Program Eighty-Ninth Annual Meeting Midwestern
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Society for Ethnomusicology 58Th Annual Meeting Abstracts
Society for Ethnomusicology 58th Annual Meeting Abstracts Sounding Against Nuclear Power in Post-Tsunami Japan examine the musical and cultural features that mark their music as both Marie Abe, Boston University distinctively Jewish and distinctively American. I relate this relatively new development in Jewish liturgical music to women’s entry into the cantorate, In April 2011-one month after the devastating M9.0 earthquake, tsunami, and and I argue that the opening of this clergy position and the explosion of new subsequent crises at the Fukushima nuclear power plant in northeast Japan, music for the female voice represent the choice of American Jews to engage an antinuclear demonstration took over the streets of Tokyo. The crowd was fully with their dual civic and religious identity. unprecedented in its size and diversity; its 15 000 participants-a number unseen since 1968-ranged from mothers concerned with radiation risks on Walking to Tsuglagkhang: Exploring the Function of a Tibetan their children's health to environmentalists and unemployed youths. Leading Soundscape in Northern India the protest was the raucous sound of chindon-ya, a Japanese practice of Danielle Adomaitis, independent scholar musical advertisement. Dating back to the late 1800s, chindon-ya are musical troupes that publicize an employer's business by marching through the From the main square in McLeod Ganj (upper Dharamsala, H.P., India), streets. How did this erstwhile commercial practice become a sonic marker of Temple Road leads to one main attraction: Tsuglagkhang, the home the 14th a mass social movement in spring 2011? When the public display of merriment Dalai Lama. -
1 TWITTER's IMPACT on SPORTS MEDIA RELATIONS Chris
1 TWITTER‘S IMPACT ON SPORTS MEDIA RELATIONS Chris Gibbs Submitted to the faculty of Stirling University in partial fulfillment of the requirements for the degree Doctor of Philosophy In the School of Communications, Media and Culture May 2013 2 ABSTRACT TWITTERS IMPACT ON SPORTS MEDIA RELATIONS The introduction of Social Media (SM) into sports communications in professional leagues is disrupting the traditional methods of sports media relations. In the past, teams used websites to post information for fans, but it was strictly a one-way format of communication whereby a story was posted for fans to read. To fully engage with this new communication channel, the sports communications departments in professional leagues have begun to use SM to communicate directly with fans through platforms like Twitter and Facebook. Currently, SM like Twitter allows the team communication departments to communicate directly with fans in an interactive two-way format that is not mediated by a reporter or someone from a traditional media outlet. In addition, the open format of SM means that media relations staff are no longer the only intermediary between the media and the players; through the use of SM like Twitter, a professional athlete can now communicate directly to fans without gatekeepers like the media or the sports communications department of the team. This thesis will explore how SM has changed media relations from several different perspectives. The first perspective is related to the risks that are associated with the use of SM by professional athletes: without an intermediary or a filter for athlete-fan communication, many athletes have caused irreparable damage to their reputation and the reputation of their team. -
Film-As-Concert Music and the Formal Implications of ‘Cinematic Listening’
DOI: 10.1111/musa.12107 FRANK LEHMAN FILM-AS-CONCERT MUSIC AND THE FORMAL IMPLICATIONS OF ‘CINEMATIC LISTENING’ Hearing the Inaudible Film music, we are told, should be unseen and unheard. The effacement of non-diegetic underscore has, with a few exceptions, been working practice in mainstream filmmaking since the beginning of the sound era. Following Claudia Gorbman (1987, pp. 76–9), many film musicologists have come to regard ‘inaudibility’ as not only practically exigent but theoretically obligatory, the natural condition of music within well-behaved narrative multimedia. In actuality, the notion that underscore must scrub away all traces of its presence in order to function optimally is contestable (Smith 1996). Contrary practices like musical foregrounding and stylistic incongruence are simply too common to count as mere rule-proving exceptions. Nevertheless, it is not my aim here to dismantle film music’s putative prime directive – at least not directly. Instead, I will approach the topic sideways, through a mode of experiencing this repertoire from without, rather than within, the proverbial darkened theatre. A central question motivates this study: what does it mean for film underscore – subordinated, contingent and ‘unheard’ – to be plucked from its intended context and placed at the forefront of listener attention? Such recontextualisation is by no means an uncommon phenomenon. Film music, as a commodity and object of appreciation, has always been a means of encouraging engagement with a movie beyond the initial viewing experience. The list of extra- filmic musical traces is extensive and includes artefacts (sheet music, soundtrack albums), activities (performances, covers, remixes), venues (concert halls, recitals, theme parks) and discursive communities (Internet forums, enthusiast magazines, scholarship).1 Collectively, these forces can extend the afterlife of a soundtrack to an astonishing degree, and doubtless they have played a hand in the outsized influence of certain scores over and above their effectiveness within their original context. -
'What Is the Cause of Thunder?'
‘What is the cause of thunder?’ A Study of the Storm in King Lear by Jennifer Mae Hamilton A thesis submitted for the degree of Doctor of Philosophy School of Arts and Media Faculty of Arts and Social Sciences University of New South Wales 5 October 2012 ii Abstract This thesis offers a new interpretation of the storm in King Lear. The overarching argument is that when the storm’s material presence in the drama and its cosmological implications are given due consideration, both the play’s critical and performance history and the text itself are meaningfully complicated. From this perspective, this thesis unearths an important historical shift in interpretation: in 1606, the storm was a radical meteorological event that broke with conventional representations of the weather and challenged the perceived relations between the heavens and the earth. By means of a complex confluence of historical forces, it is now considered a symbolic adjunct to an entirely human conflict. Through a review of the play’s critical and theatrical history alongside a close reading of the text, this thesis approaches King Lear from a transhistorical perspective in order to investigate the marked change in the significance of the storm and reanimate its material function in the drama for today. Part One maps changes in the meaning and representation of the storm between 1606 and 2012 with regard to the cultural and cosmological significance of the weather, as well as artistic tastes and practices, in order to assess changes to the representation and interpretation of the storm on stage. Drawing on the notion that the storm is a structurally integral meteorological event, Part Two offers a reading of the storm’s material role in both the eponymous character’s journey and in the overall drama. -
Dj Spooky Is Articulate, Articulates
DJ SPOOKY IS ARTICULATE, OR IS IT BETTER TO SAY THAT HE ARTICULATES'? HE EXPRESSES HIMSELF WITH HIS MIXES AND WRITTEN THE PROCESS, WORKS; IN a COMMON SENSE CHARACTERIZING OF GIDDY CONFUSION AND EXCITEMENT WITH THE CONDITIONS OF CONTEMPORARY LIFE, WHILE DISPLAYING AN INFORMED, HISTORICALLY LOCATED, SENSE OF PLACE AKin ...^p ALSO: OLIVIA TREMOR CONTROL, |Hfc UULUHIHlb,30 SECOND MOTION PICTURE, SPEEDBUGGY, THE ELECTROSONICS, KANEVA AND SPACEKID. PLUS: SAVE THE CBCI .O \, 1176 GRANVILLE ST, G08-GATK APRIL 1997 ISSUE *171 APRIL CALENDAR FRI. 4th SAT. 5X1-1 BRICKHOUSE FEATURES WITH GUESTS BALL II THE ATROCITY EXHIBITION SAVE THE CBC 7 ONS SCANTY WEAR FASHION SHOW/ FRI. nth THE SADDLESORES 30 SECOND MOTION PICTURE 10 VANCOUVER POLK KIOSKS. TAROT. PERFORMERS OIIVIA TREMOR CONTROL 13 MUSIC FESTIVAL ^m^m^m^m^m^m^m^m^m^tm PRESENTS FROM ELEOROSONICS/SPACEKID/KANEVA/SPEEDBUGGY 14 SATr I2t SALNN FRANCISCFRANCISCOO I rSEL DJ SPOOKY 16 ELE MUSIC WASTE DBLE CO RE LI * i___fi2 ZOLTY CRACKEI THE COLORIFICS 20 ETS: -nCktfMASTER. If I W SMAK MHiHV#t, 11/ HOMECOMING SHOW BLACK SWAM I W I ' :'•' . I- *P—mmmml Columns FRI, iQth COWSHEAD CHRONICLES NOISE _ SATtJ9th VANCOUVER SPECIAL THERAPY | COLORIFICS DIARY of JONNIE LOAF BOY WITH QUEAZY 4fe INTERVIEW HELL GUESTS SUBCULT. GASIVI editrix BASSLINES 19 miko hoHman SA^, 2*9th PRINTED MATTERS 19 ort director •ea«(_©i_«*£K c«-c«_i<_ fcgo^ai kenny paul SEVEN INCH 21 FROM SAN FRANCISCO ad rep BETWEEN THE LINES 21 FRI, 25th kevin pendergraft TEMPEST UNDER REVIEW 22 production manager 24 MUSCLE barb yamazakf REAL LIVE ACTION BITCHE CHARTS 27 graphic design/layout WITH | STONY PLAIN RECORDING ARTISTS tania alekson, atomos, erin ON THE DIAL 29 hodge, ken paul, GUESTS. -
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The Sheremetevs and the Argunovs: Art, Serfdom, and Enlightenment in Eighteenth- Century Russia Alexandra Helprin Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Alexandra Helprin All rights reserved ABSTRACT The Sheremetevs and the Argunovs: Art, Serfdom, and Enlightenment in Eighteenth- Century Russia Alexandra Helprin This dissertation studies a case of Enlightenment art created in feudal conditions of servitude. The Sheremetevs, one of the richest and most powerful families in eighteenth-century Russia, had some of their hundreds of thousands of serfs trained as painters, architects, opera singers, and musicians. Two of these serfs, Ivan and Nikolai Argunov, became successful portraitists who painted a range of sitters from Empresses to fellow serfs. Tensions between social rank and individuality, already a preoccupation for eighteenth-century portrait painters, became particularly pronounced in this situation. While recent scholarship has focused on the Argunovs' cosmopolitan influences, their paintings of fellow serfs and others of low rank are sometimes visually and iconographically distinct from their usual output. This category of portrait, this dissertation argues, should be considered within the context of the other artistic projects of the Sheremetev household. Despite strong Western European influences on the Argunovs, the painters were also exposed to extremely personal and local precedents. These include earlier portraits, garden prints, an atlas project, the Sheremetevs' many collections, and operas staged by the family's renowned serf theater. Working within this visual environment, Ivan and Nikolai Argunov painted their subjects in intricately allusive ways. Their portraits represented and negotiated the complications of serfdom in a setting where unusual social change was possible. -
Fowles /Irving /Barthes
FOWLES /IRVING /BARTHES Miami University, through an arrangement with the Ohio State University Press initiated in 1975, publishes works of original scholarship, fiction, and poetry. The responsibility for receiving and reviewing manuscripts is invested in an Editorial Board comprised of Miami University faculty. FOWLES / IRVING / BARTHES Canonical Variations on an Apocryphal Theme RANDOLPH RUNYON Published for Miami University by the Ohio State University Press Quotations from Daniel Martin, by John Fowles, are copyright ® 1977 by J. R. Fowles Ltd., and are reprinted by permission of Little, Brown &Co. Quotations from The Ebony Tower, by John Fowles, are copyright ® 1974 by J. R. Fowles Ltd., and are reprinted by permission of Little, Brown & Co. Quotations from The World According to Garp, by John Irving, are copyright ® 1976, 1977, 1978 by John Irving, and reprinted by per mission of the publisher, E. P. Dutton, and Literistic, Ltd. Quotations from The Water-Method Man, by John Irving, are copyright ® 1972 by John Irving, and are reprinted by permission of Random House, Inc. Quotations from Roland Barthes's A Lover's Discourse: Fragments (Fragments d'un discours amoureux), translated by Richard Howard, are copyright ® 1978 by Farrar, Straus & Giroux, Inc., and are reprinted by permission of the publisher. Quotations from Roland Barthes's Roland Barthes by Roland Barthes (Roland Barthes par Roland Barthes), translated by Richard Howard, are copyright ® 1977 by Farrar, Straus & Giroux, Inc., and are reprinted by permission of the publisher. Quotations from Roland Barthes's The Pleasure of the Text, translated by Richard Miller, are copyright ® 1975 by Farrar, Straus & Giroux, Inc., and are reprinted by permission of the publisher. -
The Scale and Impact of Industrial Espionage and Theft of Trade Secrets Through Cyber
The scale and impact of industrial espionage and theft of trade secrets through cyber Written by PricewaterhouseCoopers December – 2018 The scale and impact of industrial espionage and theft of trade secrets through cyber EUROPEAN COMMISSION Directorate-General for Internal Market, Industry, Entrepreneurship and SMEs Directorate F — Innovation and Advanced Manufacturing Unit GROW-F.5 — Intellectual property and Fight against Counterfeiting Contact: Jorge NOVAIS GONCALVES E-mail: [email protected] European Commission B-1049 Brussels 2 The scale and impact of industrial espionage and theft of trade secrets through cyber Europe Direct is a service to help you find answers to your questions about the European Union. Freephone number (*): 00 800 6 7 8 9 10 11 (*) The information given is free, as are most calls (though some operators, phone boxes or hotels may charge you). LEGAL NOTICE This document has been prepared for the European Commission however it reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. More information on the European Union is available on the Internet (http://www.europa.eu). Luxembourg: Publications Office of the European Union, 2018 ISBN 978-92-79-77355-6 doi: 10.2873/48055 © European Union, 2018 Reproduction is authorised provided the source is acknowledged. Printed in Belgium Image(s) © artist's name + image #, Year. Source: Fotolia.com (unless otherwise specified) 4 The scale and impact of industrial espionage and theft of trade secrets through cyber Table of contents 1. EXECUTIVE SUMMARY ........................................................................................ 7 2. INTRODUCTION AND SCOPE OF THE STUDY ..................................................... -
FOCUS GROUPS with MOMS by MAIKO NAKAI a THESIS Presented to the School Of
USING SOCIAL MEDIA TO ADDRESS PREVENTABLE CRISES: FOCUS GROUPS WITH MOMS by MAIKO NAKAI A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts September 2012 THESIS APPROVAL PAGE Student: Maiko Nakai Title: Using Social Media to Address Preventable Crises: Focus Groups with Moms This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Journalism and Communication by: Tiffany Derville Gallicano Chairperson Pat Curtin Member Harsha Gangadharbatla Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2012 ii © 2012 Maiko Nakai iii THESIS ABSTRACT Maiko Nakai Master of Arts School of Journalism and Communication September 2012 Title: Using Social Media to Address Preventable Crises: Focus Groups with Moms This study examines how an organization can use social media to solve preventable crises. Focus groups with a total of 14 moms are conducted to discuss a controversial Motrin babywearing advertisement and how Johnson & Johnson should have responded to the social media backlash. The results are explored based on dialogic public relations theory and its five components. Additional insights regarding the use of different social media channels and culture jamming YouTube videos suggest theoretical and practical implications on organizational responses on social media during preventable crises. The study also explores how people with high- and low-context cultures might respond differently to offensive advertising. -
Appendix: Glossary
Appendix: Glossary This glossary defines such relevant concepts that are drawn from law (whether or not they were treated in the chapters of this book), or from computing (especially artificial intelligence), or argumentation, provided that they were mentioned in some relevant chapter. Tools are defined, if they had been mentioned or discussed in the book. So are abstract concepts, but not names of persons. Importantly, with a few exceptions (in biometrics and concerning facial com- posites), this glossary does not cover forensic science or engineering, or forensic psychology or medicine. Much nomenclature had been introduced in the chapters about data mining or the forensic disciplines. Here and there, some passage in the glossary has appeared in sections in Nissan (2008a). This is the case of entries con- cerning: character evidence, logic and law, the doctrine of chances, mens rea, and hearsay. There was little point to try and replicate, here, definitions for concepts from forensic science that can be found in Brenner’s Forensic Science Glossary (2000). Even in such areas that were covered, there is no claim of completeness in this glossary. Sometimes a concept was developed more, simply because the present author was so inclined. It is hoped at any rate that this glossary will prove helpful, supplementing or presenting in a different manner such material that was expounded in the chapters of this book. There being a detailed Subject Index is intended to much facilitate access. Abductive inference A mode of inference, theorised by Charles Peirce. It departs from deductive inference. See Section 2.2.1.6 above. -
Breaking Intergenerational Cycles of Repetition. a Global Dialogue On
www.ssoar.info Breaking Intergenerational Cycles of Repetition: A Global Dialogue on Historical Trauma and Memory Gobodo-Madikizela, Pumla (Ed.) Veröffentlichungsversion / Published Version Konferenzband / conference proceedings Empfohlene Zitierung / Suggested Citation: Gobodo-Madikizela, P. (Ed.). (2016). Breaking Intergenerational Cycles of Repetition: A Global Dialogue on Historical Trauma and Memory. Opladen: Verlag Barbara Budrich. https://doi.org/10.3224/84740613 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-SA Lizenz (Namensnennung- This document is made available under a CC BY-SA Licence Weitergabe unter gleichen Bedingungen) zur Verfügung gestellt. (Attribution-ShareAlike). For more Information see: Nähere Auskünfte zu den CC-Lizenzen finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.de Diese Version ist zitierbar unter / This version is citable under: https://nbn-resolving.org/urn:nbn:de:0168-ssoar-65676-1 Breaking Intergenerational Cycles of Repetition Pumla Gobodo-Madikizela (ed.) Breaking Intergenerational Cycles of Repetition A Global Dialogue on Historical Trauma and Memory Barbara Budrich Publishers Opladen • Berlin • Toronto 2016 An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8474-0240-4. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org © 2016 This work is licensed under the Creative Commons Attribution-ShareAlike 4.0. (CC- BY-SA 4.0) It permits use, duplication, adaptation, distribution and reproduction in any medium or format, as long as you share under the same license, give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. -
Dams of Sale Horses Dams of Sale Horses
Auctions Digest 2008 PRESENTED BY Dams of Sale Horses Dams of Sale Horses he following section lists the dams of all weanlings, yearlings, and 2-year- olds sold at most North American public auctions plus major sales in TEngland, Ireland, France, Germany, Japan, Australia, and New Zealand in 2008. Horses that did not bring their reserve prices (RNAs) are not included. The dams are listed alphabetically, followed by the type of offspring sold (weanling, yearling, or 2-year-old) and the offspring’s sire. If a mare had more than one offspring sell in 2008 then each is listed. Prices, buyers, hip numbers, and other information on a particular offspring can be found listed alphabeti- cally by the sire’s name in Dec. 27 Blood-Horse Auctions Digest. Production A J'S HONEY, yrlg by Thunder Gulch ALICE LADY LUCK, yrlg by The ALL THE MOVES (SPR), yrlg by ALWAYS SUNNY, yrlg by Ciano Cat It's True Dams AFFAIR WITH MOLLY, wnlg by AKHIRA (GB) (SPR), yrlg by Tobougg Trader's Echo Speightstown ALWAYS TWINING, yrlg by Wildcat AMERICAN MISS, wnlg by Sky Mesa Limehouse (IRE) ALICE WHITE, yrlg by Forest Camp ALL THE VEES (SPR), yrlg by Heir AMERICAN PASHA, yrlg by Full AARON AVENUE, Score AFFECTATION, yrlg by Hennessy A KISS A DANCE, yrlg by Matty G ALICIA (IRE), yrlg by Encosta de Lago Yonaguska ALWAYS WAITING, yrlg by Frisk Me Mandate AATUSH, yrlg by Mobil ACQUILATA (SPR), yrlg by Act One AFFIRMATIVE CHOICE (SPR), wnlg by AKUNA BAY (SPR), yrlg by (AUS) ALL THINGS (SPR), yrlg by Cuvee Now AMERICAN PROFILE, 2yo by Thunder ABBERY, yrlg by Megas Vukefalos (GB)