Browsing by Author "Karnick, Kristine Brunovska, 1958-"
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Item Are We Killing the Boys Harshly? The Consumption of the Male Gaze in Queer Pages(2010-10-13) Christian, Aron Lee; Goering, Elizabeth M.; Dobris, Catherine A.; Karnick, Kristine Brunovska, 1958-This study provides a social-text analysis of advertising images in queer publications which represent the new millennium up until 2008 in order to explore gaze theory in a queer context by answering the research question, “How have queer men represented themselves to themselves in the new millennium through the queer male gaze?” Inspired by Jean Kilbourne’s study of the image of women in advertising, this research project examines queer, millennial visual advertising images to explore the creation of normative queer behavior, identity, representation and the possible effects of those images on queer male consumers. A brief examination of previous work concerning male gaze as well as visual culture studies and their connection to Kilbourne’s work is addressed within the study. Further, this study discusses the concept of a bi-textual existence for the queer consumer in which identity is constructed from both an out-group (heteronormative) and in-group (homonormative) milieu. The theoretical foundation establishes that the queer male is placed in a hostile visual position—one where he is the dominating and dominated visual signifier in queer culture. Utilizing a stratified random sampling method, 293 images were coded to explore the research objective of constructing what the millennial queer gaze consisted of within full page advertisements in the queer specific publications of Gay Times, Genre, Instinct, and The Advocate. The results of the analysis construct a toxic visual world for the queer consumer dominated by narrow representations, sexual discourse, discriminating ideologies, and a dangerous repetition of heteronormative, hierarchical social structure found in the patriarchal gaze.Item Frank Miller's Ideals of Heroism(2007-05-18T13:39:25Z) Jones, Stephen Matthew; Bingham, Dennis, 1954-; Touponce, William F.; Karnick, Kristine Brunovska, 1958-This project responds to previous available literature on the subject of heroism, which tends to deal with either an isolated work or with genre- and archetype-specific analysis, and applies their concepts to case studies of Frank Miller’s various heroic models. In particular, this project addresses the film Sin City and the graphic novel The Dark Knight Strikes Again, arguing that DK2 serves as a departure of sorts from Miller’s ideals of heroism in his middle years (such as those presented in Sin City), as the protagonist becomes more of a revolutionary engaged in revamping society than the vigilante or “lone wolf” on the fringes of society. With the aforementioned sources as a general background, it is evident that Miller’s heroic ideals shift in their active capacity and scope but remain more or less steady in their strong individual sense of ethical duty. In addition, these sources aid in establishing the comparisons Miller actually invites to traditional, “archetypal” understandings of the hero as well as to the particular heroic form of Ayn Rand, which he explicitly references in DK2. Miller’s response to these previous models bolsters the assertion that theories of heroic ideals are inherently political as they deal with representations of the kind of person a hero must be, in turn involving issues of gender, ethnicity and class.Item Representative form and the visual ideograph : the Obama "Hope" poster(2014-01-29) Terrell-Curtis, Kara Beth; Sheeler, Kristina Horn, 1965-; Karnick, Kristine Brunovska, 1958-; Dobris, Catherine A.In this study, Janis Edwards and Carol Winkler’s method, based on Michael McGee’s ideograph, is applied to non-discursive forms in order to understand the extent to which these images can be understood as a representative form functioning ideographically. Artifacts for analysis include the 2008 Shepard Fairey Obama “PROGRESS” and “HOPE” images, related campaign graphics, and parodies, political and non-political, humorous and serious. Literature on visual rhetoric, the ideograph, and extensions of McGee’s ideograph to visual forms was reviewed. When the method was applied to the artifacts, the Obama “HOPE” image was found to be an example of a representative form. Additionally, the representative form was demonstrated to function ideographically in the parodied examples analyzed in this thesis. Opportunities for further study on the visual ideograph and additional artifacts were proposed.Item The Story of Medicine: From Paternalism to Partnership(2013-01-09) Marks, Jennifer Lynn; Parrish-Sprowl, John; Sheeler, Kristina K. Horn; Karnick, Kristine Brunovska, 1958-Physicians were interviewed and asked about their perspectives on communicating with patients, media, and the ways in which the biomedical and biopsychosocial models function in the practice of medicine. Fisher’s Narrative Paradigm was the primary critical method applied to themes that emerged from the interviews. Those emergent themes included the importance of a team approach to patient care; perspectives on physicians as bad communicators; and successful communication strategies when talking to patients. Physicians rely on nurses and other support staff, but the most important partnership is that between the physician and patient. Narrative fidelity and probability are satisfied by strategies physicians use in communicating with patients: using understandable language when talking to patients; engaging in nonverbal tactics of sitting down with patients, making eye contact with patients, and making appropriate physical contact with them in the form of a handshake or a light touch on the arm. Physicians are frustrated by media’s reporting of preliminary study results that omit details as well as media’s fostering of expectations for quick diagnostic processes and magical cures within the public. Furthermore, physicians see the biomedical and biopsychosocial models becoming increasingly interdependent in the practice of medicine, which carries the story of contemporary medicine further into the realm of partnership, revealing its humanity as well as its fading paternalism.