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Jane Austen’s depictions of musical performers and listeners in her novels suggest her belief that musical performances should strengthen intimacy between people, both between listeners and performers as well as among listeners. Austen commends music for its power to increase intimacy through honest expressions of taste, which more often arise

Jane Austen’s depictions of musical performers and listeners in her novels suggest her belief that musical performances should strengthen intimacy between people, both between listeners and performers as well as among listeners. Austen commends music for its power to increase intimacy through honest expressions of taste, which more often arise in private performances, but she warns against its power to decrease intimacy through pretentious displays of taste, which more often arise in public performances. Austen’s belief that music allows for this healthy intimacy indicates that music has great significance in society. Austen suggests that music has a greater importance to everyday life than many may originally suppose, as it is a universal connection between people. Ultimately, Jane Austen’s perspective of music’s great power both to expose pretentiousness and to cultivate intimacy should lead all of her readers to recognize and respect music’s true power and to consider seriously the importance and role of music in their own lives.

Created2021-05
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The purpose of this essay is to explain how celebrities manage their brand, as an image and commodity, using social media. Merriam-Webster defines "celebrity" as the "state of being celebrated." This essay will continue to explain how this state of celebration is a manufactured idea by the individual and the

The purpose of this essay is to explain how celebrities manage their brand, as an image and commodity, using social media. Merriam-Webster defines "celebrity" as the "state of being celebrated." This essay will continue to explain how this state of celebration is a manufactured idea by the individual and the media's portrayal. Celebrities are "well-known for their well-knowness" (Boorstin, 1961, p. 58). Boorstin (1961) explains celebrities achieve fame not for their achievements, but by creating a unique personality (as cited in Turner, 2004). Crowd culture, networks, and audience knowledge are tools celebrities must use to navigate digital nuances. They must manage performance of self, adhere to internet social norms, and the obsessive fame culture. Celebrities are often referred to have "star power" and have a certain "charisma." This cultural identity is "negotiated and formed" contrived by a team through promotion, publicity, and advertising (Turner, 2004). Celebrities market themselves through branded content, media used to promote a product, on their social media pages while targeting crowd cultures. Networks truly define how celebrities must brand themselves on social media. This person-to-person contact establishes fan and consumer connections that build the celebrity's base and following. Despite campaigning in a digital world, it goes back to people connecting with people, not accounts linking to accounts. Celebrities manufacture all of these strategies and tactics as they market themselves as a commodity to target crowd culture audiences. This is why targeting crowd cultures is vitally important for celebrities. This essay explores the techniques of select celebrities as they succeed and fail navigating digital nuances.
ContributorsPierce, Ellen (Author) / Jacoby, Jim (Thesis director) / Himberg, Julia (Committee member) / Department of English (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
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Hundreds of thousands of archaeological investigations in the United States conducted over the last several decades have documented a large portion of the recovered archaeological record in the United States. However, if we are to use this enormous corpus to achieve richer understandings of the past, it is essential that

Hundreds of thousands of archaeological investigations in the United States conducted over the last several decades have documented a large portion of the recovered archaeological record in the United States. However, if we are to use this enormous corpus to achieve richer understandings of the past, it is essential that both CRM and academic archaeologists change how they manage their digital documents and data over the course of a project and how this information is preserved for future use. We explore the nature and scope of the problem and describe how it can be addressed. In particular, we argue that project workflows must ensure that the documents and data are fully documented and deposited in a publicly accessible, digital repository where they can be discovered, accessed, and reused to enable new insights and build cumulative knowledge.

Cientos de miles de investigaciones arqueológicas en los Estados Unidos realizado en las últimas décadas han documentado una gran parte del registro arqueológico recuperado en los Estados Unidos. Sin embargo, si vamos a utilizar este enorme corpus para lograr entendimientos más ricos del pasado, es esencial que CRM y los arqueólogos académicos cambian cómo administran sus documentos digitales y los datos en el transcurso de un proyecto y cómo se conserva esta información para uso en el futuro. Exploramos la naturaleza y el alcance del problema y describimos cómo se pueden abordarse. En particular, sostenemos que los flujos de trabajo de proyecto deben asegurarse que los documentos y datos son totalmente documentados y depositados en un repositorio digital de acceso público, donde puede ser descubiertos, acceder y reutilizados para activar nuevos conocimientos y construir conocimiento acumulativo.

ContributorsMcManamon, Francis P. (Author) / Kintigh, Keith W. (Author) / Ellison, Leigh Anne (Author) / Brin, Adam (Author)
Created2017-08