Zappa.com

It`s great because it`s funny in two directions.<br>First it makes the believe in the devil rediculous and gives it a technical twist,<br>and second it also calms down people who still DO believe in the god/devil binarism (who will never get to read this sticker anyway!) ;D<br><br>Frank`s business was to entertain. And he could even do so in liner notes and stickers... great!

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Good Lobna!

[center][font=arial black]pacific ancient and modern language association[/font]<br>annual conference, november 5-7, 2004<br>reed college, portland, oregon[/center]<br>[sup]10:15 am session[/sup] <br><br>rereading myths ;  presiding officer:  roswitha burwick, scripps college <br><br>1)  frank zappa or: the mother of necessity...andrea gogröf-voorhees, western washington university<br>[font=arial narrow]the rocker/composer and social critic frank zappa, who died in 1993 of cancer, is still more popular in europe than in the united states where zappa is banned from radio; this paper proposes reasons for zappa’s popularity in europe by developing a relation between zappa and the aesthetics of modernity[/font]<br><br>2) of death, funerals, & resurrections: myths of the raf; karin bauer, mcgill univ[20 min][font=arial narrow]<br>this paper explores the narrative strategies through which wolfgang brenner’s die exekution (2000) demythologizes germany’s red army faction; i argue that by taking recourse to the myth of resurrection, the novel successfully undermines the mythology of death negotiated by such diverse sources as heinrich böll, gerhard richter, volker schlöndorff, and the bild-zeitung [/font]<br><br>3) stealing home: michael cunningham & the post-oedipal family, heidi schlipphacke, old dominion univ [20 minutes]<br>[font=arial narrow]michael cunningham’s three popular novels, flesh and blood (1995), a home at the end of the world (1990) and the hours (1998) are all concerned, i suggest, with a non-oedipal reconfiguration of notions of 'home' and 'family' ... while engaging in an aesthetics that is not simply dismissive of modernism, these texts nevertheless playfully re-structure alliances amongst the figures, thereby creating non-traditional communities. through the conflation of melodrama and fragment, the textual strategies mirror, to varying degrees, the emotionally charged yet hybrid communities around which the emotions of the figures cathect; in this way, cunningham calls into question the meaning and function of 'home' in the 21[sup]st[/sup] century[/font]

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