History Main / WhatDoYouMeanItsnotDidactic

5th May '16 2:08:57 PM aye_amber
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* Just about everything BobDylan ever wrote. It doesn't even seem to matter what he says in interviews about what a song does or doesn't mean (although more often than not now he just avoids those sorts of questions altogether).

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* Just about everything BobDylan Music/BobDylan ever wrote. It doesn't even seem to matter what he says in interviews about what a song does or doesn't mean (although more often than not now he just avoids those sorts of questions altogether).
30th Apr '16 12:47:11 PM unstattedCommoner
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Added DiffLines:

* Live cinema screenings of operas from the Royal Opera House have a tendency to being with a lengthy in-depth explanation by the director of the particular production of what subtext, not present in the score or libretto, they have decided to add to the work. At least the Met withhold this until an interval. Programmes, and booklets accompanying box-set recordings, also do this but there is no obligation to read them before the performance.
18th Apr '16 3:46:42 PM Berrenta
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** The book version of the Reduced Shakespeare Company's play, ''Theatre/TheCompleteWorksOfWilliamShakespeareAbridged'', ruthlessly [[{{Deconstruction}} deconstructs]] the sort of forewords usually included in Shakespeare reprintings. Not only does each member of the troupe get a foreword, there's a foreword to the foreword, an afterword to the foreword, a foreword by the publisher, a foreword by Shakespeare (in which he gives special thanks to the Dark Lady), and even a foreword by the ''reader'', in which he (read: you) complains that the endless forewords are getting annoying and demands that the book GetOnWithItAlready.

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** The book version of the Reduced Shakespeare Company's play, ''Theatre/TheCompleteWorksOfWilliamShakespeareAbridged'', ruthlessly [[{{Deconstruction}} deconstructs]] the sort of forewords usually included in Shakespeare reprintings. Not only does each member of the troupe get a foreword, there's a foreword to the foreword, an afterword to the foreword, a foreword by the publisher, a foreword by Shakespeare (in which he gives special thanks to the Dark Lady), and even a foreword by the ''reader'', in which he (read: you) complains that the endless forewords are getting annoying and demands that the book GetOnWithItAlready.gets it going already.
11th Apr '16 5:32:06 PM Ezclee4050
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** The book ''Literature/SlaughterhouseFive'': Reforming The Novel and The World'' by literature professor Jerome Klinkowitz has a chapter comparing ''Literature/TheMonsterAtTheEndOfThisBook'' to [[KurtVonnegut Vonnegut's]] novel, mainly in their use of metafiction.

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** The book ''Literature/SlaughterhouseFive'': ''Literature/SlaughterhouseFive: Reforming The Novel and The World'' by literature professor Jerome Klinkowitz has a chapter comparing ''Literature/TheMonsterAtTheEndOfThisBook'' to [[KurtVonnegut Vonnegut's]] novel, mainly in their use of metafiction.MetaFiction.
14th Mar '16 10:51:11 AM Andyroid
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** Someone [[http://genius.com/4245542 made a page]] on Genius (a website dedicated to crowd-sourced analysis of song lyrics and other media) for "Fish-Eye Lens", singling out all the ways the cartoon parodies rap and hip-hop videos from TheNineties (especially the use and abuse of the FishEyeLens in music videos by the Music/BeastieBoys).

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** Someone [[http://genius.com/4245542 com/Strong-bad-and-coach-z-fish-eye-lens-lyrics made a page]] on Genius (a website dedicated to crowd-sourced analysis of song lyrics and other media) for "Fish-Eye Lens", singling out all the ways the cartoon parodies rap and hip-hop videos from TheNineties (especially the use and abuse of the FishEyeLens in music videos by the Music/BeastieBoys).
14th Mar '16 10:50:37 AM Andyroid
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** Someone [[http://genius.com/4245542 made a page]] on Genius (a website dedicated to crowd-sourced analysis of song lyrics and other media) for "Fish-Eye Lens", singling the cartoon out as a parody of rap and hip-hop videos from TheNineties (especially the use and abuse of the FishEyeLens in music videos by the Music/BeastieBoys).

to:

** Someone [[http://genius.com/4245542 made a page]] on Genius (a website dedicated to crowd-sourced analysis of song lyrics and other media) for "Fish-Eye Lens", singling out all the ways the cartoon out as a parody of parodies rap and hip-hop videos from TheNineties (especially the use and abuse of the FishEyeLens in music videos by the Music/BeastieBoys).
14th Mar '16 4:58:16 AM Gorthaff
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**Trurh be told, Gwrman censors are slightly on the idiotic side of the scale.
11th Mar '16 3:31:07 PM Andyroid
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Added DiffLines:

** Someone [[http://genius.com/4245542 made a page]] on Genius (a website dedicated to crowd-sourced analysis of song lyrics and other media) for "Fish-Eye Lens", singling the cartoon out as a parody of rap and hip-hop videos from TheNineties (especially the use and abuse of the FishEyeLens in music videos by the Music/BeastieBoys).
26th Feb '16 2:54:16 PM Menshevik
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* There is a controversial book, "''[[http://en.wikipedia.org/wiki/How_to_Read_Donald_Duck Para leer al Pato Donald]]''" ("''How to read Donald Duck''"), written by Ariel Dorfman (a Chilean born in Argentina) and Armand Mattelart (a Belgian) and first published in Chile in 1971 (University of Valparaíso press). It is an earlier example of an ideological critique of what people up until then tended to view as nothing but harmless, indeed wholesome entertainment for children from a distinctly Marxist and anti-imperialist point of view. It thus presents Disney comics, specifically those distributed and in some cases produced for the Latin American market, as not just reflecting the dominant ideology of the United States (i. e. that of [[TheMan the ruling class]]), but also disseminating it to indoctrinate young readers. This of course aroused the ire of Creator/CarlBarks' fans and also was regarded as nothing but communist propaganda by those who see American exceptionalism and the advocacy of free-market capitalism as "unpolitical" or at any rate a good thing.

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* There is a controversial book, "''[[http://en.wikipedia.org/wiki/How_to_Read_Donald_Duck Para leer al Pato Donald]]''" ("''How to read Donald Duck''"), written by Ariel Dorfman (a Chilean born in Argentina) and Armand Mattelart (a Belgian) and first published in Chile in 1971 (University of Valparaíso press). It is an earlier example of an ideological critique of what people up until then tended to view as nothing but harmless, indeed wholesome entertainment for children from a distinctly Marxist and anti-imperialist point of view. It thus presents Disney comics, specifically those distributed and in some cases produced for the Latin American market, as not just reflecting the dominant ideology of the United States (i. e. that of [[TheMan the ruling class]]), but also disseminating it to indoctrinate young readers. This of course aroused the ire of Creator/CarlBarks' fans and also was regarded as nothing but communist propaganda by those who see American exceptionalism and the advocacy of free-market capitalism as "unpolitical" or at any rate a good thing. Despite its various failings -- for example, the authors were unaware that the creators working on the Disney comics were not subjected to the tight and strict supervision imposed on the people working in the animation studios -- the book remains one of the more influential works of its kind.[[note]] In 2001 the book went into its 36th Spanish-language edition and in 1991 into its 4th English-language edition.[[/note]]
26th Feb '16 2:45:43 PM Menshevik
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* There is an infamous book, "''[[http://en.wikipedia.org/wiki/How_to_Read_Donald_Duck Para leer al Pato Donald]]''" ("''How to read Donald Duck''"), whose basic premise is to describe all comics, especially Disney ones, as tools from [[TheMan the imperialistic gringos]] to deliberately subjugate and dominate the uneducated Latin American masses. It goes down from there. [[FridgeLogic (Not incidentally, why, exactly, would said propagandist want to encourage fellow countrymen to]] ''[[MindScrew actually read]]'' [[MindScrew aforementioned "imperialistic gringo" subject matter]]?)

to:

* There is an infamous a controversial book, "''[[http://en.wikipedia.org/wiki/How_to_Read_Donald_Duck Para leer al Pato Donald]]''" ("''How to read Donald Duck''"), whose basic premise written by Ariel Dorfman (a Chilean born in Argentina) and Armand Mattelart (a Belgian) and first published in Chile in 1971 (University of Valparaíso press). It is an earlier example of an ideological critique of what people up until then tended to describe all view as nothing but harmless, indeed wholesome entertainment for children from a distinctly Marxist and anti-imperialist point of view. It thus presents Disney comics, especially Disney ones, as tools from [[TheMan specifically those distributed and in some cases produced for the imperialistic gringos]] to deliberately subjugate and dominate the uneducated Latin American masses. It goes down from there. [[FridgeLogic (Not incidentally, why, exactly, would said propagandist want market, as not just reflecting the dominant ideology of the United States (i. e. that of [[TheMan the ruling class]]), but also disseminating it to encourage fellow countrymen to]] ''[[MindScrew actually read]]'' [[MindScrew aforementioned "imperialistic gringo" subject matter]]?)indoctrinate young readers. This of course aroused the ire of Creator/CarlBarks' fans and also was regarded as nothing but communist propaganda by those who see American exceptionalism and the advocacy of free-market capitalism as "unpolitical" or at any rate a good thing.
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