214 Matching Annotations
  1. Apr 2017
    1. THE BLACK CAT.

      The annotations below are focused on the themes and language of American gothic horror and the connection to another text located here.

      Associated Sources in MLA Style:

      Badenhausen, Richard. "Fear and Trembling in Literature of the Fantastic: Edgar Allan Poe's 'The Black Cat'." Studies in Short Fiction, vol. 29, no. 4, 1992, pp. 487-498. EBSCOhost.

      Bann, Jennifer. "Ghostly Hands and Ghostly Agency: The Changing Figure of the Nineteenth-Century Specter." Victorian Studies: An Interdisciplinary Journal of Social, Political, and Cultural Studies, vol. 51, no. 4, 2009, pp. 663-686. EBSCOhost.

      Kopec, Andrew. "Irving, Ruin, and Risk." Early American Literature, vol. 48, no. 3, Nov. 2013, pp. 709-735. EBSCOhost.

      Norton, Mary Berth. "Witchcraft in the Anglo-American Colonies." OAH Magazine of History, vol. 17, no. 4, July 2003, pp. 5-9. EBSCOhost.

    1. RIP VAN WINKLE.

      The annotations below are focused on the themes and language of American gothic horror and the connection to another text located here.

      Associated Sources in MLA Style:

      Badenhausen, Richard. "Fear and Trembling in Literature of the Fantastic: Edgar Allan Poe's 'The Black Cat'." Studies in Short Fiction, vol. 29, no. 4, 1992, pp. 487-498. EBSCOhost.

      Bann, Jennifer. "Ghostly Hands and Ghostly Agency: The Changing Figure of the Nineteenth-Century Specter." Victorian Studies: An Interdisciplinary Journal of Social, Political, and Cultural Studies, vol. 51, no. 4, 2009, pp. 663-686. EBSCOhost.

      Kopec, Andrew. "Irving, Ruin, and Risk." Early American Literature, vol. 48, no. 3, Nov. 2013, pp. 709-735. EBSCOhost.

      Norton, Mary Berth. "Witchcraft in the Anglo-American Colonies." OAH Magazine of History, vol. 17, no. 4, July 2003, pp. 5-9. EBSCOhost.

  2. May 2016
    1. . Is art about making up new things or about transforming the raw material that's out there? Cutting, pasting, sampling, remixing and mashing up have become mainstream modes of cultural expression, and fan fiction is part of that. It challenges just about everything we thought we knew about art and creativity.

      Not really. Art has always been about reacting (in some part) to the works that have come before it.

    1. Well, the obvious topic is "fan fiction," but as you can tell just from scanning the subject index, we've branched out a bit - columns on fannish politics, columns that focus more on the show itself, columns on writing, etc.  Bottom line: is it going to be of interest to fanfic writers and readers?

      This is bad ass.

    1. Fan fiction alludes to universes which resemble those of the source text but which are also transformed in accordance with the writer's creative impulses and with reference to generic conventions and interpretive conventions of the fan community.

      ** Best description.

    2. This transportation may be so complete that they respond emotionally to the events portrayed as if they were situations involving real-life people rather than characters--that they become, in other words, emotionally immersed

      Couldn't this be said about anything and anyone?

    3. Fans approach fan fiction with highly detailed schemata in mind: of the characters, for example. If writers of fan fiction simply described the primary text, readers would no longer have the challenge of imagining something new and such texts would be too boring to be immersive. In effect, fans tend to value fics the most when they both adhere to canon and diverge from it

      * Important.

    4. Abigail Derecho argues that fan writers add artifacts to an archive surrounding the source text and "all texts related to it" (63-65) and Juli J. Parrish insists that fan writers "reimagine the preserve itself" (67-68).

      "Hypotext" and "hypertext"

  3. Nov 2015
    1. It's winter time and that means it's cold out there, like Hajnalka notes. Shivering little bodies shuffling from class to class. Seeing as vcu is a school where classes are scattered all over it just seems like a “double whammy” to study for hours and hours, and days and days, then have to sniffle your way to a classroom where you'll be stuck up against all those other students for just a few hours. Also, like the brilliant Hajnalka noted, traveling is a bummer for many students as well, so to have to travel for a mere two hour long test when it could be done at their house seems like an even more bummer. Even you, professor, allowed a student of yours in our theory class go home because you thought her well-being surpassed being in a physical classroom (sorry to hit you with that example, but it's all I got!). I know we are so privileged to be in a safe and community focused school, where we are tremendously lucky to have access to teachers and college in general, and I just know that we're beyond appreciative and grateful for all those things … but we've had all of our other exams (quizzes) online already, I think we've become used to it. I'd totally understand coming to class for an exam if that's how it was done the whole semester, but seeing as it wasn't we're addicted to the home exams...no worries though, it's not a serious addiction! ...(thank you thank you thank you Hajnalka for taking the time to create the argument we all agree with! ) (p.s. Sorry to debate you professor! It's all in good fun....but we're serious too!) -bria g-g

  4. Feb 2014