Academic literature on the topic 'Monster Party'
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Journal articles on the topic "Monster Party"
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Cawley, R. McGreggor. "Inviting the Cold Monster to a Tea Party." Administrative Theory & Praxis 33, no. 3 (September 2011): 464–68. http://dx.doi.org/10.2753/atp1084-1806330312.
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Teršek, Andraž. "A Populist Monster and the future of Constitutional Democracy." Open Political Science 4, no. 1 (January 1, 2021): 83–100. http://dx.doi.org/10.1515/openps-2021-0010.
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Abstract The central objective of the post-socialist European countries which are also Member States of the EU and Council of Europe, as proclaimed and enshrined in their constitutions before their official independence, is the establishment of a democracy based on the rule of law and effective legal protection of fundamental human rights and freedoms. In this article the author explains what, in his opinion, is the main problem and why these goals are still not sufficiently achieved: the ruthless simplification of the understanding of the social function and functioning of constitutional courts, which is narrow, rigid and holistically focused primarily or exclusively on the question of whether the judges of these courts are “left or right” in purely daily-political sense, and consequently, whether constitutional court decisions are taken (described, understood) as either “left or right” in purely and shallow daily-party-political sense/manner. With nothing else between and no other foundation. The author describes such rhetoric, this kind of superficial labeling/marking, such an approach towards constitutional law-making as a matter of unbearable and unthinking simplicity, and introduces the term A Populist Monster. The reasons that have led to the problem of this kind of populism and its devastating effects on the quality and development of constitutional democracy and the rule of law are analyzed clearly and critically.
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Rosati, Clayton, and Don Mitchell. "“Live Monster”: Black Friday and the All-Consuming City." Human Geography 2, no. 1 (March 2009): 1–20. http://dx.doi.org/10.1177/194277860900200105.
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This [the “Holiday Season”] is a very special time of year for us, a time for family reunions and for celebrating together the blessings of God and the promises He has given us… [T]his is a season of hope and of love. Certainly one of the greatest blessings for people everywhere is the family itself. … It's in the family where we learn to think for ourselves, care for others, and acquire the values of self-reliance, integrity, responsibility, and compassion. —Ronald Reagan, Radio Address to the Nation on the American Family (12/1/1983) Ok, Cabbage Patch dolls… …The ironic thing, of course, that the very party with the money—you—is the very one who has lost control. The kids, who have no money, have been wired by the manufacturer who wants your money. You're the monkey in the middle, frantically running through plate glass windows to satisfy a craving of your kid's, afraid to say no because that means breaking a promise and disappointing a kid—a crime punishable by guilt and, later, therapy fees. So look at things the way the manufacturers do. See how there is a new item on the market, each a little bit different but all programmed the same. You can have one just by looking into the mirror. There it is, you and me: Sucker Doll. Wind it up and it will buy anything a kid wants. —Richard Cohen, “Dollemma,” The Washington Post (12/1/1983) Commodities are now all there are to see; the world we see is the world of the commodity. Guy Debord, The Society of the Spectacle
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Pilla, Maria Cecília Barreto Amorim, and Lucas Santos Rosa. "A LIBERDADE DE EXPRESSÃO DO INDIVÍDUO COMO MANIFESTAÇÃO CULTURAL." Fênix - Revista de História e Estudos Culturais 16, no. 2 (August 19, 2020): 204–20. http://dx.doi.org/10.35355/0000033.
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O artigo aborda a liberdade de expressão no cenário estadunidense entre as décadas de 1980 e 1990 na comunidade club kid. Debate-se o conceito de cultura e sua diferença para contracultura, assim como o amparo realizado por órgãos internacionais de proteção aos direitos humanos. Utiliza-se do documentário Party Monster, filmagens amadoras e entrevistas em talk-shows ainda na década de 1990 para a análise de fontes, assim como é realizada uma interpretação da legislação estadunidense quanto a liberdade de expressão e discurso de ódio, como forma de segregar minorias. É aplicado o método indutivo através da pesquisa documental. Chega-se à conclusão que um dos motivos do movimento clubber ter seu fim ser por conta de transformações internas entre seus adeptos.
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Sloan, Robert. "O’Connell’s liberal rivals in 1843." Irish Historical Studies 30, no. 117 (May 1996): 47–65. http://dx.doi.org/10.1017/s0021121400012578.
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In 1843 Daniel O’Connell’s campaign for repeal of the Act of Union won the support of millions of Irish Catholics. This movement, of which the famous ‘monster meetings’ were the most striking feature, greatly alarmed adherents to the union in both Britain and Ireland. This article is concerned with the response of those M.P.s who supported the union but repudiated ‘Protestant ascendancy’ and advocated removal of the grievances of Ireland’s Catholic majority. There were about forty such ‘liberal-unionist’ members then in parliament, their landed influence and popular sympathies having enabled them to emerge relatively unscathed from the Whig electoral disaster of 1841. They were a mixed bag of Protestants and Catholics, Whigs and liberals, and they had as little idea of party unity as the stereotypical independent member of nineteenth-century fame. This picture of unco-ordinated individual activity was to change dramatically in response to the momentous events of what O’Connell called ‘the great Repeal Year’.
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Melchiorre, Luke. "Creating a ‘monster’: the National Youth Service pre-university training programme, student activism and the Kenyan state, 1978–90." Africa 89, S1 (January 2019): S65—S89. http://dx.doi.org/10.1017/s0001972018000918.
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AbstractIn May 1984, the Kenyan government of Daniel arap Moi introduced a National Youth Service pre-university training programme (NYSPUT) for prospective university students. The programme was designed to instil discipline in Kenyan university students and inculcate them with a sense of loyalty and commitment to the Moi regime prior to their arrival on campus. This article argues that, in practice, however, the scheme had unintended consequences: it served to alienate student recruits from the ruling party and helped radicalize a small but vocal group of student activists, who, when they arrived on campus, confronted the Moi state with some of its most defiant political challenges of the 1980s. Relying on extensive interviews with former student recruits and archival research, this article highlights the key role that the NYSPUT played in shaping Kenya's young generation of 1980s student activists, who represented one of the most united and militant student movements in the country's history.
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Olesiejko, Jacek. "The Grendelkin and the Politics of Succession at Heorot: The Significance of Monsters in Beowulf." Studia Anglica Posnaniensia 53, no. 1 (March 1, 2018): 45–65. http://dx.doi.org/10.2478/stap-2018-0003.
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Abstract The article considers the significance of the Grendelkin as monsters, bringing to attention the Isidorian understanding of the monster as a sign, portent, and admonition. In the original Beowulf the Grendelkin are not described as possessing many of the inhuman qualities that have been applied to them in the later critical tradition or by its translators. Isidore acknowledges in Etymologies that monsters are natural beings, whose function in the system of creation is significant. The present article considers the significance of the Grendelkin in the poem and argues that Grendel and his mother function as signs underlying themes of feud and succession in the poem. The article also brings attention to the multiple references to body parts, such as hands, and their function within the poem as synecdochic representations of the Danish body politic. The article explores the sexualised and gendered perception of the body politic in the poem.
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Jankowska, Agata. "Ciało zbrodniarza. Wizualne reprezentacje procesu i egzekucji Arthura Greisera." Studia nad Autorytaryzmem i Totalitaryzmem 41, no. 2 (June 7, 2019): 125–46. http://dx.doi.org/10.19195/2300-7249.41.2.5.
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THE BODY OF A WAR CRIMINAL: VISUAL REPRESENTATIONS OF ARTHUR GREISER’S TRIAL AND EXECUTIONThe essay depicts the representations of the public image of Arthur Greiser, the Governor of Reichsgau Wartheland and a war criminal, tried and sentenced to death in post-war Poland in 1946. The author analyzes visual sources, such as photographs and films. The post-war images of Arthur Greiser suggest a different figure of the Nazi leader who tried to create his own, well-considered public image as a beginner member of the Nazi party, and later — as the leader of an occupied territory. The Polish discourse, as the anti-war and anti-Nazi one, broke the majestic and proud figure of Greiser, presented him as a ruthless war criminal responsible for persecutions and genocide, an unhuman being without compassion and a monster with specific physiological features. Simulta-neously, the official mass media rhetoric and visual narratives strived to take over the body of Greiser, deprived him the right to dispose of it. The author describes and interprets the pictures of the trial and execution where Greiser is considered as the accused and a dead body/corpse. The visual representations uncover the practice of subjugating the perpetrator’s body in public discourse, as well as the social behaviour and attitudes in the liberated communist country.
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Fuentefría-Rodríguez, David. "Monstruos de la Universal: la etapa silente y los mitos del sonoro." Fotocinema. Revista científica de cine y fotografía, no. 6 (March 17, 2013): 143–70. http://dx.doi.org/10.24310/fotocinema.2013.v0i6.5913.
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En coincidencia con el centenario en 2012 de los legendarios EstudiosUniversal, este trabajo propone unexhaustivo análisis crítico sobre laconstrucción de sus principales símbolos terroríficos, la mayoríainspirados en la literatura, que entre los años 1923 y 1941 conformaron la estructura mitogénica del denominado “monstruo clásico”. Tanto en la etapa silente, como con la irrupción del sonoro, las películas de terror de la Universal marcaron un paso imprescindible en la evolución de este género canónico, y a ellas se debe buena parte del ingente desarrollo posterior del mismo.Palabras clave: Estudios Universal; terror; monstruos; cine mudo; cine sonoro; mito; novela.In coincidence with 2012 legendary Universal Studio´s centenary, this paper proposes an exhaustive critical analysis on the construction of its principal terrifying symbols, the majority inspired by literature, which between 1923 and 1941 shaped the myth structure of the socalled "classic monster". In both stages, silent and sonorous movies, the terror of Universal Studios marked an indispensable step in the evolution of this canonical genre, and to them it is owed a good deal of its enormous later development.Keywords: Universal Studios; terror; monsters; silent movies; sonorous movies; myth; novel.
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Sowa, Joanna. "When does a man beget a monster? (Aristotle, De Gneratione animalium)." Collectanea Philologica, no. 19 (December 30, 2016): 5–13. http://dx.doi.org/10.18778/1733-0319.19.01.
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In this paper I discuss the problem of the borderline between the lack of resemblance to any family member and monstrosity in Aristotle’s Generation of Animals. In book IV both phenomena have been explained as a result of ‘resolution’ or ‘loosening’ of the ‘movements’ in the sperm, whose function is to recreate in the offspring’s body the features of its parents or ancestors. Consequently, sometimes the offspring bears no resemblance to any ancestor, and sometimes ‘it no longer has the appearance of a human being at all’. According to T. V. Upton, both groups are ‘monsters’ of some kind; he names them ‘generic individuals’, assuming that after ‘loosening’ of the movements which carry particular traits, the task of completing the embryo’s development is taken by the movements of universals (genus or species) present in the sperm. In contrast to Upton’s opinion, I try to prove that the movements of particular – although ‘merged’ and changed – still remain active, leading to the final development of any given individual; in the case of a ‘monster’, however, a deformation of the offspring’s whole body or its parts results not only in the lack of resemblance to any representatives of its own species, but also in disability.
Dissertations / Theses on the topic "Monster Party"
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Paneva, Iva. "A study of female aggression as represented in Patty Jenkins' fiction film Monster." Thesis, 2008. http://hdl.handle.net/10539/5885.
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The film Monster (USA, 2003) is based on the life of Aileen Wuornos, the Florida
prostitute who was one of the few documented female serial killers in the United
States. The scriptwriter and director of the film, Patty Jenkins, surprisingly centered
the film on a love story, instead of assuming the role of judge or advocate towards the
actions of Wuornos. After a flash back sequence that recreates the childhood of Lee
(Charlize Theron), the film opens as Lee meets Selby (Christina Ricci), a young and
immature lesbian in a bar. Lee responds very rudely and defensively to the clumsy
flirtation of Selby, as she does not think of herself as gay and her life as a prostitute
has made her very hostile towards society. However, Lee opens up to Selby, as she
perceives her as her last chance to find Love. Patty Jenkins cinematically evokes
Lee’s hopelessness and despair before meeting Selby in order to emphasize the
importance of this same-sex relationship. For Lee, Selby is the innocent child that she
has to protect and save, a symbol of the child she once was herself. Inspired, she goes
out to work on the highway to earn money for their first date, and a client beats her
unconscious, ties her up, rapes her with a tyre iron and pours petrol over her. Fearing
for her life, Lee shoots him, and then takes his car and wallet. As her relationship with
Selby develops, she enters into the role of provider and protector. After her brutal
encounter, she is scared of the streets and makes an attempt to go straight. However,
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in her attempt to look for a proper job she encounters social rejection and
brutalization. Pressurized by her new girlfriend to provide money, Lee goes back to
prostitution. However, her last traumatic experience with the rapist john makes her
believe that all her clients might turn out to be abusive, which provokes in her a desire
for revenge and killing. Unable to stop, she robs her victims to provide for her
girlfriend and believes that she can identify which clients deserve to die. After the
killing of an innocent man, she is turned over to the police by Selby. Monster is not
about sensationalism, but rather portrays the intimate tragic story of a human being
who became a serial killer, due to a combination of bad social and personal
pathologies. The Meaning of the Form:
The aim of this thesis is to explore the representation of women and aggression in
Patty Jenkins’ film Monster. I will argue that, while the female characters in Monster
do not escape the conventional portrayal of women within the dominant Hollywood
cinema, their portrayal does nonetheless create a ‘non-normative’ representation. By
exploiting the classical narrative and a particular model of representation of women,
Jenkins creates a cinematic text which attacks the patriarchal principles grounding the
model. Therefore, the main argument of this thesis will be that Jenkins uses the
Hollywood system of narration and representation of women in order to subvert and
criticize it. Ultimately she is using the film as means to critique the patriarchal
violence within American society itself. In order to substantiate my argument, I will first look at the conventional
representation of women in fiction-film genre1, and will then investigate how the
performance of aggression is constructed within the film. The film represents
aggression as a social phenomenon that develops into a pathological behavior. By
establishing the history of the general phenomenon of female aggression, I will
examine its specific representation in my film case study Monster. Although the film
introduces different female characters that each have their particular expression of
aggression and representation, the primary focus of analysis will be Lee, the main
character of the film.
Books on the topic "Monster Party"
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ill, Axworthy Ann, ed. Mystery of the monster party. Cambridge, MA: Candlewick Press, 1998.
Find full textBook chapters on the topic "Monster Party"
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Hart, Adam Charles. "The Monster Function." In Monstrous Forms, 135–70. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916237.003.0006.
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Chapter 5 begins the second part of the book, “Scary Monsters (and Super Creeps).” Whereas the first part focused on the sensational address and direct stimulation of the horror viewer, gamer, and browser, the second half focuses on monsters. This chapter argues for understanding monsters as figures that embody and limit anxieties, and which therefore offer reassuring locations onto which those anxieties can be placed. This argument places the monster-centric “philosophy of horror” of Noel Carroll in dialogue with the explicitly unembodied theory of abjection of Julia Kristeva to understand the importance of this embodiment and limitation to traditional horror: horror is a vehicle for working through anxieties that otherwise are not, or cannot, be articulated. The chapter first establishes the extent to which monstrosity is an essentially formal category—decided by stylistic presentation as much as by biological make-up. It then performs close readings of three recent works that engage with this tradition of monstrous forms to minimize visualization and embodiment and, therefore, the monster function: It Follows (2014), the Paranormal Activity series of films (2007–2015), and the game Amnesia: The Dark Descent (2010).
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"Part 2: THE MONSTER’S PARTS." In Freshwater Mussel Ecology, 23–118. University of California Press, 2019. http://dx.doi.org/10.1525/9780520942523-003.
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Pinfari, Marco. "Introduction." In Terrorists as Monsters, 1–24. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190927875.003.0001.
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This chapter presents basic definitions, operational assumptions, and the key literature that form the basis for the analysis of “terrorists as monsters” in this book. It begins by discussing the concept of terrorism, drawing from speech-act theory but also arguing that linguistic conventions alone cannot explain the emotional appeal that can be associated with the use of monsters as political metaphors. It then elaborates on the role of culture in shaping the metaphorical use of monstrosity, before introducing and discussing in depth the concept of “archetypal metaphor”—which serves as the basis for explaining the different functions that monster metaphors play in framing and presenting performatively terrorist acts. The following sections then discuss the logic of “terrorizing” and the nature of terrorism as performance. The final part of the chapter summarizes the main themes and content of the book.
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Pinfari, Marco. "The abyss of counterterrorism." In Terrorists as Monsters, 154–75. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190927875.003.0007.
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This chapter engages with contemporary counterterrorist practices and discusses cases in which state actors either deal with “terrorists” according to the prescriptions inherent in the symbolic and metaphoric systems used to frame them in the first place, or impersonate the monster prototype (entirely or in some of its components) in their counterterrorist strategies. It first presents the so-called Dahiya Doctrine as an example of how the framing of an enemy as the paradigmatic, cosmic adversary of a people could help a state (Israel) justify violations of the law of war. The following paragraphs discuss the performative construction of the War on Terror as the war of monsters against monsters, focusing first on the impersonation of monstrosity as part of the condoning of unconventional interrogation and detention methods, and then on the move toward de-humanized, (allegedly) surgically effective, and automatized weapon platforms and surveillance systems.
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"After the Party." In A Short History of Monsters, 34–36. University of Arkansas Press, 2019. http://dx.doi.org/10.2307/j.ctvc77nk9.19.
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Kurlander, Eric. "Lucifer’s Court." In Hitler's Monsters. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300189452.003.0006.
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This chapter explores the Nazis' interest in Germanic paganism, witchcraft, Luciferianism, and Eastern spirituality in their attempt to find a suitable Ario-Germanic alternative to Christianity. The Third Reich embraced a range of pagan, esoteric, and Indo-Aryan religious doctrines that buttressed its racial, political, and ideological goals. That is why Nazism posed a different threat to Christianity than secular liberalism or atheist Marxism. Nazi religiosity was a ‘fluid and incoherent thing which expresses itself in several different forms’. Part of a shared supernatural imaginary, these various religious strains were to some extent embraced and exploited by the Third Reich in the process of building spiritual consensus across a diverse Nazi Party and an even more eclectic German population.
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Dartnall, Jean. "Being part of the whole." In A Most Delicate Monster, 29–44. Elsevier, 1998. http://dx.doi.org/10.1016/b978-0-949060-40-2.50026-1.
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"PART I. SUPERNATURAL SIGNIFICATIONS." In Civilization and Monsters, 19–74. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822396338-003.
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"PART II. DISCIPLINING DEMONS." In Civilization and Monsters, 75–152. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822396338-004.
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"PART III. MODERN MYSTERIES." In Civilization and Monsters, 153–222. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822396338-005.
Full textConference papers on the topic "Monster Party"
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Alpert, Erika. "Men and Monsters: Hunting for Love Online in Japan." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.1-2.
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This paper presents the results of initial fieldwork on Online dating (netto-jô konkatsu, koikatsu) and other types of internet-based partner matching options in Japan, focusing on the possibilities for textual and interactional self-representation on different sites and apps available to single Japanese. This includes widespread international apps like Tinder and Grindr, along with local apps like 9 Monsters, a popular gay app that also incorporates light gaming functions, or Zexy En-Musubi, a revolutionarily egalitarian site aimed at heterosexual singles specifically seeking marriage. I approach this question by looking at the different technological affordances for profile creation using these services, and the ways users engage with those affordances to create profiles and to search for partners, based on examinations of websites, apps, and public profiles; interviews with website producers; and ethnographic interviews with past and current users of Online dating services. I primarily argue that self-presentation in Japanese Online dating hinges on the use of polite speech forms towards unknown readers, which have the power to flatten out gendered speech differences that are characteristic of language ideologies in Japan (Nakamura 2007). However, dominant cultural ideas about gender, sexuality, and marriage—such as patriarchal marriage structures—may still be “baked into” the structure of apps (Dalton and Dales 2016). Studying Online dating in Japan is critical because of its growing social acceptance. While in 2008 the only “respectable” site was a Japanese version of Match.com, in 2018 there are numerous sites and apps created by local companies for local sensibilities. Where Online dating was already established, in the West, there was little sociological study of it while it was becoming popular, in part because research on the internet also lacked respectability. By looking at Japan, where acceptance is growing but Online dating has not yet been normalized, we can gain a deeper understanding of its gender, sexuality, romance, and marriage practices. Japan’s experiences can also potentially provide a model for understanding how Online dating practices might develop elsewhere. In the US, Online dating faced many of the stigmas that it continues to face in Japan—such as that it was “sleazy,” “sketchy,” or desperate. In spite of these stigmas, however, Online dating grew slowly until it suddenly exploded (Orr 2004). Will it explode in Japan? By looking at how people use these sites, this paper also hopes to shed light on the uptake of Online partner matching practices.
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D'Aprile, Marianela. "A City Divided: “Fragmented” Urban and Literary Space in 20th-Century Buenos Aires." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.22.
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When analyzing the state of Latin American cities, particularly large ones like Buenos Aires, São Paolo and Riode Janeiro, scholars of urbanism and sociology often lean heavily on the term “fragmentation.” Through the 1980s and 1990s, the term was quickly and widely adopted to describe the widespread state of abutment between seemingly disparate urban conditions that purportedly prevented Latin American cities from developing into cohesive wholes and instead produced cities in pieces, fragments. This term, “fragmentation,” along with the idea of a city composed of mismatching parts, was central to the conception of Buenos Aires by its citizens and immortalized by the fiction of Esteban Echeverría, Julio Cortázar and César Aira. The idea that Buenos Aires is composed of discrete parts has been used throughout its history to either proactively enable or retroactively justify planning decisions by governments on both ends of the political spectrum. The 1950s and 60s saw a series of governments whose priorities lay in controlling the many newcomers to the city via large housing projects. Aided by the perception of the city as fragmented, they were able to build monster-scale developments in the parts of the city that were seen as “apart.” Later, as neoliberal democracy replaced socialist and populist leadership, commercial centers in the center of the city were built as shrines to an idealized Parisian downtown, separate from the rest of the city. The observations by scholars of the city that Buenos Aires is composed of multiple discrete parts, whether they be physical, economic or social, is accurate. However, the issue here lies not in the accuracy of the assessment but in the word chosen to describe it. The word fragmentation implies that there was a “whole” at once point, a complete entity that could be then broken into pieces, fragments. Its current usage also implies that this is a natural process, out of the hands of both planners and inhabitants. Leaning on the work of Adrián Gorelik, Pedro Pírez and Marie-France Prévôt-Schapira, and utilizing popular fiction to supplement an understanding of the urban experience, I argue that fragmentation, more than a naturally occurring phenomenon, is a fabricated concept that has been used throughout the twentieth century and through today to make all kinds of urban planning projects possible.