Pub Date : 2021-10-01DOI: 10.5325/pacicoasphil.56.2.0257
Vincent Deighan (aka Frank Quitely)
Abstract:This contribution consists of a copy of an original artwork by the contributor as well as a short reflection on its composition.
摘要:这篇文章由作者原创作品的副本以及对其构图的简短反思组成。
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Pub Date : 2021-10-01DOI: 10.5325/pacicoasphil.56.2.0205
Gordon Johnson
Abstract:
These literary pieces by Gordon Lee Johnson accompany Juan Delgado's interview with him, also in this issue.
摘要：这些文学作品由戈登李约翰逊陪同胡安·德尔加多对他的采访，也在本期。
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Pub Date : 2021-10-01DOI: 10.5325/pacicoasphil.56.2.0154
Paúl Alonso
Abstract:This article summarizes key ideas about the role of satire in political communication in Latin America and the United States, through the analysis of examples from Mexico, Argentina, and Peru.
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Pub Date : 2021-10-01DOI: 10.5325/pacicoasphil.56.2.0194
Juan Delgado
In this interview Gordon Lee Johnson discusses his understanding and views of the complex figure known as the trickster. He also describes growing up Cahuilla and Cupeño in the Pala Reservation in southern California, explaining how humor is not monolithic on the Rez and rejecting the Hollywood images of the stoic Indian.
在这次采访中，Gordon Lee Johnson讨论了他对被称为骗子的复杂人物的理解和看法。他还描述了Cahuilla和Cupeño在加利福尼亚州南部的帕拉保留地长大的经历，解释了Rez的幽默并非铁板一块，并拒绝了这位坚忍的印度人在好莱坞的形象。
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Pub Date : 2021-10-01DOI: 10.5325/pacicoasphil.56.2.0224
Michael Heyman, Joseph M. Thomas
Abstract:This essay explores the nonsensical elements of the composition and staging of "A Short Program of Poems for Young People, in Four Chapters," a fifty-minute poetry reading by Michael Heyman and Joseph T. Thomas, Jr. prepared for the Pacific Ancient and Modern Language Association's 2019 annual conference, "Send in the Clowns," focusing primarily on the theory and practice of nonsense in relation to the writing and staging of "A Short Program of Poems for Young People, in Four Chapters," which was performed in San Diego by Joseph T. Thomas, Jr. and Michael Heyman at the 2019 Pacific Ancient and Modern Language Association conference, "Send in the Clowns."
摘要:本文探讨了迈克尔·海曼(Michael Heyman)和小约瑟夫·t·托马斯(Joseph T. Thomas Jr.)为太平洋古今语言协会2019年年会“小丑来了”(Send in the Clowns)准备的50分钟诗歌朗诵《四章青年诗歌短节选》(A Short Program of Young People, in Four章)的创作和演出中的荒谬元素。主要关注与“四章青年诗歌短节目”的写作和演出有关的废话理论和实践，该节目由小约瑟夫·t·托马斯和迈克尔·海曼在2019年太平洋古今语言协会会议上在圣地亚哥演出，“小丑送进”。
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Pub Date : 2021-10-01DOI: 10.5325/pacicoasphil.56.2.0140
S. Orr
Abstract:This Presidential Address from the 2019 PAMLA Conference treats The Moon and I (1942), a newly recognized play by Samoan-American dramatist John Kneubuhl (1920–1992). With recourse to contexts developed through Kneubuhl's other stage and screen dramas, Orr will discuss the playwright's experiments with the fale aitu (a dramatic Samoan clowning genre) as well as Modernist and postcolonial literary traditions. By turns tragic and comic, Naturalist and Symbolist, Polynesian and Western, The Moon and I emerges as an important work within Kneubuhl's groundbreaking Oceanic Modernism ouevre.
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Pub Date : 2021-10-01DOI: 10.5325/pacicoasphil.56.2.0278
Julie Briand-Boyd, D. Boyd
Abstract:This brief article is a critical response to the illustrated portrait The Kelvin Hall Clown (2019), donated to the Pacific Ancient and Modern Language Association (PAMLA) by Eisner Award–winning and internationally renowned Glasgow-based comics artist Frank Quitely (We3 [Vertigo DC Comics, 2004], All-Star Superman [DC Comics, 2008], and Jupiter's Legacy [Image Comics, 2013–]). The essay contextualizes the portrait of a clown not only in the tensely bound aesthetics of humor and tragedy but also specifically in the context of contemporary Scottish urban literature and culture. From a brief history of Scotland in the 1980s, the essay examines Quitely's portrait as a carefully attuned response to questions of Scottish identity, masculinity, and the role that labor and violence play in the shaping of postindustrial cities like Glasgow. Furthermore, the essay muses on Quitely's work in portraiture, and introduces readers to his portraiture not only as popular covers of superhero comics but also as examples of Quitely's aesthetic and philosophical experiments with concepts of corporeality and faciality, which, in our estimation, offer vitalistic and existential insights that challenge national, classical, transcendent, or Cartesian models of subjectivity.
摘要：这篇短文是对艾斯纳奖获得者、国际知名格拉斯哥漫画艺术家弗兰克·奎特利（Frank Quitely）捐赠给太平洋古代和现代语言协会（PAMLA）的插图肖像《开尔文大厅小丑》（2019）的批评性回应（We3[Vertigo DC comics，2004]、全明星超人[DC comics，2008]和木星的遗产[Image comics，2013-]）。本文不仅将小丑肖像置于幽默和悲剧的紧张美学中，而且具体地置于当代苏格兰城市文学和文化的背景中。从20世纪80年代苏格兰的简史来看，这篇文章审视了Quitely的肖像，认为这是对苏格兰身份、男子气概以及劳工和暴力在格拉斯哥等后工业化城市塑造中所起作用等问题的谨慎回应。此外，本文对Quitely的肖像画作品进行了思考，并向读者介绍了他的肖像画，它不仅是超级英雄漫画的流行封面，也是Quitely对身体和面部概念进行美学和哲学实验的例子，据我们估计，这些实验提供了对民族、古典、超验、，或笛卡尔主观性模型。
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Pub Date : 2021-10-01DOI: 10.5325/pacicoasphil.56.2.0287
A. Howe
During the past 250 years, American road tourism has spanned a continent and reflected numerous cultural and economic modalities. This article explores specific moments and aspects of road tourism from the prerevolutionary era through the twentieth century. Each era noted encompassed specific aspects of technology, class distinction, and even aesthetic appreciation of nature coded to a time and place. For instance, prerevolutionary tourism was a largely regional affair, with wealthy elites taking extended trips to upstate New York to enjoy the beauty of the natural world. Mid-twentieth-century automobile tourism, however, reflected an emergent middle class, with new destinations throughout the American West made possible by widespread car ownership. This article explores road tourism with a specific focus on how the transition to the automobile precipitated the rise of the motel. Route 66 is examined as the apotheosis of road tourism, and two motels—the Wigwam Motel and the Clown Motel—for their employment of nostalgia, cultural appropriation, and the carnivalesque.
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Pub Date : 2021-10-01DOI: 10.5325/pacicoasphil.56.2.0259
L. Grove
Abstract:The history of clowns and the history of comics are interwoven, from the figures of the Commedia dell'arte, and the birth of the modern comic in the 1820s, to the sinister postmodern renderings of the twentieth century such as Stephen King's It and Frank Quitely's unnerving DC Joker. Laurence Grove presents five "quick-fire sideshows" that discuss how and why clowns and comics are interconnected icons of current culture. Both are visual phenomena that draw on text; they are hybrid and contradictory. Both can operate as filters for intense emotion and masks for social comment in difficult times. Or maybe they are just fun.
{"title":"The History of Clowns in Comics","authors":"L. Grove","doi":"10.5325/pacicoasphil.56.2.0259","DOIUrl":"https://doi.org/10.5325/pacicoasphil.56.2.0259","url":null,"abstract":"Abstract:The history of clowns and the history of comics are interwoven, from the figures of the Commedia dell'arte, and the birth of the modern comic in the 1820s, to the sinister postmodern renderings of the twentieth century such as Stephen King's It and Frank Quitely's unnerving DC Joker. Laurence Grove presents five \"quick-fire sideshows\" that discuss how and why clowns and comics are interconnected icons of current culture. Both are visual phenomena that draw on text; they are hybrid and contradictory. Both can operate as filters for intense emotion and masks for social comment in difficult times. Or maybe they are just fun.","PeriodicalId":41712,"journal":{"name":"Pacific Coast Philology","volume":"56 1","pages":"259 - 277"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44022845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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