “África” como referência, os textos que orbitam e habitam o nome de “Tarzan” pertencem a uma genealogia ocidental e a uma história transcultural. Após abordar a economia da marca registrada “Tarzan ®” em sua circulação global, uma descrição breve e esquemática da filmografia de Tarzan me permite interrogar o que chamo de nomenclausura ocidentalista da “África”. Finalmente, por meio de uma leitura atenta de Moi, un noir (1959), de Jean Rouch, como um prisma através do qual a circulação global de Tarzan pode ser interpretada e reinventada, sugiro possibilidades de transbordamento imaginativo, abrindo o espaçamento transcultural da escritura da “África” como economia política do nome de “África”
RELEVANSI LEMBAR KERJA SISWA DENGAN KURIKULUM TINGKAT SATUAN PENDIDIKAN STUDI KASUS DI SMUN I GALIS PAMEKASANTAHUN 2007 / 2008
No full textAnaerobic biotransformation or degradation of substituted aromatic compounds by mixed cultures and new isolates
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