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By Omission and Commission : 'Race'
National Library Bibliothbque nationale 1*1 of Canada du Canada Acquisitions and Direction des acquisitions et Bibliographic Services Branch des services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa, Ontario Ottawa (Ontario) KIA ON4 KIA ON4 Your hie Votre ri2ference Our Me Notre reference The author has granted an L'auteur a accorde une licence irrevocable non-exclusive licence irriivocable et non exclusive allowing the National Library of permettant a la Bibliotheque Canada to reproduce, loan, nationale du Canada de distribute or sell copies of reproduire, prGter, distribuer ou his/her thesis by any means and vendre des copies de sa these in any form or format, making de quelque maniere et sous this thesis available to interested quelque forme que ce soit pour persons. mettre des exemplaires de cette these a la disposition des personnes interessees. The author retains ownership of L'auteur conserve la propriete du the copyright in his/her thesis. droit d'auteur qui protege sa Neither the thesis nor substantial these. Ni la these ni des extraits extracts from it may be printed or substantiels de celle-ci ne otherwise reproduced without doivent &re imprimes ou his/her permission. autrement reproduits sans son autorisation. ISBN 0-315-91241-3 BY OMISSION AND COMMISSION: 'RACE' AND REPRESENTATION IN CANADIAN TELEVISION NEWS by Yasmin Jiwani B.A., University of British Columbia, 1979 M.A., Simon Fraser University, 1984 THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of Communication @ Yasmin Jiwani 1993 SIMON FRASER UNIVERSITY July, 1993 All rights reserved. -
SPRING 2008 R.A.C.E.Link
SPRING 2008 R.A.C.E.link TABLE OF CONTENTS RACE EDITORIAL 2 COORDINATING COMMITTEE Yasmin Jiwani NO ACADEMIC EXERCISE 3 Sedef Arat-Koc Sunera Thobani Associate Professor, Department of Politics and Public Administration, Ryerson University THE CAMP: A PLACE WHERE LAW HAS DECLARED 9 THAT THE RULE OF LAW DOES NOT OPERATE Enakshi Dua Sherene Razack Associate Professor, School of Women’s Studies, York University UPDATE ON THE TAYLOR BOUCHARD COMMISSION Charmaine Nelson ON ‘REASONABLE ACCOMMODATION’ 18 Associate Professor, Art History & Gada Mahrouse Communication Studies, McGill University Sherene Razack ECENT UBLICATIONS OF NTEREST R P I 22 Professor, Department of Sociology & Equity compiled by Ainsley Jenicek Studies, OISE, University of Toronto THROUGH THE LENS: FILMS ON TERRORISM 25 Sunera Thobani Ezra Winton Associate Professor, Centre for Research in Women Studies & Gender Relations, University of British Columbia MEMBERSHIP & CONFERENCE ANNOUNCEMENT 26 Yasmin Jiwani UPCOMING CONFERENCES 34 Associate Professor, Communication Studies, compiled by Ainsley Jenicek and Rawle Agard Concordia University R.A.C.E.link R.A.C.E.link EDITORIAL Yasmin Jiwani Welcome to the 2008 issue of RACE-Link. More than a newsletter but not quite a journal, RACE-Link at best constitutes a quasi-journal. In this issue, we continue to plot the lines defining race in its contemporary configurations in the post 9/11 Canadian context. This issue begins with Sunera Thobani’s article ‘No Academic Exercise’ tracing the highly problematic notion of academic freedom. Thobani calls attention to the lack of such freedom in voicing dissent against the ongoing War on Muslim bodies. She underlines the tenuous position of women of colour in the academy whose grounded knowledge is neither validated nor their critique acknowledged. -
Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship. -
Experiences of Chinese Parents and the Triple-P Positive Parenting
THE EXPERIENCES OF CHINESE PARENTS AND THE TRIPLE-P POSITIVE PARENTING PROGRAM by Monica Hoiky Lam Hon. BSc, University of Toronto, 2009 BSW, York University, 2017 An MRP presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Social Work in the Program of Social Work Toronto, Ontario, Canada, 2019 © Monica Hoiky Lam 2019 AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A MRP I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. ii ABSTRACT Experiences of Chinese Parents and the Triple-P Positive Parenting Program Master of Social Work, 2019 Monica Hoiky Lam Program of Social Work, Ryerson University This qualitative research study explores the experiences of two Chinese mothers who have taken one or more sessions of the Triple-P Positive Parenting Program. Utilizing a narrative methodology to inquiry, semi-structured interviews were conducted to answer the central research question: What are the experiences of Chinese parents who have taken one or more Triple-P sessions, in relation to the socio- political, historical and cultural factors that influence their lives? Data analysis draws from Anti- Oppression and Critical Race Feminism theoretical frameworks. -
Show of Hands
Show of Hands Northwest Women Artists 1880–2010 Maria Frank Abrams Ruth Kelsey Kathleen Gemberling Adkison Alison Keogh Eliza Barchus Maude Kerns Harriet Foster Beecher Sheila Klein Ross Palmer Beecher Gwendolyn Knight Susan Bennerstrom Margot Quan Knight Marsha Burns Margie Livingston Margaret Camfferman Helen Loggie Emily M. Carr Blanche Morgan Losey Lauri Chambers Sherry Markovitz Doris Chase Agnes Martin Diem Chau Ella McBride Elizabeth Colborne Lucinda Parker Show of Hands Northwest Women Artists 1880–2010 Claire Cowie Viola Patterson Louise Crow Mary Ann Peters Imogen Cunningham Susan Point Barbara Matilsky Marita Dingus Mary Randlett Caryn Friedlander Ebba Rapp Anna Gellenbeck Susan Robb Virna Haffer Elizabeth Sandvig Sally Haley Norie Sato Victoria Haven Barbara Sternberger Zama Vanessa Helder Maki Tamura Karin Helmich Barbara Earl Thomas Mary Henry Margaret Tomkins Abby Williams Hill Gail Tremblay Anne Hirondelle Patti Warashina Yvonne Twining Humber Marie Watt Elizabeth Jameson Myra Albert Wiggins Fay Jones Ellen Ziegler Helmi Dagmar Juvonen whatcom museum, bellingham, wa contents This book is published in conjunction with the 6 Foreword exhibition Show of Hands: Northwest Women Artists 1880–2010, organized by the Whatcom Patricia Leach Museum and on view from April 24–August 8, 2010. Funding for the exhibition and the 8 Acknowledgments accompanying catalogue was supported in part with funds provided by the Western 10 A Gathering of Women States Arts Federation (WESTAF) and the Barbara Matilsky National Endowment for the Arts (NEA). The City of Bellingham also generously funded the 52 Checklist of the Exhibition catalogue. Additional support was provided by the Washington Art Consortium (WAC). Published in the United States by 55 Bibliography Whatcom Museum 56 Photographic Credits © 2010 by the Whatcom Museum 121 Prospect Street Bellingham, WA 98225 The copyright of works of art reproduced in www.whatcommuseum.org 56 Lenders to the Exhibition this catalogue is retained by the artists, their heirs, successors, and assignees. -
God As Enemy—
THINKING THE UNTHINKABLE: GOD AS ENEMY— AN IMAGE OF GOD IN THE BOOK OF JOB AND OTHER BOOKS OF THE HEBREW BIBLE by Alphonetta Beth Terry Wines Bachelor of Arts, 1971 University of Houston Houston, TX Master of Divinity, 2002 Brite Divinity School Fort Worth, TX Dissertation Presented to the Faculty of the Brite Divinity School in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Biblical Interpretation Fort Worth, TX May 2011 THINKING THE UNTHINKABLE: GOD AS ENEMY— AN IMAGE OF GOD IN THE BOOK OF JOB AND OTHER BOOKS OF THE HEBREW BIBLE APPROVED BY DISSERTATION COMMITTEE _______________________________________DR. LEO PERDUE Dissertation Director ______________________________________DR. TONI CRAVEN Reader ____________________________________ ____DR. KERI DAY Reader _______________________________DR. JEFFREY WILLIAMS Associate Dean for Academic Affairs ________________________________DR. NANCY J. RAMSAY Dean Copyright @2011 by Alphonetta Beth Terry Wines All rights reserved ABSTRACT AND METHODOLOGY Images of God, positive and negative, create an ongoing tension in the biblical text. This tension is due to the paradoxical character of God as seen in Exod 34:6-7. The cognitive dissonance created by the juxtaposition of positive and negative images of the divine is unsettling for many people. Consequently, these negative images are often overlooked. This project addresses one of the neglected images, the image of God as enemy. It seems peculiar that, despite the regularity of Israel’s complaints against the divine and its familiarity with enemy language, the word enemy is not used more frequently in reference to God. This project considers the idea that while enemy language was part of Israel’s cultural milieu, the word enemy was seldom used to describe God because the image of God as enemy borders on picturing God as demonic—a precipice that neither Job nor the writers of the Hebrew Bible wanted to cross. -
Craft Horizons AUGUST 1973
craft horizons AUGUST 1973 Clay World Meets in Canada Billanti Now Casts Brass Bronze- As well as gold, platinum, and silver. Objects up to 6W high and 4-1/2" in diameter can now be cast with our renown care and precision. Even small sculptures within these dimensions are accepted. As in all our work, we feel that fine jewelery designs represent the artist's creative effort. They deserve great care during the casting stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to us. They know our precision casting process compliments the artist's craftsmanship with superb accuracy of reproduction-a reproduction that virtually eliminates the risk of a design being harmed or even lost in the casting process. We invite you to send your items for price design quotations. Of course, all designs are held in strict Judith Brown confidence and will be returned or cast as you desire. 64 West 48th Street Billanti Casting Co., Inc. New York, N.Y. 10036 (212) 586-8553 GlassArt is the only magazine in the world devoted entirely to contem- porary blown and stained glass on an international professional level. In photographs and text of the highest quality, GlassArt features the work, technology, materials and ideas of the finest world-class artists working with glass. The magazine itself is an exciting collector's item, printed with the finest in inks on highest quality papers. GlassArt is published bi- monthly and divides its interests among current glass events, schools, studios and exhibitions in the United States and abroad. -
Women's Inequality in Canada
Women’s Inequality in Canada SUBMIssION OF THE CANADIAN FEMINIST ALLIANCE FOR INTERNATIONAL AcTION TO THE UNITED NATIONS COMMITTEE ON THE ELIMINATION OF DIscRIMINATION AGAINST WOMEN on the Occasion of the Committee's Review of Canada's 6th & 7th Reports september 2008 Acknowledgments The preparation of this Report on Canada’s compliance with the United Nations Convention on the Elimination of All Forms of Discrimination against Women has been a large, collaborative project, drawing on the expertise of the members of the Feminist Alliance for International Action (FAFIA), as well as many other organizations and individuals who support FAFIA’s work, and believe in the full development and advancement of Canadian women. FAFIA wishes to thank the following organizations for their contributions: A Commitment to Training and Employment for Women, African Canadian Legal Clinic, Assembly of First Nations, Canadian Association of Elizabeth Fry Societies, Canadian Federation of University Women, Charter Committee on Poverty Issues, Child Care Advocacy Association of Canada, Disabled Women’s Network Canada, Guysborough Antigonish Strait Health Authority – Nova Scotia Health Authority, National Organization of Immigrant and Visible Minority Women of Canada, POWER Camp, Vancouver Committee for Domestic Workers and Caregivers Rights, Women for Fair Voting, Women’s Housing Equality Network, Young Women’s Christian Association (YWCA), and the Yukon Status of Women Council. Thanks for personal contributions are due to Lynell Anderson, Cenen Bagon, Nancy Baroni, Vince Calderhead, Marie Chen, Rita Chudnovsky, Shabnum Durrani, Lucille Harper, Steve Kerstetter, Lee Lakeman, June Macdonald, Peggy Mahon, Sharon McIvor, Mab Oloman, Kim Pate, Bruce Porter, Jane Pulkingham, and Chantal Tie. -
TEFAF Catalogue, Entitled Sei (Awakening), Marks the Kanata Aesthetic, and We Are Proud to Have Represented Him for Over 25 Years
TEFAF MAASTRICHT 2021 TEFAF 2021 A LIGHTHOUSE A LIGHTHOUSE CALLED KANATA CALLED KANATA TEFAF Maastricht 2021 11th - 19th September Early Access (9th) VIP Preview (10th) Our Raison D'etre Yufuku Gallery ended its 27 years of existence in June 2020, and from its ashes was borne Indeed, a foreign audience has long supported Japanese aesthetics, and were often the first A Lighthouse called Kanata. to pick up on the beauty of things that the Japanese themselves could not see. Ukiyoe, Jakuchu, the Gutai School and the Mono-ha, Sugimoto, Kusama … these Japanese artists Kanata means “Beyond” or “Far Away” in Japanese, a romantic ideal imbued by the two and movements were virtually forgotten within Japan, yet had garnered global recognition CLAY GLASS characters that comprise it, literally meaning “Towards” and “You.” Towards you, I wish by its appreciation in Europe and America. Likewise, by highlighting Japanese aesthetics to be, but you are far away. This is a quintessentially Japanese ideal, filled with ambiguity outside of Japan, we hope for greater recognition of today’s artists by those who are willing Sueharu Fukami 8 Niyoko Ikuta 24 and nuance. to support them. And ultimately, it is our hope that such international recognition will go on to influence Japanese audiences, thereby reintroducing and reimporting our aesthetics Ken Mihara 10 Sachi Fujikake 26 Like much in our language, it gives the impression that you, of all persons, is far from me, within and throughout Japan. This will then lead to instil in future generations the beauty Keizo Sugitani 12 Masaaki Yonemoto 28 and yet, we long and yearn to be together. -
'Male Enhancement', Gender Confirmation Surgery, And
Technologies of the Natural: ‘Male Enhancement’, Gender Confirmation Surgery, and the ‘Monster Cock’ by Jennifer N.H. Thomas B.A., (Sociology), Pacific University, 2010 B.A., (Spanish), Pacific University, 2010 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Sociology and Anthropology Faculty of Arts and Social Sciences c Jennifer N.H. Thomas 2020 SIMON FRASER UNIVERSITY Fall 2020 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Jennifer N.H. Thomas Degree: Doctor of Philosophy Thesis title: Technologies of the Natural: ‘Male Enhancement’, Gender Confirmation Surgery, and the ‘Monster Cock’ Committee: Chair: Pamela Stern Associate Professor Sociology & Anthropology Travers Supervisor Professor Sociology & Anthropology Michael Hathaway Committee Member Associate Professor Sociology & Anthropology Coleman Nye Examiner Assistant Professor Gender, Sexuality, and Women’s Studies Susan Stryker External Examiner Distinguished Chair Women’s, Gender, and Sexuality Studies Mills College ii iii Abstract Responding to Susan Stryker’s (2006) call to identify the “seams and sutures” of the ‘natural body’, this dissertation analyzes the social incarnation of the ‘natural male body’ through ‘male enhancement’ discourse in Canada and the United States (247). As one of the few sociological investigations into the medical practice of male enhancement, this research reorients our analytical gaze away from the somatic transformations of historically-oppressed people’s sexed bodies, towards bringing the male body, cis masculinity, and whiteness into the spotlight of critique. This investigation is grounded in fifty hours of online observations of a male enhancement forum for cis men interested in augmenting their genitals; and twenty in-depth, qualitative interviews with medical practitioners who specialize in male enhancement procedures. -
The Discursive Construction of Ideal Heavy Metal
1 Vulgar Discourses of Power: The Discursive Construction of Ideal Heavy Metal Subjectivity and the Erasure of Black, Indigenous, and Women of Colour in Heavy Metal Music Culture By Michelle Bona A Thesis Submitted to Saint Mary’s University, Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Women and Gender Studies April 2021, Halifax, Nova Scotia Copyright Michelle Bona, 2021 Approved: Dr. Tatjana Takševa Supervisor Approved: Dr. Jacqueline Warwick Examiner Approved: Dr. Tracy Moniz Reader Date: 23 April 2021 2 Abstract Vulgar Discourses of Power: The Discursive Construction of Ideal Heavy Metal Subjectivity and the Erasure of Black, Indigenous, and Women of Colour in Heavy Metal Music Culture By Michelle Bona Heavy metal music culture has been a bastion of working-class white masculinity since its beginnings in the early 1970s. Through canonization and Historical documentation, white male dominance has been ensured, obscuring contributions made by white female performers and erasing black, Indigenous, and women of colour (BIWoC) from the genre. Utilizing feminist critical discourse analysis (feminist CDA) to examine texts by canonized male bands reveals the discursive parameters of ideal heavy metal subjectivity (IHMS). Exploration of texts created by white female performers, including a case study of Arch Enemy vocalist Alissa White-Gluz, isolates the necessity for white female performers to reproduce the discourses of IHMS in order to secure their participation in the culture, further contributing to the erasure of BIWoC performers. However, feminist CDA also reveals transformative potential within these texts to de-centre IHMS as the default subject position and shows white women’s agency and resiliency as performers. -
SCHEDULE of EXHIBITIONS and EVENTS January, February, March 2018
SCHEDULE OF EXHIBITIONS AND EVENTS January, February, March 2018 Norton Simon Museum Media Contact 411 West Colorado Blvd. Leslie Denk Pasadena, CA 91105-1825 Director of External Affairs www.nortonsimon.org Phone: (626) 844-6941; Fax: (626) 844-6944 (626) 449-6840 Email: [email protected] In this Issue Page • EXHIBITIONS ...................................................................................................................... 2 • EVENTS & EDUCATION CALENDAR ......................................................................... 3–17 . Lectures, Open House, A Night in Focus, Films ............................... 3–7 . Adult Art Programs ........................................................................... 8–9 . Tours & Talks .................................................................................. 10–14 . Family Programs ............................................................................. 14–16 . Youth & Teen Art Classes .............................................................. 16–17 • GENERAL MUSEUM INFORMATION ............................................................................ 18 NOTE: All information is subject to change. Please confirm before publishing. EXHIBITIONS ON VIEW Taking Shape: Degas as Sculptor November 10, 2017—April 9, 2018 Taking Shape: Degas as Sculptor explores the improvisational nature of Degas’s artistic practice through the Norton Simon’s collection of modèles, the first and only set of bronzes cast from the original wax and plaster statuettes. CLOSING Rembrandt’s