rüdebusch eike (43 resultados)

Condición: New.

Condición: New.

Condición: New.

Condición: New.

Taschenbuch. Condición: Neu. Druck auf Anfrage Neuware - Printed after ordering - Seminar paper from the year 2009 in the subject Speech Science / Linguistics, grade: 1,0, University of Siegen (Sprach-, Literatur- und Medienwissenschaften), course: Samuel Beckett - Playwright, Novelist and Writer for the TV-Screen, language: English, abstract: Samuel Beckett certainly was one of the most important artists of the 20th century. His literature and drama changed the way people perceive arts and the tragic of human existence, further the way media displays them. Although Beckett was rigid regarding the realisation of his plays he was very open towards new media and techniques. He was up to date and wrote plays for the theatre, the radio and even for television. But he died before he could have used the possibilities the internet offers nowadays.Nevertheless, Beckett is omnipresent in today s internet. You just have to type his name into Google and you will find 1.470.000 hits referring to him.1 Especially his presence on Youtube, a video community on the internet, is astonishing. There people have found many ways to adapt one or several of Beckett s works the way they wanted to. One could raise the question if this was what Beckett wanted, if this could have been avoided or if this was part of a logical consequence of the technological progress and the developments the internet has gone through within the last decade.Having Paul Virilio s media theory in mind, the Aesthetics of Disappearance, in which he argues about the speed of information and the transformation of media, there is always a next step in terms of media, which in the end has led to the internet as it is today. Beckett always took that next step himself. Therefore, Beckett being part of the internet is the logical consequence of his work, of the way he used or was intrigued by different media, of the way he brought art to the latest medium - or is it not Throughout this paper I will argue that Beckett s work Play needed to be placed on the internet. I will try to prove that Play can make use of its full potential only within Web 2.0. I will start by reconstructing the media-history Play has gone through, from text to stage, from radio to television play. By doing that, I will point out that Beckett has always included another medium s potentials and techniques when adapting Play. Then, I will continue with Play on Web 2.0. I will describe what Web 2.0 actually means and where it came from, in order to later analyse Play on the internet, theoretically and aesthetically to finally conclude if Play really is best adapted on the internet.

Taschenbuch. Condición: Neu. Druck auf Anfrage Neuware - Printed after ordering - Seminar paper from the year 2012 in the subject American Studies - Culture and Applied Geography, grade: 1,0, Arizona State University (School of Social Transformation), course: African American Politics, language: English, abstract: Ever since Barack Obama was elected as the 44th President of the United States, it seems that minorities all over the world have gained hope in regard to the possibility of having a minority representative in their specific state's highest office. Especially in Germany, with nearly 20% of its inhabitants being of foreign descent, Obama and his achievements were looked up to. This could be seen on Obama's visit to Berlin in July 2008 when an estimated number of 200,000 people cheered Obama (Zeleni). His election in 2008 set high hopes in Germany which seem to manifest in Cem Oezdemir, one of the leaders of the German Green Party (Buendnis 90/Die Grünen).Oezdemir is a German politician of Turkish descent. He is a representative of Germany's largest minority. From the 1960s on, Turkish foreign workers, among others, came to Germany to rebuild the state's economy. Many of them did not leave the country as initially planned but rather got their families to emigrate to Germany as well. By now, the Turkish minority is by far the largest minority in Germany. Until today, the Turkish minority is politically underrepresented. Oezedemir seems to be a glimpse of hope for this minority. When Oezdemir was 28, in 1994, he was the first German of Turkish descent to enter the German Bundestag. In November 2008 he was elected to be one of three people heading the Green Party. Thereby, Oezdemir became the first immigrant leader of a German party. His election, shortly after that of Obama's, made the German and international press compare Oezdemir to Obama. Apart from the symbolic similarities, does that comparison make sense I think it does. This is what I will try to prove in this paper.In the following, I will point out the similarities and differences between the Turkish minority in Germany and the African American minority in the US. I will focus on the broader groups instead of the particular persons. I will analyze their specific minority's chances in politics. Since a full comparison of both minorities would not be possible in a regular term paper, I will present valid aspects to base the comparison on. Those will be the level of integration and the level of participation of both minorities. With these measurements in mind, I will compare the numbers of citizens, the numbers of representatives in the respective parliament and the numbers of political involved minority members.

Condición: New. In.

Taschenbuch. Condición: Neu. Beckett on Web 2.0 | Damned to fail.fail better | Eike Rüdebusch | Taschenbuch | 24 S. | Englisch | 2010 | GRIN Verlag | EAN 9783640619788 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu.

Taschenbuch. Condición: Neu. Druck auf Anfrage Neuware - Printed after ordering - Bachelor Thesis from the year 2010 in the subject Communications - Media and Politics, Politic Communications, grade: 1,0, University of Siegen, language: English, abstract: Nearly 400 years after slavery in the United States (US) begun an African American, actually a man of half African and half American descent, has probably changed the United States forever.During his election campaign, he promised hope and change. His words inspired millions all over the world, not only in the US. Just by campaigning Obama changed the world's views on the United States. Moreover, and this will form the thesis of this paper, Obama has changed Hip Hop as well.With every step taken in African American history, considering being brought to America as the first and Obama being elected president the most recent one, African American music has changed. Until Obama appeared the changes have mostly been stylistically, afterwards it mostly changed content-wise.The first chapter of this paper will deal with the first 300 years of African American music in the US and will present an overview of the developments in African American music that lead to Hip Hop as we know it. The second chapter will be about the first decade of Hip Hop, the 1970s. I will describe the circumstances that led to and accompanied the evolution of Hip Hop, with a special focus on Hip Hop's birthplace, New York City. Chapter three will deal with the rebellious and radical era of political rap in the 1980s, coined by rap groups such as Public Enemy and Boogy Down Productions.In chapter four I will discuss the 1990s and its so-called political nihilism. Gangsta rap was and is generally seen as nihilistic and nonpolitical. But, having a closer look at it I will show that Gangsta rappers also reflected the political circumstances around them, and therefore following the traditions of African American music of the preceding decades to criticize those who vice versa criticized them. In addition, to the commercially successful gangsta rap, I will also discuss so-called conscious rap of the 1990s.The years under the George W. Bush administration will be the topic of the fifth chapter. Bush's inner and foreign policies, 9/11 and the disaster of Hurricane Katrina led to a whole new focus of political rap.The final chapter will deal with Obama and Hip Hop's reaction towards him as a person, as a political figure and his politics. Rap has let its skepticism behind, in order to publicly endorse and support a presidential candidate. Vice versa, Obama represents a new political style towards Hip Hop.

Taschenbuch. Condición: Neu. Druck auf Anfrage Neuware - Printed after ordering - Master's Thesis from the year 2014 in the subject American Studies - Culture and Applied Geography, grade: 1,1, University of Duisburg-Essen (Fakultät für Geisteswissenschaften), language: English, abstract: The Wire, David Simon's and Ed Burns' HBO show about the war on drugs in Baltimore and the de-industrialized American economy, has been praised by critics, authors and scholars. It was called the 'best show since the invention of radio' (Brooker as quoted by Toscano) and compared to 19th century classical literature of Balzac, Dickens and others, and even Barack Obama named the show to be his favorite.The Wire was broadcast between 2002 and 2008 and thus is part of the cultural representation of the years before Obama became the first African American president of the United States of America. That might seem to be just a chronological fact on the sideline, but can be considered quite important instead. That is, because media mirrors a society's development and its recent state of mind. With Obama in office, it might seem that America has had a significant change of mind in terms of its conduct toward African Americans. The Wire was widely praised to be a multicultural show, if not even a post-ethnic show, that avoided all forms of negative, stereotypical depictions of Blacks and included Blacks in numbers never seen before on TV.Until today, the representation of Blacks in the media is something academics and journalists, political activists and authors write and discuss about. It is stained by the American past of slavery and segregation. Certain stereotypes and prejudices about Blacks have endured time and can be found in American society, among all races and all classes. However, The Wire with its huge number of Black characters along with their quality and depth, is seen as an exception from the usual TV program. The show was praised for its politics of representation, for putting Black characters in a drama, for including them in all depicted classes, all levels of hierarchies - Blacks are part of the street, the law, politics, the harbor, the media (Buehler 55) - and for the sheer range of Black roles that was said to make stereotyping nearly impossible (Morsch 216).[.] However, this thesis will prove that David Simon's monumental 60-hour-long show may be an exceptional TV show but nevertheless works with long-known and well-established schemes of representation and stereotypes of African Americans. The praise it has received will be made understandable on one hand, but will be shown as incomplete and ignorant on the other.

Taschenbuch. Condición: Neu. You want it to be one way, but it's the other way: How David Simon's The Wire Maintains African American Stereotypes | Eike Rüdebusch | Taschenbuch | 100 S. | Englisch | 2015 | Anchor Academic Publishing | EAN 9783954893911 | Verantwortliche Person für die EU: Dryas Verlag, ein Imprint der Bedey und Thoms Media GmbH, Hermannstal 119k, 22119 Hamburg, kontakt[at]dryas[dot]de | Anbieter: preigu.

Taschenbuch. Condición: Neu. "No More White Lies, My President is Black". Has American Political Rap Changed with Obama? | Eike Rüdebusch | Taschenbuch | 76 S. | Englisch | 2010 | GRIN Verlag | EAN 9783640623273 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu.

Taschenbuch. Condición: Neu. "The Game the Same. Just Got More Fierce." | An Interpretative Analysis of the Stereotypical Representation of African Americans on the US Television Program "The Wire" | Eike Rüdebusch | Taschenbuch | 104 S. | Englisch | 2014 | GRIN Verlag | EAN 9783656730569 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu.

Paperback. Condición: Like New. LIKE NEW. SHIPS FROM MULTIPLE LOCATIONS. book.

Taschenbuch. Condición: Neu. Druck auf Anfrage Neuware - Printed after ordering - Studienarbeit aus dem Jahr 2011 im Fachbereich Medien / Kommunikation - Multimedia, Internet, neue Technologien, einseitig bedruckt, Note: 1,3, Universität Duisburg-Essen, Sprache: Deutsch, Abstract: Jahrzehnte nachdem der französische Philosoph Roland Barthes im Zuge der poststrukturalistischen Kritik vom Tod des Autors gesprochen und damit ein mittlerweile geflügeltes Wort geschaffen hat, ist der Autor respektive der Autorenbegriff noch immer nicht verschwunden und Teil öffentlicher wie wissenschaftlicher Debatten. Das Werk eines Autors wird, geprägt von der Ära des Genies zu Zeiten Goethes, als Werk einer Person, als hierarchische[r], exklusive[r], undemokratischen[r], lineare[r], abgeschlossene[r], graue[r], sedierende[r] Text aus Buchstaben gesehen. In Zeiten des Internets aber verändern sich nicht nur die Gesellschaft, deren Kommunikations- und Informationswege, es verändern sich auch die alten Kulturgüter einschließlich der Literatur. In den letzten Jahren haben sich die Lesegewohnheiten radikal verändert, wie die Stiftung Lesen in ihrer alle acht Jahre erscheinenden Studie herausgefunden hat. Während das Lesen am Bildschirm im Jahr 1992 noch gar nicht erfasst worden war, haben im Jahr 2000 schon 25 Prozent der Befragten ausschließlich am Bildschirm gelesen. Im Jahr 2008 stieg die Zahl auf 41 % an. Neben dem Umgang mit dem Geschriebenen verändert sich auch der Umgang mit dem Schreiben. Das Internet fördert die Erwartungen an das Ende der Literatur, wie wir sie kennen: Die Literatur von einem Autor für viele Konsumenten, die von hinten nach vorne zu lesen ist, die nicht vom Leser veränderbar, durch das Urheberrecht geschützt ist und in Buchform erscheint. Das Internet weckt damit die Erwartung, aus der oben beschriebenen Art von Literatur endlich ein inkludierendes und aktivierendes, laterales und dynamisches, offenes und interaktives, multimediales und buntes Hyperdokument zu machen. Was aber wird aus dem Autor durch das Internet Wenn das Internet seinen Einfluss auf die Literatur geltend macht, werden Autor- und Werkbegriff davon nicht unberührt bleiben können. Das Netz, sollte es das oben genannte offene Hyperdokument hervorbringen, könnte den singulären Autor abschaffen oder überflüssig machen. Wenn dem so sein sollte, erfüllt sich damit die Barthesche Kritik Bedeutet das Internet den Tod des Autors Im Folgenden werde ich versuchen, die Stellung und Funktion des Autors in Zeiten des Internets zu beleuchten. Ich werde dafür klären, was ein Autor ist und worum es sich beim Tod des Autors handelt. Im nächsten Schritt werde ich erläutern, was das Web 2.0 ist und wo der Unterschied zwischen Literatur im Netz und Netzliteratur liegt.

Taschenbuch. Condición: Neu. Autorschaft im Web 2.0 | Netzliteratur und der Tod des Autors | Eike Rüdebusch | Taschenbuch | 28 S. | Deutsch | 2011 | GRIN Verlag | EAN 9783640919963 | Verantwortliche Person für die EU: GRIN Publishing GmbH, Waltherstr. 23, 80337 München, info[at]grin[dot]com | Anbieter: preigu.

Taschenbuch. Condición: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Seminar paper from the year 2012 in the subject American Studies - Culture and Applied Geography, grade: 1,0, Arizona State University (School of Social Transformation), course: African American Politics, language: English, abstract: Ever since Barack Obama was elected as the 44th President of the United States, it seems that minorities all over the world have gained hope in regard to the possibility of having a minority representative in their specific state's highest office. Especially in Germany, with nearly 20% of its inhabitants being of foreign descent, Obama and his achievements were looked up to. This could be seen on Obama's visit to Berlin in July 2008 when an estimated number of 200,000 people cheered Obama (Zeleni). His election in 2008 set high hopes in Germany which seem to manifest in Cem Oezdemir, one of the leaders of the German Green Party (Buendnis 90/Die Grünen).Oezdemir is a German politician of Turkish descent. He is a representative of Germany's largest minority. From the 1960s on, Turkish foreign workers, among others, came to Germany to rebuild the state's economy. Many of them did not leave the country as initially planned but rather got their families to emigrate to Germany as well. By now, the Turkish minority is by far the largest minority in Germany. Until today, the Turkish minority is politically underrepresented. Oezedemir seems to be a glimpse of hope for this minority. When Oezdemir was 28, in 1994, he was the first German of Turkish descent to enter the German Bundestag. In November 2008 he was elected to be one of three people heading the Green Party. Thereby, Oezdemir became the first immigrant leader of a German party. His election, shortly after that of Obama's, made the German and international press compare Oezdemir to Obama. Apart from the symbolic similarities, does that comparison make sense I think it does. This is what I will try to prove in this paper.In the following, I will point out the similarities and differences between the Turkish minority in Germany and the African American minority in the US. I will focus on the broader groups instead of the particular persons. I will analyze their specific minority's chances in politics. Since a full comparison of both minorities would not be possible in a regular term paper, I will present valid aspects to base the comparison on. Those will be the level of integration and the level of participation of both minorities. With these measurements in mind, I will compare the numbers of citizens, the numbers of representatives in the respective parliament and the numbers of political involved minority members. 36 pp. Englisch.

Condición: Sehr gut. Zustand: Sehr gut | Sprache: Deutsch | Produktart: Bücher | Studienarbeit aus dem Jahr 2011 im Fachbereich Medien / Kommunikation - Multimedia, Internet, neue Technologien, Note: 1,3, Universität Duisburg-Essen, Sprache: Deutsch, Abstract: Jahrzehnte nachdem der französische Philosoph Roland Barthes im Zuge der poststrukturalistischen Kritik vom Tod des Autors gesprochen und damit ein mittlerweile geflügeltes Wort geschaffen hat, ist der Autor respektive der Autorenbegriff noch immer nicht verschwunden und Teil öffentlicher wie wissenschaftlicher Debatten. Das Werk eines Autors wird, geprägt von der Ära des Genies zu Zeiten Goethes, als Werk einer Person, als ¿hierarchische[r], exklusive[r], undemokratischen[r], lineare[r], abgeschlossene[r], graue[r], sedierende[r] Text aus Buchstaben¿ gesehen. In Zeiten des Internets aber verändern sich nicht nur die Gesellschaft, deren Kommunikations- und Informationswege, es verändern sich auch die alten Kulturgüter einschließlich der Literatur. In den letzten Jahren haben sich die Lesegewohnheiten radikal verändert, wie die Stiftung Lesen in ihrer alle acht Jahre erscheinenden Studie herausgefunden hat. Während das Lesen am Bildschirm im Jahr 1992 noch gar nicht erfasst worden war, haben im Jahr 2000 schon 25 Prozent der Befragten ausschließlich am Bildschirm gelesen. Im Jahr 2008 stieg die Zahl auf 41 % an. Neben dem Umgang mit dem Geschriebenen verändert sich auch der Umgang mit dem Schreiben. Das Internet fördert die Erwartungen an das Ende der Literatur, wie wir sie kennen: Die Literatur von einem Autor für viele Konsumenten, die von hinten nach vorne zu lesen ist, die nicht vom Leser veränderbar, durch das Urheberrecht geschützt ist und in Buchform erscheint. Das Internet weckt damit die Erwartung, aus der oben beschriebenen Art von Literatur ¿endlich ein inkludierendes und aktivierendes, laterales und dynamisches, offenes und interaktives, multimediales und buntes Hyperdokument¿ zu machen. Was aber wird aus dem Autor durch das Internet? Wenn das Internet seinen Einfluss auf die Literatur geltend macht, werden Autor- und Werkbegriff davon nicht unberührt bleiben können. Das Netz, sollte es das oben genannte offene Hyperdokument hervorbringen, könnte den singulären Autor abschaffen oder überflüssig machen. Wenn dem so sein sollte, erfüllt sich damit die Barthesche Kritik? Bedeutet das Internet den Tod des Autors? Im Folgenden werde ich versuchen, die Stellung und Funktion des Autors in Zeiten des Internets zu beleuchten. Ich werde dafür klären, was ein Autor ist und worum es sich beim Tod des Autors handelt. Im nächsten Schritt werde ich erläutern, was das Web 2.0 ist und wo der Unterschied zwischen Literatur im Netz und Netzliteratur liegt.

Taschenbuch. Condición: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Seminar paper from the year 2009 in the subject Speech Science / Linguistics, grade: 1,0, University of Siegen (Sprach-, Literatur- und Medienwissenschaften), course: Samuel Beckett - Playwright, Novelist and Writer for the TV-Screen, language: English, abstract: Samuel Beckett certainly was one of the most important artists of the 20th century. His literature and drama changed the way people perceive arts and the tragic of human existence, further the way media displays them. Although Beckett was rigid regarding the realisation of his plays he was very open towards new media and techniques. He was up to date and wrote plays for the theatre, the radio and even for television. But he died before he could have used the possibilities the internet offers nowadays.Nevertheless, Beckett is omnipresent in today s internet. You just have to type his name into Google and you will find 1.470.000 hits referring to him.1 Especially his presence on Youtube, a video community on the internet, is astonishing. There people have found many ways to adapt one or several of Beckett s works the way they wanted to. One could raise the question if this was what Beckett wanted, if this could have been avoided or if this was part of a logical consequence of the technological progress and the developments the internet has gone through within the last decade.Having Paul Virilio s media theory in mind, the Aesthetics of Disappearance, in which he argues about the speed of information and the transformation of media, there is always a next step in terms of media, which in the end has led to the internet as it is today. Beckett always took that next step himself. Therefore, Beckett being part of the internet is the logical consequence of his work, of the way he used or was intrigued by different media, of the way he brought art to the latest medium - or is it not Throughout this paper I will argue that Beckett s work Play needed to be placed on the internet. I will try to prove that Play can make use of its full potential only within Web 2.0. I will start by reconstructing the media-history Play has gone through, from text to stage, from radio to television play. By doing that, I will point out that Beckett has always included another medium s potentials and techniques when adapting Play. Then, I will continue with Play on Web 2.0. I will describe what Web 2.0 actually means and where it came from, in order to later analyse Play on the internet, theoretically and aesthetically to finally conclude if Play really is best adapted on the internet. 24 pp. Englisch.

Taschenbuch. Condición: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -The Wire is widely considered to be the blueprint of a post-racial TV show. It features more Black characters than any other US TV show has ever done before. African Americans are depicted in all possible positions of social and professional hierarchies. However, the show maintains some of the stereotypical depictions of African Americans that have been prevalent throughout the history of film and television as well as the history of the US. With a close look on the history of Black representation in the United States and the stereotypes used in 20th century film and television, Eike Rüdebusch analyzes The Wire with regard to social as well as media stereotypes of African Americans. Thereby he shows the changes in African American representation on The Wire, but also that The Wire is not deserving of such idealistic post-race praises. 100 pp. Englisch.

Condición: New. Print on Demand pp. 76 24:B&W 5.83 x 8.27 in or 210 x 148 mm (A5) Perfect Bound on Creme w/Gloss Lam.

Condición: New. Print on Demand pp. 76.

Taschenbuch. Condición: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Bachelor Thesis from the year 2010 in the subject Communications - Media and Politics, Politic Communications, grade: 1,0, University of Siegen, language: English, abstract: Nearly 400 years after slavery in the United States (US) begun an African American, actually a man of half African and half American descent, has probably changed the United States forever.During his election campaign, he promised hope and change. His words inspired millions all over the world, not only in the US. Just by campaigning Obama changed the world's views on the United States. Moreover, and this will form the thesis of this paper, Obama has changed Hip Hop as well.With every step taken in African American history, considering being brought to America as the first and Obama being elected president the most recent one, African American music has changed. Until Obama appeared the changes have mostly been stylistically, afterwards it mostly changed content-wise.The first chapter of this paper will deal with the first 300 years of African American music in the US and will present an overview of the developments in African American music that lead to Hip Hop as we know it. The second chapter will be about the first decade of Hip Hop, the 1970s. I will describe the circumstances that led to and accompanied the evolution of Hip Hop, with a special focus on Hip Hop's birthplace, New York City. Chapter three will deal with the rebellious and radical era of political rap in the 1980s, coined by rap groups such as Public Enemy and Boogy Down Productions.In chapter four I will discuss the 1990s and its so-called political nihilism. Gangsta rap was and is generally seen as nihilistic and nonpolitical. But, having a closer look at it I will show that Gangsta rappers also reflected the political circumstances around them, and therefore following the traditions of African American music of the preceding decades to criticize those who vice versa criticized them. In addition, to the commercially successful gangsta rap, I will also discuss so-called conscious rap of the 1990s.The years under the George W. Bush administration will be the topic of the fifth chapter. Bush's inner and foreign policies, 9/11 and the disaster of Hurricane Katrina led to a whole new focus of political rap.The final chapter will deal with Obama and Hip Hop's reaction towards him as a person, as a political figure and his politics. Rap has let its skepticism behind, in order to publicly endorse and support a presidential candidate. Vice versa, Obama represents a new political style towards Hip Hop. 76 pp. Englisch.

Taschenbuch. Condición: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Master's Thesis from the year 2014 in the subject American Studies - Culture and Applied Geography, grade: 1,1, University of Duisburg-Essen (Fakultät für Geisteswissenschaften), language: English, abstract: The Wire, David Simon's and Ed Burns' HBO show about the war on drugs in Baltimore and the de-industrialized American economy, has been praised by critics, authors and scholars. It was called the 'best show since the invention of radio' (Brooker as quoted by Toscano) and compared to 19th century classical literature of Balzac, Dickens and others, and even Barack Obama named the show to be his favorite.The Wire was broadcast between 2002 and 2008 and thus is part of the cultural representation of the years before Obama became the first African American president of the United States of America. That might seem to be just a chronological fact on the sideline, but can be considered quite important instead. That is, because media mirrors a society's development and its recent state of mind. With Obama in office, it might seem that America has had a significant change of mind in terms of its conduct toward African Americans. The Wire was widely praised to be a multicultural show, if not even a post-ethnic show, that avoided all forms of negative, stereotypical depictions of Blacks and included Blacks in numbers never seen before on TV.Until today, the representation of Blacks in the media is something academics and journalists, political activists and authors write and discuss about. It is stained by the American past of slavery and segregation. Certain stereotypes and prejudices about Blacks have endured time and can be found in American society, among all races and all classes. However, The Wire with its huge number of Black characters along with their quality and depth, is seen as an exception from the usual TV program. The show was praised for its politics of representation, for putting Black characters in a drama, for including them in all depicted classes, all levels of hierarchies - Blacks are part of the street, the law, politics, the harbor, the media (Buehler 55) - and for the sheer range of Black roles that was said to make stereotyping nearly impossible (Morsch 216).[.] However, this thesis will prove that David Simon's monumental 60-hour-long show may be an exceptional TV show but nevertheless works with long-known and well-established schemes of representation and stereotypes of African Americans. The praise it has received will be made understandable on one hand, but will be shown as incomplete and ignorant on the other. 104 pp. Englisch.

PAP. Condición: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Condición: New. Print on Demand pp. 100.

Condición: New. Print on Demand pp. 100.

PAP. Condición: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Taschenbuch. Condición: Neu. This item is printed on demand - Print on Demand Titel. Neuware -Seminar paper from the year 2009 in the subject Speech Science / Linguistics, grade: 1,0, University of Siegen (Sprach-, Literatur- und Medienwissenschaften), course: Samuel Beckett ¿ Playwright, Novelist and Writer for the TV-Screen, language: English, abstract: Samuel Beckett certainly was one of the most important artists of the 20th century. His literature and drama changed the way people perceive arts and the tragic of human existence, further the way media displays them. Although Beckett was rigid regarding the realisation of his plays he was very open towards new media and techniques. He was up to date and wrote plays for the theatre, the radio and even for television. But he died before he could have used the possibilities the internet offers nowadays.Nevertheless, Beckett is omnipresent in today¿s internet. You just have to type his name into Google and you will find 1.470.000 hits referring to him.1 Especially his presence on Youtube, a video community on the internet, is astonishing. There people have found many ways to adapt one or several of Beckett¿s works the way they wanted to. One could raise the question if this was what Beckett wanted, if this could have been avoided or if this was part of a logical consequence of the technological progress and the developments the internet has gone through within the last decade.Having Paul Viriliös media theory in mind, the Aesthetics of Disappearance, in which he argues about the speed of information and the transformation of media, there is always a next step in terms of media, which in the end has led to the internet as it is today. Beckett always took that next step himself. Therefore, Beckett being part of the internet is the logical consequence of his work, of the way he used or was intrigued by different media, of the way he brought art to the latest medium ¿ or is it not Throughout this paper I will argue that Beckett¿s work Play needed to be placed on the internet. I will try to prove that Play can make use of its full potential only within Web 2.0. I will start by reconstructing the media-history Play has gone through, from text to stage, from radio to television play. By doing that, I will point out that Beckett has always included another medium¿s potentials and techniques when adapting Play. Then, I will continue with Play on Web 2.0. I will describe what Web 2.0 actually means and where it came from, in order to later analyse Play on the internet, theoretically and aesthetically to finally conclude if Play really is best adapted on the internet.Books on Demand GmbH, Überseering 33, 22297 Hamburg 24 pp. Englisch.

Taschenbuch. Condición: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Studienarbeit aus dem Jahr 2011 im Fachbereich Medien / Kommunikation - Multimedia, Internet, neue Technologien, einseitig bedruckt, Note: 1,3, Universität Duisburg-Essen, Sprache: Deutsch, Abstract: Jahrzehnte nachdem der französische Philosoph Roland Barthes im Zuge der poststrukturalistischen Kritik vom Tod des Autors gesprochen und damit ein mittlerweile geflügeltes Wort geschaffen hat, ist der Autor respektive der Autorenbegriff noch immer nicht verschwunden und Teil öffentlicher wie wissenschaftlicher Debatten. Das Werk eines Autors wird, geprägt von der Ära des Genies zu Zeiten Goethes, als Werk einer Person, als hierarchische[r], exklusive[r], undemokratischen[r], lineare[r], abgeschlossene[r], graue[r], sedierende[r] Text aus Buchstaben gesehen. In Zeiten des Internets aber verändern sich nicht nur die Gesellschaft, deren Kommunikations- und Informationswege, es verändern sich auch die alten Kulturgüter einschließlich der Literatur. In den letzten Jahren haben sich die Lesegewohnheiten radikal verändert, wie die Stiftung Lesen in ihrer alle acht Jahre erscheinenden Studie herausgefunden hat. Während das Lesen am Bildschirm im Jahr 1992 noch gar nicht erfasst worden war, haben im Jahr 2000 schon 25 Prozent der Befragten ausschließlich am Bildschirm gelesen. Im Jahr 2008 stieg die Zahl auf 41 % an. Neben dem Umgang mit dem Geschriebenen verändert sich auch der Umgang mit dem Schreiben. Das Internet fördert die Erwartungen an das Ende der Literatur, wie wir sie kennen: Die Literatur von einem Autor für viele Konsumenten, die von hinten nach vorne zu lesen ist, die nicht vom Leser veränderbar, durch das Urheberrecht geschützt ist und in Buchform erscheint. Das Internet weckt damit die Erwartung, aus der oben beschriebenen Art von Literatur endlich ein inkludierendes und aktivierendes, laterales und dynamisches, offenes und interaktives, multimediales und buntes Hyperdokument zu machen. Was aber wird aus dem Autor durch das Internet Wenn das Internet seinen Einfluss auf die Literatur geltend macht, werden Autor- und Werkbegriff davon nicht unberührt bleiben können. Das Netz, sollte es das oben genannte offene Hyperdokument hervorbringen, könnte den singulären Autor abschaffen oder überflüssig machen. Wenn dem so sein sollte, erfüllt sich damit die Barthesche Kritik Bedeutet das Internet den Tod des Autors Im Folgenden werde ich versuchen, die Stellung und Funktion des Autors in Zeiten des Internets zu beleuchten. Ich werde dafür klären, was ein Autor ist und worum es sich beim Tod des Autors handelt. Im nächsten Schritt werde ich erläutern, was das Web 2.0 ist und wo der Unterschied zwischen Literatur im Netz und Netzliteratur liegt. 28 pp. Deutsch.