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Why read a book about Amy Schumer and philosophy? After all, Amy Schumer is primarily known as a comedian, though she is also an actor, writer, and producer. One reason is that it will be enlightening. Amy Schumer is one of a handful of contemporary comedians filling the role of public philosopher. To be clear, Amy herself does not claim to be offering wisdom.

This volume contains seventeen fun-filled chapters. One author makes the case that Amy uses humor to encourage her audience to consider important questions, for example, she does this when she discusses the trial of Bill Cosby while evoking fond memories of The Cosby Show. She essentially asks her audience to consider whether they give priority to unconflicted entertainment over justice for rape victims. In another chapter, the author casts a philosophical eye toward the action-comedy film Snatched and finds that it raises questions about responsibility: Is Schumer’s character, Emily, responsible for getting kidnapped in Ecuador? Is Emily responsible for the death of one of her kidnappers? Another author asks whether Snatched can be a great comedy and still get negative reviews? What is the role of art and who determines whether a work of art is good or beautiful? What do Amy Schumer and Friedrich Nietzsche have in common? Is Amy a “sex comic” or an “issue comic”? With her typical self-deprecating comedic style, Amy makes jokes by highlighting the absurd, the illogical, and the hypocritical in gender relations, notions of masculinity and femininity, and superficial values.

But the main reason to read Amy Schumer and Philosophy is that it a pretty awesome read and laughter will most definitely ensue.
A legendary fashion designer for Barbie shares the story of her adventures working behind-the-scenes at Mattel, and spotlights the creations that transformed the world’s most famous doll into a style icon in this beautifully designed book—published in commemoration of Barbie’s sixtieth anniversary—illustrated with 100 full-color photographs, including many never-before-seen images of rare and one-of-a-kind pieces from the author’s private archive.

Dressing Barbie is a dazzling celebration of the clothes that made America’s favorite doll, and the incredible woman behind them. For thirty-five years, Carol Spencer enjoyed an unparalleled reign as a Barbie fashion designer, creating some of Barbie’s most iconic looks from the early 1960s until the late 1990s.

Barbie’s wide-ranging wardrobe—including princess gowns and daisy-print rompers, flirty sundresses and smart pantsuits— combined fashion trends and haute couture with a liberal dose of fantasy. In Dressing Barbie, the successful and prolific designer reminisces about her time at Mattel working with legendary figures such as Ruth Handler, Barbie’s creator, and Charlotte Johnson, the original Barbie designer, and talks about her best and most beloved clothing designs from each decade. But Carol’s most impressive creation is her own life. As Handler famously said, “Barbie always represented the fact that a girl has choices”—a credo Carol epitomized. In Dressing Barbie, she talks candidly about how she broke free of the constraints of the late 1950s to pursue a dazzling career and an independent life for herself.

Over the course of her successful and prolific career, Carol won many accolades. She was the first designer to have her signature on the doll, the first to go on a signing tour, the first to design a limited-edition Barbie Doll for collectors, and the designer of the biggest selling Barbie of all time. Now, Carol is the first member of the inner circle to take fans behind the pink curtain, revealing the fashion world of Barbie, the quintessential California girl, as never before.

Racism refers to a host of practices, beliefs, social relations, and phenomena that work to reproduce a racial hierarchy and social structure that yield superiority and privilege for some, and discrimination and oppression for others. The practices of a White American-led society have not only perpetuated these practices, but deeply embedded unlawful and discriminatory racial policies that affect the everyday way, for all citizens of the United States, and in particular, African Americans. From Sheets to Suits: Embedded Racism in American Society is without a doubt a controversial examination of the beginnings of racism in this country, originating with the Ku Klux Klan and reaching a pinnacle in the summer of 2014 with the shooting of Michael Brown Jr., an unarmed African American teenager in Ferguson, Missouri, a suburb of St. Louis. St. Louis, Missouri, is the one of the most covertly racist cities in the United States. Many of the White Americans in the Gateway City are ignorant, dont like to be around African American people, dont believe black people can be educated and go out of their way to prevent African Americans from succeeding. Law enforcement agencies have even gone as far as to intentionally target African Americans in sinister revenue scandals. Parker examines the forms taken by embedded racism in politics and entertainment, in educational institutions and in everyday encounters. Readers are made to feel the humiliations and hostility encountered by African American people in what remains, to a shocking degree, an embedded racist society. This book delves into how racism has affected, and has had a hand in shaping every aspect of the society in the United States.
Frequently overlooked in the search of knowing and acting wisely are some important philosophical and cultural ideas and questions. The kpim of Social Order boldly captures such ideas and questions for awareness through critical thinking. The current volume in the Kpim Book Series makes the point that for a systematic analysis and significance of Social Order to be attained, we need to ask, What is the kpim or central core of Social Order of things? Where does the deepest layer, notion, symbolism, reality and application of social order, programs, human rights, institutions, communities, diplomacy, uprising, social asset, social power, policy action, inter-culturalism, global forces and all else lie? How can we reach and understand the innermost part of Social Order in the modern world? By gathering articles from seasoned, experienced, and emerged scholars from various backgrounds, the book explores deep-rooted questions touching on African context and related societies. The refreshing perspectives, analyses, deep reflections, vigorous arguments, and representations shown by the essays are distinctive and have been referred to as a comprehensive reader in the season of inquiry, meaning and significance of social order in the contemporary time. This is a book no one should ignore. Students, scholars, researchers, universities, colleges, educationists, institutions, policy makers, governments, legislatures, agencies, labour unions, civil society organizations, occupy movements, religious groups, entrepreneurs and the general public will find this book as an asset and a must read. The kpim of Social Order is therefore written out of the critical need to fill the gap for a decisive knowledge society in the modern world.
Foreword by Minette Shepard
The enchanting story of some of the most beloved characters in English children’s literature—Winnie-the-Pooh and his friends from the Hundred Acre Wood, Piglet, Eeyore, Tigger, Kanga, Roo, Christopher Robin, and more—and the remarkable partnership between a writer and an illustrator that brought them to life, told for the first time in this beautiful volume illustrated with more than 125 full-color images from the Pooh series, never-before-seen sketches, artwork, family photographs, and memorabilia.

Winnie-the-Pooh and his friends have enthralled generations of children and have become some of the world’s most beloved characters.

But before their adventures were captured in many millions of books published in nearly fifty languages, they started life in the 1920s as the product of a unique collaboration between author A. A. Milne and illustrator E. H. Shepard. They wove images and text together in a way that was utterly original for the time. It was a process that Shepard relished; he continued to create artwork for new editions until his death in 1976 at the age of ninety-six.

This lovingly designed, full-color volume, which includes a foreword from Shepard’s granddaughter, tells the story behind this remarkable partnership, and traces the evolution of Shepard’s work, from his first tentative sketches to the illustrations we know and love, including the characters’ later incarnations by the artists at Walt Disney Studios.

A stunning and rare collection, filled with some never-before-published sketches and the first illustration of Pooh, The Art of Winnie-the-Pooh is a treasure trove of early art and an exclusive behind-the-scenes peek at the creation of Pooh bear and Hundred Acre Wood—direct from the artist’s estate—that is sure to become a cherished keepsake for devoted fans and readers who grew up with these timeless characters.

The Bioshock series looms large in the industry and culture of video games for its ambitious incorporation of high-minded philosophical questions and retro-futuristic aesthetics into the ultraviolent first-person shooter genre. Beyond the Sea marks ten years since the release of the original game with an interdisciplinary collection of essays on Bioshock, Bioshock 2, and Bioshock Infinite. Simultaneously lauded as landmarks in the artistic growth of the medium and criticized for their compromised vision and politics, the Bioshock games have been the subject of significant scholarly and critical discussion. Moving past well-trodden debates, Beyond the Sea broadens the conversation by putting video games in dialogue with a diverse range of other disciplines and cultural forms, from parenting psychology to post-humanism, from Thomas Pynchon to German expressionist cinema. Offering bold new perspectives on a canonical series, Beyond the Sea is a timely contribution to our understanding of the aesthetics, the industry, and the culture of video games. Contributors include Daniel Ante-Contreras (Miracosta), Luke Arnott (Western Ontario), Betsy Brey (Waterloo), Patrick Brown (Iowa), Michael Fuchs (Graz), Jamie Henthorn (Catawba), Brendan Keogh (Queensland), Cameron Kunzelman (Georgia), Cody Mejeur (Michigan State), Matthew Thomas Payne (Notre Dame), Gareth Schott (Waikato), Karen Schrier (Marist), Sarah Stang (York/Ryerson), Sarah Thorne (Carleton), John Vanderhoef (California State, Dominguez Hills), Matthew Wysocki (Flagler), Jordan R. Youngblood (Eastern Connecticut State), and Sarah Zaidan (Emerson).
Heavy music and its subcultures have always been closely related to sex, decadence, and rebellion. Starting with pioneers as The Rolling Stones, Jimmy Hendrix and The Doors in the 1960s, Led Zeppelin, Aerosmith, AC/DC and KISS in the 1970s, they all have had the unifying pursuit of unattached love, musical success, and drugs, thus coining the timeless slogan “sex, drugs and rock ’n’ roll”. Nevertheless, while proclaiming values as personal freedom, sexual liberation, and open-mindedness, the heavy music stays to a greater extent conservative, when it comes to sex and gender issues. Hard rock and all of its forms are considered as “essentially a male form of expression”: there are hardly few women as Patti Smith and Janis Joplin who managed to become “one of the boys” and to reach a cult status in time. In fact, the male connotation in the genre is present over all: starting from the macho look, through the lyrics, actually, the whole rock star attitude. A deviation from this norm embodies glam rock and later glam metal subgenres which beginnings in the 1970s are marked by David Bowie with his high theatricality, the glittering Marc Bolan from T. Rex in the UK and by the controversial Jobriath and New York Dolls, who appeared almost at the same time in the USA. This book analyses various questions, concerning sex, gender and performance in glam rock music using theories from the fields of gender studies, media studies, feminism, and psychoanalysis. The book also discusses the socio-cultural context in which glam rock was born and the colossal shift in sexual politics, which it has brought with itself. Furthermore, the relationship to historical events, postmodern values and consumerism are taken into consideration. From the text: - Glam Rock; - Glam Trouble; - Female and Male Objectification; - Gender Studies; - David Bowie
Master's Thesis from the year 2007 in the subject Sociology - Media, Art, Music, grade: 1, University of Dalarna, 64 entries in the bibliography, language: English, abstract: Sergio Leone, the well known Italian Western director, once criticized the woman’s role in the Hollywood Western as follows: [T]he woman is imposed on the action, as a star, and is generally destined to be ‘had’ by the male lead. But she does not exist as a woman. [...] Usually, the woman not only holds up the story, but she has no real character, no reality. She is a symbol. She is there without any reason to be there, simply because one must have a woman [...]. (Leone quoted in Frayling 2006 : 129) This critique of women in the American Western seems to imply that the Italian Leone himself tried to depict women differently in his Western movies: either to let them completely out or to provide them with a real character, with a reason to be in the film. Is his way of depicting women then prototypical for the other Italian Westerns? Is there maybe even a specific Italian way of representing gender roles in Western movies which is different from that of their American counterparts? In general, Western movies have been harshly criticized for their depiction of women. Many authors have argued that the Western in general is a genre that focuses mainly on men and masculinity and leaves only small space with narrow stereotypes for women (see for example Mitchell 1996, Tompkins 1992, French 1997). The research questions are: 1) Is there a difference in the gender depiction in Spaghetti Westerns and Hollywood Westerns? 2) If there is a difference, what are the reasons for this? To answer these questions, different theories of gender in movies are addressed, in order to give an overview of the approaches towards such a topic. Afterwards, the Hollywood and Spaghetti Western in general, as well as the gender depictions in them will be theorized. As a first approach to explain the expected differences, the focus will be on the (visual) cultures of America and Italy. The last point in the theoretical section will deal with the connection between nation and gender because this may well be a crucial variable for the gender depiction in the different Western genres. In the following methodological section, the film analysis that is used to examine movies of the two genres will be explained.
Essay from the year 2012 in the subject Sociology - Media, Art, Music, , language: English, abstract: Music, in all its multifarious styles and idioms, is everywhere, 24 hours a day. It never rests, and we can hear just about everything of significance ever composed, performed and improvised, at the touch of a button, on recordings and on the radio. If we live in or near a large town or city, we can attend a concert (or two) every day of our lives if we have the inclination. In this brief investigation into the effects of all this I will be concentrating on classical- or “serious” music, but the same points made here could be made of popular music, jazz and “world” music –they are all continuously available on the air, on disc, on line and in “live” performance. Thus, regarding classical music, we may perceive several differing, and sometimes opposed effects of its proliferation and availability. On the positive side, we are now in the situation where we can get to know very much more than our predecessors. Next to nothing is now out of our reach, whether it be some obscure Medieval motet, a 19th century piano piece by a forgotten minor composer, or the very latest work by a composer living and working in say, Lithuania or some equally remote region. All the great masterpieces of the past five or more centuries are regularly performed, or failing that, recorded, often numerous times. Works of lesser stature by minor composers continue to be rescued from oblivion and given their chance on disc and in the concert hall. In addition to this a steady stream of new music by composers from all six inhabited continents is performed and recorded.
Master's Thesis from the year 2010 in the subject Sociology - Media, Art, Music, grade: 1,0, University of Hagen, language: English, abstract: This thesis evaluates the role of actor models with regard to the changes in virtual environments. The most commonly used actor models, the homo economicus and the homo sociologicus as well as the emotional man and several less popular models are compared with regard to their level of explanation for behavior in virtual environment. In this context online communities (i.e. gaming communities) are observed. The research framework and the structural conception of the measurement also are explained in detail. A significant share of the input is based onto qualitative interviews with eight different digital natives, who share a common computer gaming affinity. The analysis includes qualitative interviews with these e-athletes concerning their behavior within online communities. These interviews contain interesting findings about their motivation, especially the difference between virtual and real world social relationships. The analysis shows interesting results, since the players differentiate in between their role as an e-athlete versus their role as a person. This leads to a multi-causal influence for their behavior, which cannot sorely be explained with a single influence factor. Neither the homo economicus nor the homo sociologicus thus can explain their behavior on its own. Therefore this thesis discusses methods to improve the current models in order to adopt behavioral changes through virtual environments. A trade-off between the most commonly models is given. Afterwards the results of the analysis are compared to the statements of the interview partners. These interviews indicate a strong personal influence from the environment on the role of a private person. Additionally the behavior as an e-athlete is also influenced by logical decisions, which can be modeled through the homo economicus.
Seminar paper from the year 2012 in the subject Sociology - Media, Art, Music, grade: A, The University of Liverpool, language: English, abstract: The original intention of music censorship was to expurgate ideas that were perceived to be unacceptable to society. Censorship was being performed by concerned regulatory authorities. It is unfortunate that this job has now fallen into the hands of groups or other cults like the "Westboro Baptist Church," capitalizing on freedom of speech to paralyze the music industry. Recently, members of the "Westboro Baptist Church" protested a concert organized by Lady Gaga on the grounds that her music promoted homosexuality.The main reasons for music being censored in the US are explicit lyrics. Since the 1950s, individuals and groups of people have protested music with the main intention of either changing or silencing musicians’ ideas. It is believed that music censorship started with the birth of “rock n’ roll” which was protested because of its sexually suggestive lyrics. Since then, there have been instances of musicians having to change covers of their albums, re-word their songs to remove protested lyrics, artists being denied radio and tv coverage and even their live performances being protested. The bottom line argument for censoring music has always been the claim that the songs are vulgar and use explicit lyrics. This essay argues that such groups like tge "Westboro Baptist Church" have no right to protest against any kind of music.
Research Paper (undergraduate) from the year 2010 in the subject Sociology - Media, Art, Music, The University of Malaya, language: English, abstract: Written with librettist, Joseph von Sonnleithner, Beethoven’s first version was divided into three acts in the style of a German Singspiel. In a singspiel, a fresh start has to be made after every spoken interruption. Fidelio was first performed on November 20, 1805 after being delayed due to issues with the censors. The opera opened to a small audience and negative reviews. A year later Beethoven attempted a revision of Fidelio for the same theatre. Due to a change in management Beethoven was presented with a new librettist by the name of Stephan von Breuning. After a great deal of struggle, a very reluctant Beethoven agreed to a much more condensed and concise version of the opera. The newly revised version was performed on May 29, 1806. Again the audience was not Beethoven’s ideal audience and the show failed once again. After reading a refined libretto by Georg Friedrich Treitschke, Beethoven agreed the revival but insisted on a complete revision in which he virtually started over. Nearly every number was altered in some fashion. The third and final version of the opera opened with great success on May 23, 1814. It took Beethoven over a decade to complete his only opera. Throughout the many revisions he produced four different overtures. The first, now known as Leonore #2 was written for the opera’s premiere in 1805. Because some sections proved to be too difficult Beethoven began reworking the overture for the opera’s revival in 1806. The new version became known as Leonore #3. Beethoven’s final revision composed for the 1814. Production was called the Fidelio Overture. After his death a fourth overture was found. Entitled Leonore #1 it is believed he either wrote it first or for a production of Fidelio in Prague that never happened. Leonore #3 is often played between the two scenes in Act 2. However, many critics such as Henry W. Simon consider this practice to be “abhorrently inartistic” due to the dramatic nature of the piece.
Seminar paper from the year 2016 in the subject Sociology - Media, Art, Music, grade: 1,0, University of Bonn (Institut für Anglistik, Amerikanistik und Keltologie), language: English, abstract: Passionate kisses, provocative performances on stage, whimsical and crazy - those are, among others, the notions connoted to the Russian Pop Duo t.A.T.u., which gained a lot of popularity in the beginning of the 2000s. The band consists of Lena Katina and Julia Volkova who both still have been underage when their career reached its climax; hence it caused a lot of polemic discussions worldwide. They gained the attention of several theorists of Queerism because in their songs and music videos, t.A.T.u. is fighting against society's apparent intolerance of homosexuality. Queer Theory deals with the difficult issue of defining oneself as homosexual, e.g. the process of 'coming out', and therewith being often confronted with society's intolerance. It also discusses the process of self-discovery and building an own identity and comes along the obstacles people have to overcome in order to lead a happy life, integrated and tolerated by society. Music was used in several ways to depict the problems of coming out as homosexual. Therefore, it is said in a proposition in Playing it Queer by Jodie Taylor that, "Music allowed me to perform gender and express sexuality in multiple ways that were unavailable to me in daily life. [...]". Nevertheless, the manner that t.A.T.u. used became reason for great discussion among society. Since their first song All The Things She Said had been published, critics questioned the truth behind the affection between Lena Katina and Julia Volkova. Therefore, this term paper aims to ask for t.A.T.u.'s purpose of using the issue of homosexuality in their music. Either there really was the aim of explaining how to get through the process of coming out and then living as homosexual person or t.A.T.u. was just using that image for commercial purposes and branding.
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