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The Cord • Wednesday
. 1ng the 009 Polaris prize gala page19 Wednesday, September 23. 2009 thecord.ca The tie that binds Wilfrid Laurier University since 1926 Larger classes take hold at Laurier With classes now underway, the ef fects of the 2009-10 funding cuts can be seen in classrooms at Wil frid Laurier University, as several academic departments have been forced to reduce their numbers of part-time staff. As a result, class sizes have in creased and the number of class es offered each semester has decreased.' "My own view is that our admin istration is not seeing the academic side of things clearly;' said professor of sociology Garry Potter. "I don't think they properly have their eyes YUSUF KIDWAI PHOTOGRAPHY MANAGER on the ball as far as academic plan Michaellgnatieff waves to students, at a Liberal youth rally held at Wilt's on Saturday; students were bussed in from across Ontario. ninggoes:' With fewer professors teaching at Laurier, it is not possible to hold . as many different classes during the academic year and it is also more lgnatieff speaks at campus rally difficult to host multiple sections for each class. By combining sections and reduc your generation has no commit the official opposition, pinpointed ing how many courses are offered, UNDA GIVETASH ment to the political process;' said what he considers the failures of the the number of students in each class Ignatieff. current Conservative government, has increased to accommodate ev I am in it for the same The rally took place the day fol including the growing federal defi eryone enrolled at Laurier. -
By JENELLE RENNER Integrated Studies Final Project Essay (MAIS
AN INTERDISCIPLINARY ANALYSIS OF THE MEDIA’S PORTRAYAL OF VIOLENCE AGAINST WOMEN IN LEGAL CASES, SUCH AS THE JIAN GHOMESHI TRIAL, AND ITS IMPACT ON UNDER REPORTING OF ABUSE By JENELLE RENNER Integrated Studies Final Project Essay (MAIS 700) submitted to Dr. Angela Specht in partial fulfillment of the requirements for the degree of Master of Arts – Integrated Studies Athabasca, Alberta April, 2016 Renner 2 AN INTERDISCIPLINARY ANALYSIS OF THE MEDIA’S PORTRAYAL OF VIOLENCE AGAINST WOMEN IN LEGAL CASES, SUCH AS THE JIAN GHOMESHI TRIAL, AND ITS IMPACT ON UNDER REPORTING OF ABUSE Table of Contents Abstract……………………………………………………………………………...Page 3 Introduction………………………………………………………………………….Page 4 Research Method…………………………………………………………………….Page 5 Disciplinary Perspectives and Insights………………………………………...…….Page 6 1. Media and Communication Problems in Truth and Subjectivity in Representation: Sensational Journalism and Rape Culture A General Look at Media’s role in Normalizing and Perpetuating Violence: Humor as a Tool for Desensitization The Media’s impact on the Public’s Perception of Offenders and Victims of Sexual Assault Victim Blaming in Media Narratives Covering Sexual Assaults Problems with Coverage and Lack of Consistency in Media Support 2. Psychology Self-Blame and Internalization of Abuse Possible Reasons for “Irrational Actions” of Alleged Victims of Assault The Re-victimization from Going Public in a Trial Rape Culture and The Ghomeshi Trial The Cycle of Abuse in the Ghomeshi Trial 3. Law/Political Science Gaps in the Criminal Code How the Media Coverage Affects Potential Perpetrators Conflicts, Common Ground and Integration……………………...……………..…Page 20 Potential For Change & Future Study………………………….….……………….Page 21 Conclusion…………………………………………………….…….……………...Page 22 Work Cited………………………………………………………….…....………...Page 24 Renner 3 ABSTRACT For victims, abuse does not end after the assault; “it continues with society’s punishment, which is rarely more merciful than the violent crime itself” (Hamwe, Jasem Al 2011). -
“The Times They Are A-Changin'”: Flexible Meter and Text Expression in 1960S and 70S Singer-Songwriter Music by Nancy Eliz
“The Times They Are A-Changin’”: Flexible Meter and Text Expression in 1960s and 70s Singer-Songwriter Music by Nancy Elizabeth Murphy B.Mus., The University of Western Ontario, 2003 M.A., The University of Western Ontario, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2015 © Nancy Elizabeth Murphy, 2015 Abstract The 1960s and 70s saw the flowering of the singer-songwriter style, which featured acoustic performances by artists who were the composers and lyricists of their own music. Reflecting their culture, their songs carried messages of personal and political significance. But their music is of technical as well as of social interest. Like classical art song, it often highlights lyrical meaning with various sorts of metric irregularities. In this dissertation, I closely analyze twenty-seven songs by Bob Dylan, Paul Simon, Buffy Sainte-Marie, Joni Mitchell, and Cat Stevens, in order to characterize the metric style of their songwriting and demonstrate their use of meter as an expressive device. To describe meter in this music requires theories more flexible than those usually applied to groove-based music. The analyses in this dissertation draw not only from theories of meter as a hierarchy of beat streams, but also upon theories of metrical process and prosody, in order to create transcriptions, to describe precisely listeners' sensations of meter, and to propose expressive rationales for metric settings. As an introduction to the style and the theoretical issues, Chapter 1 considers the problems of conceiving of meter in the expressively timed context of Mitchell’s “The Fiddle and the Drum.” Chapter 2 examines the existing methods for analyzing meter in music and poetry, in order to find some productive ways to analyze this metrically fluctuant repertoire. -
The Best and Worst Places to Be a Woman in Canada 2015 the Gender Gap in Canada’S 25 Biggest Cities
Canadian Centre for Policy Alternatives July 2015 The Best and Worst Places to be a Woman in Canada 2015 The Gender Gap in Canada’s 25 Biggest Cities Kate McInturff With Courtney Lockhart www.policyalternatives.ca RESEARCH ANALYSIS SOLUTIONS About the Authors Kate McInturff is a Senior Researcher at the Cana- dian Centre for Policy Alternatives. She is the direc- tor of the CCPA’s initiative on gender equality and ISBN 978-1-77125-222-5 public policy, Making Women Count, and is an on- going contributor to the Alternative Federal Budget. This report is available free of charge at www. policyalternatives.ca. Printed copies may be or- Acknowledgements dered through the CCPA National Office for $10. The author would like to thank Amy Wood and Thea PleAse mAke A donAtIon... Klinger for their long hours of work on the most elu- Help us to continue to offer our sive data points. Thanks also go to David Macdon- publications free online. ald for invaluable advice on all things statistical (all errors are my own). Thank you to everyone who With your support we can continue to produce high called, emailed or wrote about last year’s report— quality research — and make sure it gets into the hands this year’s report is the better for it. Finally, much of citizens, journalists, policy makers and progres- gratitude to Kerri Anne Finn and Emily Turk for your sive organizations. Visit www.policyalternatives.ca ongoing support and enthusiasm for this project. or call 613-563-1341 for more information. The CCPA is an independent policy research organ- ization. -
2008 / 2009 Annual Report
RADIO STARMAKER FUND ANNUAL REPORT 20#08 –2009 ANNUAL REPORT RADIO TABLE OF CONTENTS STARMAKER #FUND 02. Message from the Chair 03. Board of Directors and Staff | Mandate 04 . Application Evaluation | Applications Submitted vs. Applications Approved 05. Tracking Success | Grant Allocation by Type of Record Label 07. -10. Radio Starmaker Funded Artists 12. Sales Certifications 14. Grant Allocation by Province | Grant Allocation by Genre 16. Grant Allocation by Music Industry Association 18. -19. Awards Won by Radio Starmaker Funded Artists 21. New Artists to Radio Starmaker Fund 23. Allocation of Funding by Category 25. -29. Condensed Financial Statements 372 Bay Street, Suite 302, Toronto, Ontario M5H 2W9 T. 416.597.6622 F. 416.597.2760 TF. 1.888.256.2211 www.radiostarmakerfund.com RADIO STARMAKER FUND ANNUAL REPORT 2008-2009 .01 ANNUAL REPORT RADIO MESSAGE FROM THE CHAIR STARMAKER #FUND It is my pleasure in my second year as Another important issue for Starmaker is to ensure that I am very excited to see these excellent results and I look Chair of the Radio Starmaker Fund the funding is distributed broadly over new and emerg - forward to working further with the new Board and the to present our outstanding results ing talent and that we are not funding the same artists very capable staff here at Starmaker to continue to set from the fiscal year 2008-2009. repeatedly. This year in addition to our dramatic and meet these very high standards for supporting artists increase in applications we saw almost one third of these in Canada. One of the primary goals of the applications from artists who were new to the Fund. -
Organize Your Own: the Politics and Poetics of Self-Determination Movements © 2016 Soberscove Press and Contributing Authors and Artists
1 2 The Politics and Poetics of Self-determination Movements Curated by Daniel Tucker Catalog edited by Anthony Romero Soberscove Press Chicago 2016 Contents Acknowledgements 5 Gathering OURSELVES: A NOTE FROM THE Editor Anthony Romero 7 1 REFLECTIONS OYO: A Conclusion Daniel Tucker 10 Panthers, Patriots, and Poetries in Revolution Mark Nowak 26 Organize Your Own Temporality Rasheedah Phillips 48 Categorical Meditations Mariam Williams 55 On Amber Art Bettina Escauriza 59 Conditions Jen Hofer 64 Bobby Lee’s Hands Fred Moten 69 2 PANELS Organize Your Own? Asian Arts Initiative, Philadelphia 74 Organize Your Own? The Museum of Contemporary Art, Chicago 93 Original Rainbow Coalition Slought Foundation, Philadelphia 107 Original Rainbow Coalition Columbia College, Chicago 129 Artists Talk The Leviton Gallery at Columbia College, Chicago 152 3 PROJECTS and CONTRIBUTIONS Amber Art and Design 170 Anne Braden Institute for Social Justice Research 172 Dan S. Wang 174 Dave Pabellon 178 Frank Sherlock 182 Irina Contreras 185 Keep Strong Magazine 188 Marissa Johnson-Valenzuela 192 Mary Patten 200 Matt Neff 204 Rashayla Marie Brown 206 Red76, Society Editions, and Hy Thurman 208 Robby Herbst 210 Rosten Woo 214 Salem Collo-Julin 218 The R. F. Kampfer Revolutionary Literature Archive 223 Thomas Graves and Jennifer Kidwell 225 Thread Makes Blanket 228 Works Progress with Jayanthi Kyle 230 4 CONTRIBUTORS, STAFF, ADVISORS 234 Acknowledgements Major support for Organize Your Own has been provided by The Pew Center for Arts & Heritage, with additional support from collaborating venues, including: the Averill and Bernard Leviton Gallery at Columbia College Chicago, Kelly Writers House’s Brodsky Gallery at the University of Pennsylvania, the Slought Foundation, the Asian Arts Initiative, the Museum of Contemporary Art Chicago, and others. -
2005 / 2006 Annual Report
RADIO STARMAKER FUND ANNUAL REPORT 2005#–2006 ANNUAL REPORT RADIO TABLE OF CONTENTS STARMAKER #FUND 02. Message from the Chair 03. Board of Directors and Staff | Mandate 04. Application Evaluation | Applications Submitted vs. Applications Approved 05. Tracking Success | Grant Allocation by Type of Record Label 06. Radio Starmaker Funded Artists 07. Sales Certifications 08. Grant Allocation by Province | Grant Allocation by Genre 09. Grant Allocation by Music Industry Association 10. Awards Won by Radio Starmaker Funded Artists 11. Allocation of Funding by Category 12. – 16. Condensed Financial Statements 17. Appendix: Criteria for Qualifying 25 Adelaide Street East, Suite 1300, Toronto, Ontario M5C 3A1 PHONE.416.597.6622 FAX.416.597.2760 TOLL FREE.1.888.256.2211 www.radiostarmakerfund.com RADIO STARMAKER FUND ANNUAL REPORT 2005-2006 .01 ANNUAL REPORT RADIO MESSAGE FROM THE CHAIR STARMAKER #FUND This year has been one of reflection for • 77% of the total funding requested was approved We continue to maintain the highest standards of the Radio Starmaker Fund. We had the accountability to our stakeholders and the industry at opportunity to review our history from • The “funding per record” breakdown (based on the top large. Our audit process once again shows complete the inception of the fund and present an 22 funded RSF artists) is approximately $2 per record. compliance with our funding rules and regulations and overview to the CRTC during its radio With average marketing costs per album hovering in we appreciate the efforts made by our applicants to review proceedings in May 2006. the range of $3 per record this means we are making maintain this track record. -
“To Work, Write, Sing and Fight for Women's Liberation”
“To work, write, sing and fight for women’s liberation” Proto-Feminist Currents in the American Left, 1946-1961 Shirley Chen A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF SCIENCE WITH HONORS DEPARTMENT OF HISTORY UNIVERSITY OF MICHIGAN March 30, 2011 Advised by Professor Howard Brick For my mother Table of Contents Acknowledgements .......................................................................................................... ii Introduction...................................................................................................................... 1 Chapter I: “An End to the Neglect” ............................................................................ 10 Progressive Women & the Communist Left, 1946-1953 Chapter II: “A Woman’s Place is Wherever She Wants it to Be” ........................... 44 Woman as Revolutionary in Marxist-Humanist Thought, 1950-1956 Chapter III: “Are Housewives Necessary?” ............................................................... 73 Old Radicals & New Radicalisms, 1954-1961 Conclusion .................................................................................................................... 106 Bibliography ................................................................................................................. 111 Acknowledgements First, I am deeply grateful to my adviser, Professor Howard Brick. From helping me formulate the research questions for this project more than a year ago to reading last minute drafts, his -
Renegotiations of Canadian Space in Contemporary CBC Audio Distribution Models
Miles Weafer Renegotiations of Canadian Space in Contemporary CBC Audio Distribution Models The organization of space and time effected by these developments—by means of ‘content-free’ media such as the telegraph and the train, as much as the newspaper or photograph—structures the material forms and limits of knowledge, as well as our relationships with place and with one another. Here Innis reveals the limits and inadequacies of analyzing power in terms of representation. (Berland 1999: 291) This paper treats the Canadian Broadcasting Corporation’s (CBC) online ventures as examples of the national public broadcaster’s continued negotiation of Canadian space. More specifically, the paper looks at the online streaming and podcasting of English language radio broadcast content. This paper accounts for CBC Radio One’s distribution of audio programming—historically by way of national broadcasts and more recently by way of online streaming and podcast archives—as models of Canadian cultural transmission, which marginalize outlying Canadian regions in relation to production centres in Toronto and Montréal. This paper treats CBC Radio One’s collection, assemblage and transmission of programming as better indicators of the inequalities between production centers and outlying regions than any particular programming content. With focus on the most recent incarnation of the CBC radio morning interview show, Q, and drawing from Canadian communication studies, I will outline how the podcasting of English language CBC radio programming both rearticulates the broadcaster’s history and presence as a central manager of Canadian stories, and provides audiences with opportunities to actively undermine this centralized management. Podcasting involves the provision of updated online archives of recordings, accessible for download and playback by computer users at a time of their choice. -
Canada Reads Throughout the Years
CANADA READS THROUGHOUT THE YEARS An attempt to form a cross country book clu b and bring Canadians together to experience and share great Canadian literature. Canada Reads is Born 2002 Canada reads is introdu ced with Here We the intention of creating a mass Canadian Book Club in hopes to increase the circulation and Go Again readership of Canadian Literature throughout the years. This Canada Reads ha d Canada Reads was broadcast such success the through CBC Radio One and previous year that initially received criticism for its CBC Radio One lack of bilingual and multicultural continued to 2003 content presented through the broadcast the five books that were chosen. program. We're On T.V.! 2004 CBC Newsworld broadcasts Canada Reads on television as well as CBC Radio One. This is the first year that Canada Reads has been broadcast on two mass mediums. Criticism? The Canada Reads show defends itself in saying that the reason celebrities were " The producers of " Canada chosen was to appeal to a Reads" are neither younger audience, thus resulting in spreading academics nor litera ry Canading Literature to future reviewers: they are experienced readers. mass media professionals who make radio programs for 2005 Canada's public broadcaster" (Fuller, 2007, p.3) A Change Many viewers become skeptical of In Format Canada Reads. People begin to In previous years , question if turning panelists were allowed to Canadian Literature 2006 choose five books they into a mass media 2005 spectacle is wanted to defend. It appropriate. wasn't until this year that they were only able to choose one book to Redemption! defend. -
Ghomeshi-Report-April-2015-En.Pdf
The following document is a copy of the full report received from Janice Rubin on April 13, 2015. When we announced Ms. Rubin’s investigation, we had committed to publish her recommendations, subject to confidentiality obligations. In the spirit of transparency, we have gone beyond that and have now published the full report, but for the details that have been redacted in order to protect those individuals who chose to come forward and were promised confidentiality and/or to comply with our legal obligations. The report’s conclusions and recommendations were published in full. Ms. Rubin was not involved in the decision to publish the full report or to redact any part of it. Le document suivant est une copie du rapport complet reçu de Janice Rubin le 13 avril 2015. Lorsque nous avons annoncé la tenue de l’enquête de Mme Rubin, nous nous étions engagés à rendre publiques ses recommandations, tout en respectant les règles de la confidentialité. Dans un esprit de transparence, nous sommes allés encore plus loin et publions maintenant le rapport complet à l’exception de certains détails caviardés pour protéger les personnes qui ont témoigné et à qui Mme Rubin a promis que leur identité ne serait pas dévoilée et/ou pour nous conformer à nos obligations légales. Les conclusions et les recommandations du rapport ont été publiées intégralement. Mme Rubin n’a pas été impliquée dans la décision de publier le rapport complet, ni d’en caviarder des parties. PRIVILEGED and STRICTLY CONFIDENTIAL REPORT CBC WORKPLACE INVESTIGATION REGARDING JIAN GHOMESHI April 13, 2015 Prepared by: Janice Rubin and Parisa Nikfarjam Rubin Thomlinson LLP Table of Contents PART ONE - PROCESS ........................................................................................................................... -
18 Gender, Race, and the Ma(S)King of 'Joni Mitchell'
18 Gender, race, and the ma(s)king of ‘Joni Mitchell’ kevin fellezs I thought I was black for about three years. I felt like there was a black poet trapped inside me, and [‘The Jungle Line’] was about Harlem – the primitive juxtaposed against the Frankenstein of mod- ern industrialization; the wheels turning and the gears grinding and the beboppers with the junky spit running down their trumpets. All of that together with that Burundi tribal thing was perfect. But people just thought it was weird. (joni mitchell)1 Art is short for artificial. So, the art of art is to be as real as you can within this artificial situation. That’s what it’s all about. That’s what art is! In a way, it’s a lie to get you to see the truth. (joni mitchell)2 Joni Mitchell has always been weird, even by her own account. Personifying as well as versifying the tensions, contradictions, and affinities between the footloose and the fenced-in that is a main theme running through her work, she has remained one of pop music’s enduring enigmas despite over five decades in the music business.3 By turns, she has described herself or been characterised by others as an idiosyncratic singer-songwriter, the ‘consum- mate hippy chick’, ‘Annie Hall meets urban cowgirl’, the ‘babe in bopperland, the novice at the slot machines, the tourist, the hitcher’, a poet, a painter, a reluctant yet ambitious superstar.4 Who, in fact, are we confronting in a ‘self-confessional singer-songwriter’ who withholds her ‘real’ name? Born Roberta Joan Anderson to parents preparing for a son named Robert John on November 7, 1943, the artist better known as Joni Mitchell concocted her name through a combination of youthful pretensions and her first, brief marriage.