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50 Numéros Au Service De La Musique
No 50 Mars 2007 CH-1530 Payerne Tél.: 41 (26) 660 30 90 Fax: 41 (26) 660 30 66 Paraît 4 fois l’an Abonnement: 25 CHF/an 15 EU/an 50 numéros au service de la musique Depuis 1993, années après années, numéros après numéros, Sympafolio est devenu un moyen d’échange et d’information pour ceux qui aiment la musique. Le 24 mars, Sympafolio fait la fête! pages 3-4 Le sommaire La pensée Les rubriques 5 Bourges: fenêtre ouverte La musique tient le milieu entre la 15 Formation 7 Piaf: il était une voix nature matérielle et la nature in- 16 Nouveautés de la partitions tellectuelle; elle peut dépouiller 8 Valais: le printemps en chantant l’amour de son enveloppe terrestre 18 SympaContacts 10 Fribourg: le lied fête Grieg ou donner un corps à l’ange: selon 19 Nouveautés du livre 11 Stravinski en 1ère mondiale les dispositions de celui qui écoute, 20 La revue des revues ses accords sont des pensées ou 13 Rock: lutter contre les préjugés des caresses. 22 Les jeux 14 Voix: trouver son autonomie François-René de Chateaubriand 23 Nouveautés du disque www.sympaphonie.com [email protected] No 50 Mars 2007 www.sympafolio.ch Medito On va vous en faire voir… 50 numéros et toujours le même enthou- siasme? L’Abbé Kaelin disait: «Il n’est pas diffici- le de créer une chorale, il est beaucoup plus compliqué de la faire durer». Je pense qu’il en est un peu de même pour un journal. Il faut d’abord l’envie de le faire et, ensuite, se donner les moyens de le faire durer. -
Gagosian Gallery
WSJ. Magazine April 25, 2013 GAGOSIAN GALLERY Now, Voyager Born and raised in Rhode Island, with studios in New York and Rotterdam, the artist Ellen Gallagher—now celebrated with simultaneous exhibitions on either side of the Atlantic—draws upon fact, fantasy and traces of her own meandering life. By Julie L. Belcove Photography by James Mollison BLUE HEAVEN | Gallagher in her studio in Rotterdam, the Netherlands, with an untitled work in progress. The painting will be part of an exhibition of the artist's work at the New Museum in New York, opening in June. IT WOULD BE EASY to connect the dots of Ellen Gallagher's biography and come up with two different but equally inspiring story lines. In one account, Gallagher, the biracial daughter of an Irish-American mother and an African-American father, grows up to make art about the subtle but profound ways racial stereotypes pervade our culture. Another version has Gallagher, born and raised in Providence, Rhode Island, a maritime city where whaling once thrived, shipping out aboard an Alaskan commercial fishing boat and later spending a college term living on a schooner, studying tiny water snails. Dividing her time between studios in New York and Rotterdam, another port city, she makes art that frequently takes the ocean and its centuries-old link to human migration, as a prime subject. Both plots lead to great critical acclaim, representation by the powerhouse Gagosian Gallery and exhibitions at some of the world's foremost museums, including the Whitney Museum of American Art and the Museum of Modern Art. -
Media Release
MEDIA RELEASE The Studio Museum in Harlem 144 West 125th Street New York, NY 10027 studiomuseum.org/press Preview: Wednesday, November 13, 2013, 6 to 7pm Contact: Liz Gwinn, Communications Manager [email protected] 646.214.2142 This Fall, the Studio Museum presents The Shadows Took Shape, an exhibition with more than 60 works by 29 artists examining Afrofuturism from a global perspective Left: Cyrus Kabiru, Nairobian Baboon (from C-Stunners series), 2012. Courtesy the artist. Photo: Amunga Eshuchi. Right: The Otolith Group, Hydra Decapita (film still), 2010. Courtesy the artists New York, NY, July 9, 2013—This fall, The Studio Museum in Harlem is thrilled to present The Shadows Took Shape, a dynamic interdisciplinary exhibition exploring contemporary art through the lens of Afrofuturist aesthetics. Coined in 1994 by writer Mark Dery in his essay “Black to the Future,” the term “Afrofuturism” refers to a creative and intellectual genre that emerged as a strategy to explore science fiction, fantasy, magical realism and pan-Africanism. With roots in the avant-garde musical stylings of sonic innovator Sun Ra (born Herman Poole Blount, 1914–1993), Afrofuturism has been used by artists, writers and theorists as a way to prophesize the future, redefine the present and reconceptualize the past. The Shadows Took Shape will be one of the few major museum exhibitions to explore the ways in which this form of creative expression has been adopted internationally and highlight the range of work made over the past twenty-five years. On view at The Studio Museum in Harlem from November 14, 2013 to March 9, 2014, the exhibition draws its title from an obscure Sun Ra poem and a posthumously released series of recordings. -
Mathilde Pierre Weak Judicial Systems And
Mathilde Pierre Weak Judicial Systems and Systematic Sexual Violence against Women and Girls: The Socially Constructed Vulnerability of Female Bodies in Haiti This thesis has been submitted on this day of April 16, 2018 in partial fulfillment of the degree requirements for the NYU Global Liberal Studies Bachelor of Arts degree. ACKNOWLEDGMENTS First and foremost, I would like to thank my thesis advisor, Professor Emily Bauman, who has guided me through every step in the year-long process of writing my thesis. The time and energy she invested in thoroughly reading and commenting on my work, in recommending other avenues of further research, and in pushing me to deepen my analysis were truly invaluable. I would also like to express my sincere gratitude to Professor Joyce Apsel who, although abroad in Florence, Italy, set aside time to speak with me over Skype, to comment on my rough draft, and to advise me on the approach of my argument in my thesis. I would additionally like to thank all of the individuals who set aside considerable time to meet with me for interviews in Port-au-Prince, most notably Attorney Claudy Gassant, Attorney Rosy Auguste, Attorney Marie Alice Belisaire, Attorney Giovanna Menard, Judge Jean Wilner Morin, Carol Pierre-Paul Jacob, Marie Yolaine Gilles, and Officer Guerson Joseph. Finally I extend a heartfelt thank you to my parents, Mathias and Gaëlle Pierre, who greatly assisted in connecting me with the individuals I interviewed and whose constant support and encouragement helped me to push through in the completion of my thesis. 1 ABSTRACT Widespread sexual violence against women and girls in Haiti is a phenomenon that largely persists due to a failure to prosecute male perpetrators and enforce the domestic and international laws that exist to criminalize rape. -
Art at Vassar, Spring 2005
FRIENDS OF THE FRANCES LEHMAN LOEB ART CENTER ART SPRING 2005 AT VAS SAR Of the many pleasures of teaching at Vassar, by far the greatest is Time and the chance to work with lively, intelligent and creative students. With them one shares one’s interests along with the storehouse of Related Events Transformation information and ideas that all college professors collect and love to bring forth in class discussions. In my department, we begin Thursday, March 17, 6:00p.m., at Colony Club in New York. instruction with Art 105, move on to lecture courses in our own Friends of FLLAC honor Susan Kuretsky, class of 1963, the Sarah In Seventeenth- fields, and finally to small, specialized seminars for juniors and Gibson Blanding Professor of Art at Vassar College. seniors. Here we may venture into unfamiliar territory, exploring Ms. Kuretsky to speak on “The Making of an Exhibition, Century Dutch together the attractions (and often enough the frustrations) of Time and Transformation in Seventeenth-Century Dutch Art.” scholarly research. In many respects, the upcoming exhibition Time and Transformation in Seventeenth-Century Dutch Art Art has been hatched in the classroom, inspired by reflections arising Opening Reception and Lecture from recent seminars on landscape, on the depiction of ruins in Friday April 8, 5:30 April 8 – June 19, 2005 Dutch art, and on relationships between art and science in the Age Lecture “Finding Time: on the virtues of fallen things” by curator of Observation. Throughout this process, the Frances Lehman Susan Kuretsky, class of 1963, Professor of Art on the Sarah G. -
WOMEN, GIRLS and DISASTERS a Review for DFID by Sarah Bradshaw1 and Maureen Fordham2 August 2013
Document withdrawn WOMEN, GIRLS AND DISASTERS A review for DFID by Sarah Bradshaw1 and Maureen Fordham2 August 2013 1 Middlesex University 2 Northumbria University and Gender and Disaster Network www.gdnonline.org CONTENTS Executive Summary 3 Introduction 5 Section 1 Gendered impact 7 1.1 Measuring the impact on women, adolescent girls and girls 7 1.2 Gendered vulnerability and risk 9 1.3 Gendered capacities and women’s leadership 10 1.4 Establishing the gendered impact of disasters 12 1.5 The double impact of disasters on women and girls 15 Violence Against Women and Girls (VAWG) 15 Psychosocial Impact 17 Deterioration in Reproductive and Sexual Health 18 Early and Forced Marriage 19 Loss of Education for Girls 20 Poverty, Insecure Employment and Trafficking 20 Migration 21 Changes to Networks and Family Support 22 Change in self perception 23 Time burden 23 1.6 Exogenous factors affecting women’s and girl’s disaster risk in the future 24 1.7 The benefits from focussing on women and girls in disasters 25 Section 2 The response 27 2.1 International community 27 International frameworks 27 Policy initiatives 29 Project initiatives 30 2.2 National level 32 2.3 DFID’s past and current investments in helping to address these issues 34 Section 3 Critical gaps and issues 36 3.1 Summary Discussion 36 3.2 Recommendations 36 Bibliography 39 Appendix 1: Haiti case study 51 2 EXECUTIVE SUMMARY Women and men experience disasters differently. This review sets out evidence of the impact that disasters have on women, adolescent girls and girls. -
1 Bibliography: GENDER BASED VIOLENCE Updated July 18, 2021 TABLE of CONTENTS Abandonment……………………………… A
Bibliography: GENDER BASED VIOLENCE Updated July 18, 2021 TABLE OF CONTENTS Abandonment……………………………………………………………….. Adolescents…………………………………………………………………… Advocacy………………………………………………………………………. Animal Harm…………………………………………………………………. Children..………………………….…………………….………………..…… Childhood abuse of parents & outcomes for next generation Children – parental attitudes………………………………………… Climate Change…………………………………………………………….. Community……………………………………………………………………. Consent…………………………………………………………………………. Consequences: Biologic Embedding ?toxic stress Consequences: Depression/ Suicide………………………..….. Consequences: General………………………………………………… Consequences: Hygiene……….………………………………………. Consequences: Injury/Homicide…….…………………………….. Consequences : Job Choices / Professions of Survivors…. Consequences: Interventions……………………………………….. Consequences: Medical………………………………………………… Consequences: Medical Traumatic Brain Injury…………….. Consequences: Nutrition………………………………………………. Consequences: PTSD…………………………………………………….. Consequences: Sexual & Reproductive Health……………… Consequences: Substance Use……………………………………… COVID…………………………………………………………………………… Cultural Attitudes…………………………………………………………. General…………………………………………………………….. Africa………………………………………………………………… Sub-Saharan Africa………………………………… North Africa…………………………………………… West Africa……………………………………………. Central Africa…………………………………………. Northeast Africa…………………………………….. East Africa……………………………………………… South Africa……………………………………………. Americas……………………………………………………………. Central America…………………………………….. Haiti………………………………………………………. North America………………………………………. -
Republic of Haiti Gender-Based Violence Against Haitian Women & Girls in Internal Displacement Camps Submitted By
Republic of Haiti Submission to the United Nations Universal Periodic Review 12th Session of the Working Group on the UPR Human Rights Council [October 3 - 14, 2011] Gender-Based Violence Against Haitian Women & Girls in Internal Displacement Camps Submitted By: MADRE KOFAVIV (Komisyon Fanm Viktim Pou Viktim) FAVILEK (Fanm Viktim Leve Kanpe) KONAMAVID (Kodinasyon Nasyonal Viktim Direk) Women’s Link Worldwide The International Women’s Human Rights (IWHR) Clinic at the City University of New York (CUNY) School of Law Endorsed By: Best Practices Policy Project (BPPP) The Institute for Justice & Democracy in Haiti (BAI) The Bureau des Avocats Internationaux (IJDH) Center for Constitutional Rights (CCR) The Haiti Solidarity Network of the Northeast (HSNNE) Human Rights Clinic, University of Miami School of Law 1 1. This report is submitted by MADRE (an ECOSOC accredited NGO), KOFAVIV FAVILEK, KONAMAVID, Women’s Link Worldwide, and the International Women’s Human Rights Clinic, City University of New York School of Law. It focuses on the epidemic of gender-based violence in internally displaced persons (IDP) camps in post-earthquake Haiti. I. Background and Context 2. Preventative measures within Haiti’s internally displaced persons (“IDP”) camps are critically lacking. In particular, the following issues exist: lack of adequate lighting; lack of private bathing facilities; lack of tents; and even for those with tents, utter lack of security, and lack of police presence. All of these risk factors have increased dramatically in post-earthquake Haiti, resulting in an epidemic of gender-based violence against Haitian women and girls. 3. Though official statistics are lacking, research demonstrates that after disasters and conflicts, women and children living in IDP camps are especially vulnerable to sexual violence and rape. -
Destabilizing the Sign: the Collage Work of Ellen Gallagher, Wangechi Mutu, and Mickalene Thomas”
“Destabilizing the Sign: The Collage Work of Ellen Gallagher, Wangechi Mutu, and Mickalene Thomas” A Thesis submitted to the Art History Faculty of the College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Masters of Arts in Art History Committee Members: Dr. Kimberly Paice (chair) Dr. Morgan Thomas Dr. Susan Aberth April 2013 by: Kara Swami B.A. May 2011, Bard College ABSTRACT This study focuses on the collage work of three living female artists of the African diaspora: Ellen Gallagher (b. 1965), Wangechi Mutu (b. 1972), and Mickalene Thomas (b. 1971). As artists dealing with themes of race and identity, the collage medium provides a site where Gallagher, Mutu, and Thomas communicate ideas about black visibility and representation in our postmodern society. Key in the study is theorizing the semiotic implications in their work, and how these artists employ cultural signs as indicators of identity that are mutable. Ellen Gallagher builds many of her collages on found magazine pages advertising wigs for black women in particular. She defaces the content of these pages by applying abstracted body parts, such as floating eyes and engorged lips, borrowed from black minstrel imagery. Through a process of abstraction and repetition, Gallagher exposes the arbitrariness of the sign—a theory posed by Ferdinand de Sausurre’s semiotic principles—and thereby destabilizes supposed fixity of racial imagery. Wangechi Mutu juxtaposes fragmented images from media sources to construct hybridized figures that are at once beautiful and grotesque. Mutu’s hybrid figures and juxtaposition of disparate images reveal the versatility of the sign and question essentialism. -
Violence Against Women and Domestic Violence
Home > Research > Responses to Information Requests RESPONSES TO INFORMATION REQUESTS (RIRs) New Search | About RIRs | Help 16 June 2011 HTI103716.FE Haiti: Violence against women and domestic violence; in particular, the protection, services and recourse offered to victims, particularly in Jérémie, Cayes and Gonaïves (2009 - March 2011) Research Directorate, Immigration and Refugee Board of Canada, Ottawa In a report published in January 2011, Amnesty International (AI) notes that sexual and gender-based violence are "omnipresent" in Haiti, although women and girls were already at high risk of being raped or subjected to other forms of sexual violence prior to the earthquake (AI Jan. 2011, 4). Likewise, according to a January 2011 Human Rights Watch report, the rate of sexual violence prior to the earthquake was high, but conditions in the camps have made women and girls even more "vulnerable." An article published on 20 October 2010 by the United Nations Children's Fund (UNICEF) states that many women and girls have become even more "vulnerable" because they have been separated from their family and must live alone. The UN Special Rapporteur on Violence Against Women stated that she "... received numerous reports on the rise in violence against women and girls, in particular rape and domestic violence in IDP camps and elsewhere." However, the Rapporteur does not provide the timeframe for this increase in violence (UN 11 Oct. 2010, 6). Doctors without Borders (Médecins sans frontières, MSF) states that they have treated 212 victims of sexual violence between January and May 2010 (MSF July 2010, 19). In a November 2010 report that was sent to the Research Directorate on 16 February 2011, Solidarity Fanm Ayisyen (Solidarité Fanm Ayisyen, SOFA), a women's rights organization (Oxfam 18 Feb. -
The FLAG Art Foundation Presents New Exhibition: “Attention To
The FLAG Art Foundation Pre sents New Exhibition: “Attention to Detail” The FLAG Art Foundation is pleased to announce its inaugural ex hibition, "Attention to Detail." Curated by renowned contemporary artist Chuck Close, the show includes work from a wide range of both established and emerging artists: Louise Bourgeois Brice Marden Delia Brown Tony Matelli Glenn Brown Ron Mueck Maurizio Cattelan Richard Patterson Vija Celmins Richard Pettibone Jennifer Dalton Elizabeth Peyton Thomas Demand Richard Phillips Tara Donovan Marc Quinn Olafur Eliasson Alessandro Raho Dan Fischer Gerhard Richter Tom Friedman Aaron Romine Ellen Gallagher Ed Ruscha Tim Gardner Cindy Sherman Franz Gertsch James Siena Ewan Gibbs Ken Solomon Robert Gober Thomas Struth Andreas Gursky Tomoaki Suzuki Damien Hirst Yuken Teruya Jim Hodges Fred Tomaselli Naoto Kawahara Jim Torok Ellsworth Kelly Mark Wagner Cary Kwok Rachel Whiteread Robert Lazzarini Fred Wilson Graham Little Steve Wolfe Christian Marclay Lisa Yuskavage Whether it is through conceptual or technical precision, the deceptively lifelik e nature of a hand-crafted image, a playful interpretation or distortion of a familiar object or the detailed appropriation of another artist's work, an acute focus on the minute connects these works and these artists’ approaches. These artists demonstrate a labor-intensive and exacting artistic passion in their respective processes. As Chuck Close fittingly reflects with respect to his own work, "I am going for a level of perfection that is only mine...Most of the pleas ure is in getting the last little piece perfect." Chuck Close (b. 1940, Monroe, WA) received his B.A. from the University of Washington, Seattle before studying at Yale University School of Art and Architecture (B.F.A., 1963; M.F.A. -
Gay and Lesbian Issues and Psychology Review
Gay and Lesbian Issues and Psychology Review Editor Damien W. Riggs The Australian Psychological Society Ltd. ISSN 1833-4512 Gay and Lesbian Issues and Psychology Review Editor Damien W. Riggs, The University of Adelaide Editorial Board Graeme Kane, Eastern Drug and Alcohol Service Gordon A. Walker, Monash University Jim Malcom, The University of Western Sydney Ela Jodko, Private practice Jane Edwards, Spencer Gulf Rural Health School Robert Morris, Private practice Warrick Arblaster, Mental Health Policy Unit, ACT Brett Toelle, The University of Sydney Murray Drummond, The University of South Australia Elizabeth Short, The University of Melbourne General Information All submissions or enquires should be directed in the first instance to the Editor. Guidelines for submissions or for advertising within the Gay and Lesbian Issues in Psychology Review (‘the Review’) are provided on the final page of each issue. http://www.psychology.org.au/units/interest_groups/gay_lesbian/publications.asp The Review is listed on Ulrich’s Periodicals Directory: http://www.ulrichsweb.com/ Aims and scope The Review is a peer-reviewed publication that is available online through the Australian Psychological Society website. Its remit is to encourage research that challenges the stereotypes and assumptions of pathology that have often inhered to research on lesbians and gay men (amongst others). The aim of the Review is thus to facilitate discussion over the direction of lesbian and gay psychology in Australia, and to provide a forum within which academics, practitioners and lay people may publish. The Review is open to a broad range of material, and especially welcomes research, commentary and reviews that critically evaluate the status quo in regards to lesbian and gay issues.