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    • Page 47

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    • “WE SPARED NO EXPENSE” 47 the more technical aspects, while his role is mostly given to the animated “Mr. DNA” in the film, and he presumably leaves the island as soon as the main conflict begins. While the ensemble characters fit quite neatly into...
    • Page 46

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    • “WE SPARED NO EXPENSE” 46 cases, the technology Nedry tries to make off with is essentially what hinders his success: he meets his end from the venom of a dilophosaurus. As I have already mentioned in my analysis, one of the most notable character...
    • Page 45

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    • “WE SPARED NO EXPENSE” 45 John Hammond plays easily the most recognizable role in Marx’s social strata to the extent that he is almost a caricature of the wealthy bourgeoisie in the novel. Hammond in the novel is very vocal about his intentions...
    • Page 44

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    • “WE SPARED NO EXPENSE” 44 how the themes are actually established and used in the narrative. As I have stated previously, I intend not only to identify the prominent themes in my analysis of the texts, but also how these themes relate to Marxist...
    • Page 40

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    • “WE SPARED NO EXPENSE” 40 criticism. These sorts of phrases suggest that the investment of wealth into the technology is enough to ensure the product is good. What he does not account for is that the wealth gives him no real control. This...
    • Page 4

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    • “WE SPARED NO EXPENSE” 4 Abstract As long as we have considered the possibilities of emergent technology, we have written stories in anticipation of their arrival, and as long as we write those stories, we find a great propensity for turning them...
    • Page 34

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    • “WE SPARED NO EXPENSE” 34 real; Jurassic World is a technologically advanced sideshow. They are not concerned with reality, but that they have “something scary and easy to pronounce” so that they do not alienate visitors from their show. It should...
    • Page 28

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    • “WE SPARED NO EXPENSE” 28 of a text is overt in supporting the status quo, or subversive by supporting a change to the status quo. The use of themes to uncover meaning is common in rhetorical analysis, and the process in this case essentially...
    • Page 26

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    • “WE SPARED NO EXPENSE” 26 Marxist analysis in literature available), and it is therefor reasonable to expand this quality to dialogue (Eagleton, 1976). Narrative dialogue, therefore, must be treated as such. This method of rhetorical analysis also...
    • Page 20

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    • “WE SPARED NO EXPENSE” 20 The work of The Birmingham School further allowed scholars to more clearly apply Marxist theory in practice to artifacts of popular culture, rather than just analyzing “high” culture, as was more the norm. Previous...
    • Page 19

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    • “WE SPARED NO EXPENSE” 19 means of both resistance and containment. That is, popular culture can either be used to deconstruct the power systems in place or to reinforce the hegemonic domination of the status quo. Hall (2005) explains that popular...
    • Page 16

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    • “WE SPARED NO EXPENSE” 16 justification of Marxist analysis, Marx describes the relationship between base and superstructure as mutually influential, that each element exerts some influence on the other. So, cultural artifacts, for example, have...
    • Page 13

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    • “WE SPARED NO EXPENSE” 13 Literature Review Marx, Consciousness and the Ideology of Art From the moment Jurassic Park’s protagonists meet, class is a visibly pronounced and crucial force driving the conflict in the narrative. Drs. Alan Grant and...
    • Page 142

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    • younger warrior, urged his braves to go down and clean out the whites from their valleys. The fiery young Indians were mostly with Walker, wlule the older and wiser heads were with Soweitte, and thus the council was divided. The controversy ran...
    • Page 53

    • Writing--Technique; Fiction--Technique
    • Writing the Great American Novel 53 Appendix Three Your Suspense Toolbox Macro Suspense Suspense is what is going to happen next to your lead character and does it mean death to the hero. Each scene must end with suspense to keep the reader turning...
    • Page 25

    • Writing--Technique; Fiction--Technique
    • Writing the Great American Novel 25 your life. There were sections on maintaining balance between home, work, and writing if writing wasn’t yet a full time career. Classes could be taught on query letters and making a pitch to an agent, as well as...
    • Page 22

    • Writing--Technique; Fiction--Technique
    • Writing the Great American Novel 22 Using the Beat Sheet or how to outline your novel effectively isn’t integral to the actual story. In other words, the reader won’t know if the writer is an outliner or a pantser. A pantser is a writer who just...
    • Chapter 27 - Page 229

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    • World War 11. List of Lehi's and Henrietta's grandchildren. Lehi, 90 years old. List of stacks. Death of Lehi W. Jones. Picture, Jones family 1947. Picture Lehi's Birthday. Funeral services, Lehi W. Jones, Resolutions of resprct, Bank of Southern...
    • Page 322

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    • with the poiiticians in Congress. When the excitement ends, we can talk to them. We do not wish to place ourselves in a state of antagonism, nor act defiantly toward this Govenunent. We will fulfill the letter, so far as practicable, of that...

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