Jan Riepe's Books

White on Black

Images of Africa and Blacks in Western Popular Culture

By: Jan Nederveen Pieterse

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White on Black

Images of Africa and Blacks in Western Popular Culture

By: Jan Nederveen Pieterse

White on Black is a compelling visual history of the development of European and American stereotypes of black people over the last two hundred years. Its purpose is to show the pervasiveness of prejudice against blacks throughout the western world as expressed in stock-in-trade racist imagery and caricature. Reproducing a wide range of illustrations--from engravings and lithographs to advertisements, candy wrappings, biscuit tins, dolls, posters, and comic strips--the book challenges the hidden assumptions of even those who view themselves as unprejudiced. Jan Nederveen Pieterse sets Western images of Africa and blacks in a chronological framework, including representations from medieval times, from the colonial period with its explorers, settlers, and missionaries, from the era of slavery and abolition, and from the multicultural societies of the present day. Pieterse shows that blacks have been routinely depicted throughout the West as servants, entertainers, and athletes, and that particular countries have developed their own comforting black stereotypes about blacks: Sambo and Uncle Tom in the United States, Golliwog in Britain, Bamboula in France, and Black Peter in the Netherlands. Looking at conventional portrayals of blacks in the nursery, in sexual arenas, and in commerce and advertising, Pieterse analyzes the conceptual roots of the stereotypes about them. The images that he presents have a direct and dramatic impact, and they raise questions about the expression of power within popular culture and the force of caricature, humor, and parody as instruments of oppression.

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264

Publisher

Yale University Press

Published Date

ISBN 10

0300063113

ISBN 13

9780300063110

Plastics Additives

Advanced Industrial Analysis

By: Jan C. J. Bart

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Plastics Additives

Advanced Industrial Analysis

By: Jan C. J. Bart

Contains an outline of the principles and characteristics of relevant instrumental techniques, provides an overview of various aspects of direct additive analysis by focusing on an array of applications in R ampD, production, quality control, and technical service.

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824

Publisher

IOS Press

Published Date

ISBN 10

1586035339

ISBN 13

9781586035334

Death in Don DeLillo's 'White Noise'

By: Jan Riepe

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Death in Don DeLillo's 'White Noise'

By: Jan Riepe

Seminar paper from the year 2002 in the subject American Studies - Literature, grade: 1,5, University of Freiburg (Englisches Seminar), course: Proseminar "Postmodern American Fiction after 1975", language: English, abstract: In the following pages I will discuss the role of Death in Don DeLillo’s “White Noise” and I will show that the protagonist, Jack Gladney, is not only obsessed with death, but that fear and obsession are the main driving forces in his life. Further it is the aim of this paper to show that Jack Gladney goes through a change, which results in him being able to cope with his fear and that DeLillo holds technology responsible for Jack’s obsessive fear. In order to support the thesis of this paper I will analyze the role that death plays in Jack’s life in regard to his family, his job, consumption and technology. To support the thesis of Jack going through a change I will discuss Jack’s relationship to death before and after the exposure to the chemical spillage and, most important, before and after Jack’s being “nearer to death”, when attempting to kill Willie Mink. Concluding, I will look at the novel’s link between death and technology. Jack Gladney lives with his wife Babette and their children from previous marriages in a house at the end of a quiet street in the quiet town of Blacksmith. He is head of the department of Hilter Studies at the College-on-the-Hill. Jack has specialized on Hitler and built a whole department around this single figure of history. In academic circles he is widely known as the leading expert on Hitler and his articles are printed in the appropriate journals. But Jack neither reads nor speaks the German language, a fact he desperately tries to keep a secret. He hides behind his dark glasses and academic robe. [...]

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GRIN Verlag

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ISBN 10

3638374491

ISBN 13

9783638374491

Paranoia in Robert Altman's "The Player" and in michael Tolkin's "The Player"

By: Jan Riepe

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Paranoia in Robert Altman's "The Player" and in michael Tolkin's "The Player"

By: Jan Riepe

Seminar paper from the year 2004 in the subject American Studies - Culture and Applied Geography, grade: 1,3, University of Freiburg (Englisches Seminar), course: Novel / Film Adaptation", language: English, abstract: This paper attempts to analyze the treatment of paranoia in Michael Tolkin's The Player and in Robert Altman's movie adaptation with the same title. Both works, the novel and its filmic adaptation, feature the paranoid protagonist Griffin Mill, a powerful movie executive who is plagued by an angry screenwriter. Now in this paper I shall examine how the novel and the movie apply their respective techniques to establish the fear and paranoia that drive Griffin all the way to murder. I will show that Griffin's paranoia is generated mainly by his powerful position in the movie industry. His paranoia absorbs him completely, leaving no room for a conscience or guilt. Even though this paper is not about film adaptation primarily, it is necessary to consider the general differences between literature and movies. Then, after a few words about the treatment of paranoia in film and literature in general, I will analyze Griffin's paranoia in both, the novel and the movie. Having done that I will show how his paranoia can be linked to his powerful position in the Hollywood movie industry. The novel use language to tell a story, whereas movies use pictures, dialogue and sound to show their stories to the audience. While novels are restricted to the use of language, movies can make use of multi-media techniques. Movies can show a large amount of information with a single sweep of the camera. The camera can capture complex images in a few seconds that would take many pages of prose to describe. The novel in contrast can provide insight in a character's interior thoughts and emotions, it can use language to allow the reader a look inside the character's brain. Literature and Film have different qualities, which does not make one better than the other. Yet one aspect they share: "both [are] narrative in format". Narrative, the quality that both media have in common, is one of the reasons for the many novels that have been filmed. In fact, "well over half of all commercial films have come from literary originals", the practice of using a literary source for a movie is as old as the movie industry itself. This strategy is a very successful one, "even the film industry regards all of its greatest achievements as derived from novels".

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GRIN Verlag

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ISBN 10

3638374475

ISBN 13

9783638374477

Absurdity in Joseph Heller's "Catch-22"

By: Jan Riepe

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Absurdity in Joseph Heller's "Catch-22"

By: Jan Riepe

Seminar paper from the year 2003 in the subject American Studies - Literature, grade: 1,3, University of Freiburg (Englisches Seminar), course: Hauptseminar "American War Novel", language: English, abstract: The topic of this research paper is the absurd in Joseph Heller’s Catch-22. In the course of this paper I will show that Catch-22 belongs to the Literature of the Absurd, that Heller writes in the tradition of the absurd and that he uses absurdist techniques to describe his novel’s absurd and disjointed world. Yet the novel’s absurd vision differs radically from other literature of the absurd because instead of accepting the universe as absurd, Heller protests against the absurdity he describes. To support my thesis I will examine definitions and features of the Theatre of the Absurd and of the Literature of the Absurd and compare them to Catch-22. I will analyze the novel’s absurdist vision by looking at the absurdity of war, the absurdity of bureaucracy, absurdity of capitalism and at the famous catch-22. Further I will examine the failure of communication and the novel’s structure. To come to a valid conclusion I will then analyze the significance of absurdity in Catch-22. The Literature of the Absurd has its roots in the Theatre of the Absurd and the absurdist movement that emerged after World War II as a rebellion against traditional values and literature. Before the war it was commonly thought that man was a fairly rational creature who lives in an at least partly intelligible universe. It was believed that man was able to show heroism and dignity even in defeat. After the war then there was the tendency to view man as isolated and the universe as possessing no inherent truth, value or meaning. Jean Paul Sartre and Albert Camus, for example viewed the human being as an isolated existent who is cast into an alien universe, to conceive the universe as possessing no inherent truth, value or meaning, and to represent human life – in its fruitless search for purpose and meaning, as it moves in the nothingness whence it came toward the nothingness where it must end – as an existence which is both anguished and absurd.1 1 M. H. Abrahms. A Glossary of Literary Terms. 7th Edition, 1999. p. 1

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GRIN Verlag

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ISBN 10

3638374483

ISBN 13

9783638374484

The Future Belongs To Crowds: Media in Don DeLillo's Libra, Mao II and White Noise

By: Jan Riepe

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The Future Belongs To Crowds: Media in Don DeLillo's Libra, Mao II and White Noise

By: Jan Riepe

Thesis (M.A.) from the year 2006 in the subject American Studies - Literature, grade: 2,0, University of Freiburg (Englisches Seminar), course: Magisterpr fung, 68 entries in the bibliography, language: English, abstract: This paper analyzes the treatment of media in novels by Don DeLillo. Key concepts in the study of media will be presented and explained in regard to how they are represented in DeLillo's novels. The focus will be on the novels and not on the media, after all this is a master's thesis in Literary and not in Communications Studies. Media and media theory, in our age of information capitalism are, now more than ever before, a topic that deserves close scholarly attention. Media theorists agree that to study the media is to study one of the most important topics of the day and that "such study should be compulsory part of every citizens liberal education" (Fred Inglis. Media Theory. An Introduction. Oxford: Basil Blackwell, 1990. p. 6). Most people in their daily lives are permanently surrounded by media. No matter if it is our entertainment, information, health, knowledge, memory, identity, dreams, emotions, or even our dying - all have by now been incorporated by the media. It is impossible to understand our acting and thinking without considering the influence of mediation. The entire history of mankind is inseparable from media, from language to the alphabet and the printing press all the way to today's instant electronic communication. "Every interpretation of anything is medially determined"(Arjen Mulder. Understanding Media Theory. Language, Image, Sound, Behavior. Rotterdam: V2_Publishing/NAi Publishers, 2004. p. 179), media are our means of understanding, it is through them that we try to make sense of the world. As this paper will show, the mass media now have an enormous influence of both public and private life of Western culture, in fact individuals as much as nations today formulate their agendas, memories, and

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133

Publisher

GRIN Verlag

Published Date

ISBN 10

3638827437

ISBN 13

9783638827430

Cyberpunk in "The Matrix"

By: Jan Riepe

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Cyberpunk in "The Matrix"

By: Jan Riepe

Seminar paper from the year 2003 in the subject American Studies - Culture and Applied Geography, grade: 1,3, University of Freiburg (Englisches Seminar), course: Proseminar "American Film Genre", language: English, abstract: It is the aim of this paper to show that The Matrix, written and directed by Larry and Andy Wachowski, is a development of cyberpunk. On the one hand, The Matrix shares many basic ideas, typical features and motifs with cyberpunk, as we know it from the works of William Gibson, Bruce Sterling and other cyberpunk writers of the 1980s. But on the other hand The Matrix’s cyberpunk also differs very much from other cyberpunk works. It not only differs, inmany cases The Matrix pushes ideas and motifs of cyberpunk further, taking them to another level. In this paper I will analyze themes, topics and motifs of cyberpunk in The Matrix, the way they are used and, most important, the purpose behind cyberpunk in the film. I will look at how and for what effect cyberpunk is used in The Matrix. In the introduction to his cyberpunk anthology Mirrorshades, Bruce Sterling writes that central themes of cyberpunk are “the theme of body invasion: prosthetic limbs, implanted circuitry, cosmetic surgery, generic alteration [...] and the “theme of mind invasion: brain – computer interfaces, artificial intelligence”1. Sterling writes about literature but it makes sense to use his characteristics of cyberpunk in this paper because “The Matrix is a work of literature”2, has “careful attention to symbolic detail throughout the movie [...] [and] the script went through seventeen rewrites”3. The themes, topics and motifs I will examine in the film are cyber–system and punk, computer-brain interface, the use of mirrors and mirrorshades and rain. I will look at the film’s dystopian setting and analyze the topic of technophobia, which is one of the effects of the technological dystopia. Writing about cyberpunk, it is useful to have a look at the term itself, so the following two quotations should provide a definition, or at least an explanation of the concept of cyberpunk: [...] 1 Bruce Sterling. “Preface”. Mirrorshades. The Cyberpunk Anthology . Bruce Sterling (ed.). Paladin Grafton Books, 1986. repr. Glasgow, 1990. p. xi 2 Mark Crosby. “Reflections Upon The Matrix”. Film Philosophy 3.31 (1999). 24 February 2003.http://www.film-philosophy.com/vol3-1999/n31crosby. 3 Steve Kellmeyer. The New Gnostic Gospel. 24 February 2003. http://www.envoymagazine.com/backissues/4.5/coverstory.html.

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GRIN Verlag

Published Date

ISBN 10

3638374467

ISBN 13

9783638374460

Book's by Jan Riepe

White on Black

White on Black

Plastics Additives

Plastics Additives

Death in Don DeLillo's 'White Noise'

Death in Don DeLillo's 'White Noise'

Paranoia in Robert Altman's "The Player" and in michael Tolkin's "The Player"

Paranoia in Robert Altman's "The Player" and in michael Tolkin's "The Player"

Absurdity in Joseph Heller's "Catch-22"

Absurdity in Joseph Heller's "Catch-22"

The Future Belongs To Crowds: Media in Don DeLillo's Libra, Mao II and White Noise

The Future Belongs To Crowds: Media in Don DeLillo's Libra, Mao II and White Noise

Cyberpunk in "The Matrix"

Cyberpunk in "The Matrix"

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