Sia - Elastic Heart Feat

Total Page:16

File Type:pdf, Size:1020Kb

Sia - Elastic Heart Feat antyteksty.com - teksty, które coś znaczą Dominika Bona Sia - Elastic Heart feat. Shia LaBeouf & Maddie Ziegler Sia - Elastic Heart feat. Shia LaBeouf & Maddie Ziegler „Elastic Heart” to utwór nagrany na potrzeby filmu „Igrzyska Śmierci: W pierścieniu ognia”. Teledysk przedstawia zamkniętą w klatce parę, która poprzez taniec stara się wyrazić swoje uczucia związane z rozstaniem. W role bohaterów wcielili sie 28-letni aktor Shia LaBeouf oraz 12-letnia tancerka Maddie Ziegler znana z klipu do „Chandelier”. Sia Kate Isobelle Furler, znana pod pseudonimem Sia, swoją karierę rozpoczęła śpiewając w zespole Crisp, z którym nagrała album “Only See”. Przed 2000 przeprowadziła się do Anglii, gdzie podpisała kontrakt z Dance Pool (sub-label Sony Music). W tym samym roku rozpoczęła karierę solową, wyda- jąc płytę „Healing Is Difficult”. Utwór „Taken For Granted”, zamieszczony w tym samym albumie,- znalazł się w pierwszej dziesiątce na liście angielskich przebojów. W 2004 podpisała kontrakt z Go!Beat Records. Wtedy też nagrała album „Colour the Small One”. Tekst piosenki Sia — Elastic Heart feat. Shia LaBe- Tłumaczenie Sia — Elastic Heart feat. Shia LaBe- ouf & Maddie Ziegler ouf & Maddie Ziegler And another one bites the dust I kolejna osoba gryzie ziemię Oh, why can I not conquer love Dlaczego nie mogę przezwyciężyć miłości And I might have thought that we were one A mogłam pomyśleć, że byliśmy jednością Wanted to fight this war without weapons Chciałam walczyć w tej wojnie bez broni And I wanted it, I wanted it bad Pragnęłam tego, bardzo chciałam But there were so many red flags Jednak było tak wiele czerwonych flag Now another one bites the dust Teraz kolejna osoba gryzie ziemię Yeah, let’s be clear, I’ll trust no one Tak, bądźmy szczerzy, nie zaufam nikomu You did not break me Nie złamałeś mnie I’m still fighting for peace Nadal walczę o spokój Well, I’ve got thick skin and an elastic heart Jestem gruboskórna i mam elastyczne serce But your blade it might be too sharp Ale twoje ostrze może być zbyt ostre I’m like a rubber band Jestem jak gumka recepturka Until you pull too hard Dopóki nie pociągniesz zbyt mocno Yeah, I may snap and I move fast Mogę pęknąć i poruszać się szybko But you won’t see me fall apart Ale nie zobaczysz, jak rozpadam się na kawałki ’Cause I’ve got an elastic heart Bo mam elastyczne serce I’ve got an elastic heart Mam elastyczne serce Yeah, I’ve got an elastic heart Mam elastyczne serce And I will stay up through the night I nie położę się spać w nocy Yeah, let’s be clear, won’t close my eyes Bądźmy szczerzy, nie zamknę oczu And I know that I can survive I wiem, że mogę przetrwać I’ll walk through fire to save my life Przejdę przez ogień, aby ocalić swoje życie And I want it, I want my life so bad Pragnę tego, tak bardzo chcę żyć I’m doing everything I can Robię wszystko, co mogę Then another one bites the dust Później kolejna osoba gryzie ziemię It’s hard to lose a chosen one Ciężko jest stracić tego wybranego You did not break me Nie złamałeś mnie I’m still fighting for peace Nadal walczę o spokój Well, I’ve got thick skin and an elastic heart Jestem gruboskórna i mam elastyczne serce But your blade it might be too sharp Ale twoje ostrze może być zbyt ostre I’m like a rubber band Jestem jak gumka recepturka 1 / 6 antyteksty.com - teksty, które coś znaczą Dominika Bona Sia - Elastic Heart feat. Shia LaBeouf & Maddie Ziegler Until you pull too hard Dopóki nie pociągniesz zbyt mocno Yeah, I may snap and I move fast Mogę pęknąć i poruszać się szybko But you won’t see me fall apart Ale nie zobaczysz, jak rozpadam się na kawałki ’Cause I’ve got an elastic heart Bo mam elastyczne serce Oh, oh-oh-oh-oh-oh-oh-oh, oh-oh-oh Oh, oh-oh-oh-oh-oh-oh-oh, oh-oh-oh Oh, oh-oh-oh-oh-oh-oh-oh, oh-oh-oh Oh, oh-oh-oh-oh-oh-oh-oh, oh-oh-oh Well, I’ve got thick skin and an elastic heart Jestem gruboskórna i mam elastyczne serce But your blade it might be too sharp Ale twoje ostrze może być zbyt ostre I’m like a rubber band Jestem jak gumka recepturka Until you pull too hard Dopóki nie pociągniesz zbyt mocno Yeah, I may snap and I move fast Mogę pęknąć i poruszać się szybko But you won’t see me fall apart Ale nie zobaczysz, jak rozpadam się na kawałki ’Cause I’ve got an elastic heart Bo mam elastyczne serce Well, I’ve got thick skin and an elastic heart Jestem gruboskórna i mam elastyczne serce But your blade it might be too sharp Ale twoje ostrze może być zbyt ostre I’m like a rubber band Jestem jak gumka recepturka Until you pull too hard Dopóki nie pociągniesz zbyt mocno Yeah, I may snap and I move fast Mogę pęknąć i poruszać się szybko But you won’t see me fall apart Ale nie zobaczysz, jak rozpadam się na kawałki ’Cause I’ve got an elastic heart Bo mam elastyczne serce I’ve got an elastic heart Mam elastyczne serce Gramatyka Might Might vs May Zamiennie do czasownika modalnego might, możemy użyć may. Zwykle używamy might gdy coś jest mniej prawdopodobne, zaś may, kiedy coś jest bardziej prawdopodobne. And I might have thought that we were one A mogłam pomyśleć, że byliśmy jednością Czasownika modalnego might używamy, by powiedzieć, że coś jest możliwe. Przykład: She might be right. = Ona może mieć rację. Might stosujemy również do wyrażenia możliwych zdarzeń lub czynności w przyszłości. 2 / 6 antyteksty.com - teksty, które coś znaczą Dominika Bona Sia - Elastic Heart feat. Shia LaBeouf & Maddie Ziegler Przykład zdania: I don’t know yet what to do tonight. I might go to the theatre. = Nie wiem, co dziś robić. Może pójdę do teatru. Odpowiednikiem przeszłym might jest might have (done). Przykład: The homework might have been too difficult for them. = Zadanie domowe mogło być dla nich za- trudne. Zwroty & Wyrażenia Bite the dust And another one bites the dust I kolejna osoba gryzie ziemię To bite the dust = = gryźć ziemię (zostać pokonanym, zostać zabitym), np.: Tom bites the dust. = Tomek gryzie ziemię. = wziąć w łeb (np. plan), np.: The whole plan will bite the dust! = Cały plan weźmie w łeb! Conquer Unconquerable vocabulary conqueror = zwycięzca, zdobywca unconquerable = niepokonany (np. bohater), niezdobyty (np. zamek), nieposkromiony (o woli) to divide and conquer = dzielić i rządzić conquerable = dający się podbić, do zdobycia to conquer the market = podbić rynek Love conquers all. = Miłość wszystko zwycięża. Oh, why can I not conquer love Dlaczego nie mogę przezwyciężyć miłości To conquer = podbijać, pokonywać. Przykład: I’m not here because I want to conquer the world. = Nie jestem tu, bo chcę podbijać świat. Red flag But there were so many red flags Jednak było tak wiele czerwonych flag Czerwona flaga stanowi ostrzeżenie. Często możemy je znaleźć nad morzem, nad zalewem, jezio- 3 / 6 antyteksty.com - teksty, które coś znaczą Dominika Bona Sia - Elastic Heart feat. Shia LaBeouf & Maddie Ziegler rem, itd. Oznacza wtedy zakaz kąpieli, zwykle z powodu skażenia wody. Red flag = czerwona flaga (chorągiew) ostrzegawcza. Przykład: Two red flags means the bathing is forbidden here. = Dwie czerwone flagi oznaczają, że nie wolno tu się kąpać. Clear Clear & company as clear as day = oczywiste, jasne jak słońce as clear as mud = niejasny, nieprzejrzysty, zagmatwany, mętny to keep a clear head = utrzymać trzeźwe myślenie with a clear conscience = z czystym sumieniem to clear the air = oczyścić atmosferę, wyjaśnić sytuację to clear the decks = przygotować grunt (pod coś), przygotować się do akcji to give somebody the all clear = dać komuś zielone światło Yeah, let’s be clear, I’ll trust no one Tak, bądźmy szczerzy, nie zaufam nikomu Przymiotnik clear ma wiele znaczeń = = przezroczysty, przejrzysty, np.: The water in the lake was very clear. = Woda w jeziorze była bar- dzo przejrzysta. = wyraźny, ostry, klarowny, np.: This new monitor has a very clear picture. = Ten nowy monitor ma bardzo wyraźny obraz. = oczywisty, jasny, klarowny, np.: Did I make myself clear? = Czy wyraziłem się jasno? = pewny, zrozumiały, przekonany, np.: Is it clear? = Czy to jest zrozumiałe? = czysty (o niebie), np.: Look! The sky is so clear. = Patrz! Niebo jest takie czyste. = wyrazisty, czysty (np. dźwięk), np.: Her voice on the phone was really clear. = Jej głos przez tele- fon był naprawdę czysty. = wolny, niezaplanowany (np. dzień, okres czasu), np.: I’ve got two clear days this week. = Mam dwa wolne dni w tym tygodniu. Have a thick skin Well, I’ve got thick skin and an elastic heart Jestem gruboskórna i mam elastyczne serce To have a thick skin = być gruboskórnym; mieć grubą skórę (nie przejmować się krytyką). 4 / 6 antyteksty.com - teksty, które coś znaczą Dominika Bona Sia - Elastic Heart feat. Shia LaBeouf & Maddie Ziegler Przykład: You’ve got to have a thick skin to be in our team. = Musisz być gruboskórny, aby być w naszej druży- nie. Blade But your blade it might be too sharp Ale twoje ostrze może być zbyt ostre Blade = = ostrze, np.: The knife was black with a silver blade. = Nóż był czarny ze srebrnym ostrzem. = klinga, brzeszczot, np.: He is working on creating the blades. = Pracuje nad tworzeniem kling. = skrzydło (wiatraka), np.: The blade of the windmill is 8 metres long. = Skrzydło wiatraka ma 8 metrów. = pióro (wiosła lub wycieraczki samochodowej), np.: The blade to this oar costs 5$. = Pióro do tego wiosła kosztuje 5 dolarów.
Recommended publications
  • 'Slut I Hate You': a Critical Discourse Analysis of Gendered Conflict On
    1 ‘Slut I hate you’: A Critical Discourse Analysis of gendered conflict on YouTube Sagredos Christos, Nikolova Evelin Abstract Research on gendered conflict, including language aggression against women has tended to focus on the analysis of discourses that sustain violence against women, disregarding counter-discourses on this phenomenon. Adopting a Critical Discourse Analysis perspective, this paper draws on the Discourse Historical Approach to examine the linguistic and discursive strategies involved in the online conflict that emerges from the polarisation of discourses on violence against women. An analysis of 2,304 consecutive YouTube comments posted in response to the sexist Greek song Καριόλα σε μισώ ‘Slut I hate you’ revealed that conflict revolves around five main topics: (a) gendered aggression, (b) the song, (c) the singer, (d) other users’ reactions to the song and (e) contemporary socio-political concerns. Findings also suggest that commenters favouring patriarchal gender ideologies differ in the lexicogrammatical choices and discursive strategies they employ from those who challenge them. Keywords: violence against women, language aggression, conflicting discourses, conflict on YouTube 2 1. Introduction The proliferation of online public spaces through social media can among others be seen as some kind of opening the “access to prestigious discourse types” and, therefore, as offering a greater or lesser potential for “democratisation of public discourse” (Fairclough 1992, 201). However, there is little consensus about the democratic potential afforded by such new technologies. While some focus on the plurality of voices that are allowed to be heard and the diverse identities that may gain visibility, others highlight that anonymity in digitally mediated communication may foster a feeling of unaccountability, thus reinforcing online incivility and polarisation of ideas (Garcés-Conejos Blitvich 2010; Papacharissi 2009; van Zoonen et al.
    [Show full text]
  • Analýza Nejposlouchanějších Skladeb Na Serveru Youtube.Com
    Masarykova univerzita Pedagogická fakulta ANALÝZA NEJPOSLOUCHANĚJŠÍCH SKLADEB NA SERVERU YOUTUBE.COM Bakalářská práce Brno 2017 Autor: Vedoucí bakalářské práce: Jakub Šindelka doc. PhDr. Marek Sedláček, Ph.D. Anotace Název práce: Analýza nejposlouchanějších skladeb na serveru YouTube.com Title: The analysis of the most listened compositions on YouTube.com Tato práce se zabývá analýzou devatenácti nejposlouchanějších hudebních skladeb na serveru YouTube.com, které byly uploadovány v roce 2014 a později. Seznam je aktuální k datu 1. 7. 2016, práce se tedy zabývá skladbami, které byly nejpopulárnější na serveru YouTube od začátku roku 2014 do poloviny roku 2016. U skladeb je zkoumán jejich žánr, délka, tempo, harmonie, struktura a další charakteristiky, práce se zabývá rovněž interprety těchto skladeb a jejich životem, tvorbou a uměleckou kariérou. Závěrečná část práce je věnována vyhodnocení toho, jaké znaky jsou u skladeb nejčastější a nejtypičtější. Okrajově se práce zabývá rovněž historií a principem fungování serveru YouTube. This thesis is focused on the analysis of the nineteen most listened music compositions on YouTube.com, which were uploaded in 2014 or later. The list is relevant to 1. 7. 2016, therefore the point of interest of the thesis are composions, which were the most popular in the period since the beginning of 2014 to the half of 2016. The aspects of compositions which are analyzed are their genre, lenght, tempo, harmony, structure and other characteristics, thesis also tries to comprehend the life, artworks and carrier of interprets of the compositions. The goal of the final part of this thesis is to evaluate which characteristics of the compositions are the most frequent and the most typical ones.
    [Show full text]
  • Boys and Girls by Alice Munro
    Boys and Girls by Alice Munro My father was a fox farmer. That is, he raised silver foxes, in pens; and in the fall and early winter, when their fur was prime, he killed them and skinned them and sold their pelts to the Hudson's Bay Company or the Montreal Fur Traders. These companies supplied us with heroic calendars to hang, one on each side of the kitchen door. Against a background of cold blue sky and black pine forests and treacherous northern rivers, plumed adventures planted the flags of England and or of France; magnificent savages bent their backs to the portage. For several weeks before Christmas, my father worked after supper in the cellar of our house. The cellar was whitewashed, and lit by a hundred-watt bulb over the worktable. My brother Laird and I sat on the top step and watched. My father removed the pelt inside-out from the body of the fox, which looked surprisingly small, mean, and rat-like, deprived of its arrogant weight of fur. The naked, slippery bodies were collected in a sack and buried in the dump. One time the hired man, Henry Bailey, had taken a swipe at me with this sack, saying, "Christmas present!" My mother thought that was not funny. In fact she disliked the whole pelting operation--that was what the killing, skinning, and preparation of the furs was called – and wished it did not have to take place in the house. There was the smell. After the pelt had been stretched inside-out on a long board my father scraped away delicately, removing the little clotted webs of blood vessels, the bubbles of fat; the smell of blood and animal fat, with the strong primitive odour of the fox itself, penetrated all parts of the house.
    [Show full text]
  • New Ways of Being in the Fiction of Yoshimoto Banana
    SINGLE FRAME HEROICS: NEW WAYS OF BEING IN THE FICTION OF YOSHIMOTO BANANA Ph. D Thesis Martin Ramsay Swinburne University of Technology 2009 CONTENTS Legend............................................................................................................. 5 Disclaimer…………………………………………………………………... 6 Acknowledgements…………………………………………………………. 7 Abstract ….…………………………………………………………………. 8 Introduction: A Literature of ‘Self-Help’………………………………… 9 Yoshimoto’s postmodern style…...………………………………………….. 11 Early success and a sense of impasse………………………………………... 15 A trans-cultural writer……………………………………………………….. 17 Rescuing literature from irrelevance………………………………………… 21 Chapter One: Women and Gender Roles in Contemporary Japanese Society………………………………………………………………………. 27 An historical overview ………………………………………….…………... 27 Nation building and changing ‘ideals of femininity’………………………... 30 The rise of the Modan Ga-ru (Modern Girl)………………………………… 32 The Post-War Experience ……………………………………….………….. 37 The emergence of the ‘parasite single’……………………………………… 38 Women’s magazines and changing ‘ideals of femininity’…………………... 41 The Women’s Liberation movement……………………………….………... 44 Fear of the young: The politics of falling birth rates……..………………….. 47 Chapter Two: Yoshimoto Banana and Contemporary Japanese Literature…....…………………………………………………………….. 53 Japanese literature, women and modernity …………………………………. 54 The problem with popular culture …………………………….…………….. 62 2 Sh ôjo culture: the ‘baby-doll face of feminism’ in Japan……..……………. 70 A global literature and a shared
    [Show full text]
  • 'Titanium' | David Guetta (Feat. Sia)
    ‘Titanium’ David Guetta (feat. Sia) ‘Titanium’ | David Guetta (feat. Sia) ‘Titanium’ was a number one hit for French DJ and music producer David Guetta, featuring vocals from Australian singer Sia. Initially released digitally as one of four promotional singles for the album Nothing but the Beat in August 2011, the hit was o!cially released as the fourth single from the album in December of that same year. ‘Titanium’ was well received in many of the top music markets worldwide, achieving number 1s in four countries and top 10s in an incredible twenty "ve countries across the globe. #e single was met with positive reviews, with many claiming it to be the show stopper of the album thanks to Sia’s collaboration on lyrics and phenomenal vocal performance. Described as “epic and energising”, ‘Titanium’ was musically likened to the works of Coldplay and Sia’s vocal was compared to that of Fergie. Many reviewers raved about Sia’s delivery of the song’s hook, stating that ‘Titanium’ was by far the “most intriguing hook-up” of Guetta’s "$h studio album. #e single was certi"ed 3 x Platinum in the UK with sales just short of two million copies, and 2 x Platinum in the US with four million records sold. Guetta’s album Nothing But !e Beat topped the album charts in the DJ’s home nation of France, as well as Australia, Belgium, Germany, Spain and Switzerland. While some reviewers felt it was lacking somewhat in comparison to his earlier works, the album was well-received by many with tracks ‘Night of Your Life’ and ‘Titanium’ being highlighted as the strongest on the release.
    [Show full text]
  • Dalibor Davidović After the End of the World on Music
    Dalibor Davidović After the End of the World On Music in Hans Jürgen Syberberg's Café Zilm “Because I desire to reveal myself, to stop being too easy a riddle for you to solve.” (Gombrowicz 2012: 44) Entering the square from the southern side, I immediately found what I was looking for: a scaffold construction made of metal planks partially covered by plastic sheeting. Since I approached it laterally, I could see something like a marquee inside, like those which can be found on city squares during Christmas time. The front of the marquee was not visible. At the plastic sheeting there was a printed photograph of an old building, possibly from the nineteenth century, which had the inscription “Café Zilm” on the facade. The front door in the photograph had been replaced with a real wooden front door in front of which stood a chalkboard with the following inscription: “Today, on Friday October 13 from 4 PM on coffee and cake - homemade! - At 7 PM: Live! For and with Marlies Hamann (94) Songs for singing along. The Café Zilm is heated.” Inside the marquee there were some round tables with tableclothes made of white damask and small flower arrangements. The carpet, the chandelier and the elegant chairs gave an impression of a certain age. Next to the entrance there was a table with the different sorts of cakes, a coffee machine and the accessories. I introduced myself to the hosts and we sat at one of the tables. That evening the music which formed part of the programme was announced, and the programme itself was dedicated to Marlies Hamann, whose name I was until that moment unfamiliar with.
    [Show full text]
  • Punk Rock and the Socio-Politics of Place Dissertation Presented
    Building a Better Tomorrow: Punk Rock and the Socio-Politics of Place Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Jeffrey Samuel Debies-Carl Graduate Program in Sociology The Ohio State University 2009 Dissertation Committee: Townsand Price-Spratlen, Advisor J. Craig Jenkins Amy Shuman Jared Gardner Copyright by Jeffrey S. Debies-Carl 2009 Abstract Every social group must establish a unique place or set of places with which to facilitate and perpetuate its way of life and social organization. However, not all groups have an equal ability to do so. Rather, much of the physical environment is designed to facilitate the needs of the economy—the needs of exchange and capital accumulation— and is not as well suited to meet the needs of people who must live in it, nor for those whose needs are otherwise at odds with this dominant spatial order. Using punk subculture as a case study, this dissertation investigates how an unconventional and marginalized group strives to manage ‘place’ in order to maintain its survival and to facilitate its way of life despite being positioned in a relatively incompatible social and physical environment. To understand the importance of ‘place’—a physical location that is also attributed with meaning—the dissertation first explores the characteristics and concerns of punk subculture. Contrary to much previous research that focuses on music, style, and self-indulgence, what emerged from the data was that punk is most adequately described in terms of a general set of concerns and collective interests: individualism, community, egalitarianism, antiauthoritarianism, and a do-it-yourself ethic.
    [Show full text]
  • Place and Persona in the Essays of Joan Didion And
    CALIFORNIA DREAMING: PLACE AND PERSONA IN THE ESSAYS OF JOAN DIDION AND EVE BABITZ Claire Elizabeth Christoff Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of English, Indiana University December 2019 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee ______________________________ Robert Rebein, MFA, PhD, Chair ______________________________ Karen Kovacik, PhD ______________________________ Kyle Minor, MFA ii ACKNOWLEDGMENTS Firstly, thank you to Dr. Robert Rebein, without whom this project would not have been possible. I am grateful not just for your time, patience, and thoughtful honesty, but for teaching me, way back in the fall of 2015, about the boundless possibilities of creative nonfiction. Thanks to Dr. Karen Kovacik for the invaluable guidance, patience, editorial help, and psychic hand-holding—I will forever want to be you when I grow up. Last but not least, thanks to Kyle Minor for all the advice and all the crazy ideas. I am totally indebted to each of you for your mentorship and support over the years. Thank you also to Dan Wakefield for the stories, the pep talks, so many cups of coffee, and the idea for the title of this thesis. iii Claire Elizabeth Christoff CALIFORNIA DREAMING: PLACE AND PERSONA IN THE ESSAYS OF JOAN DIDION AND EVE BABITZ Joan Didion, a native of Sacramento, California, is the author of many acclaimed collections of journalism and memoir, the first of which were Slouching Towards Bethlehem (1968) and The White Album (1979).
    [Show full text]
  • Proquest Dissertations
    Library and Archives Bibliotheque et l+M Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-54229-3 Our file Notre reference ISBN: 978-0-494-54229-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis.
    [Show full text]
  • Radical Healing: Restoring Hope in Urban Youth Through Afterschool Programming
    Radical Healing: Restoring hope in urban youth through afterschool programming By MEGAN MUELLER B.S. (University of Minnesota) 2010 THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF SCIENCE in Community Development in the OFFICE OF GRADUATE STUDIES of the UNIVERSITY OF CALIFORNIA DAVIS Approved: hello hope Sheryl-Ann Simpson, Chair how are you Natalia Deeb-Sossa finances Shawn A. Ginwright Committee in Charge 2017 i ProQuest Number:10286063 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 10286063 Published by ProQuest LLC ( 2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 ABSTRACT This research explores the alignment between Positive Youth Development (PYD) and the Radical Healing Framework (RHF), using Project Voice, an afterschool program for high school girls, as a case study. The RHF (Ginwright, 2016) is a tool used in youth programs and community organizations to address individual and collective trauma due to the systemic oppression experienced in urban, precarious (Butler, 2009) communities of color. This research evaluates the impact programming elements like action projects, healing rituals, and critical consciousness development have on the well-being of Project Voice participants and explores the potential afterschool programs have at restoring and sustaining public health.
    [Show full text]
  • Pentecostal Music in the Public Square: the Christian Songs and Music of Juan Luis Guerra
    Te Asbury Journal 72/1: 60-77 © 2017 Asbury Teological Seminary DOI: 10.7252/Journal.01.2017S.05 Kelly J. Godoy de Danielson and Robert Danielson Pentecostal Music in the Public Square: The Christian Songs and Music of Juan Luis Guerra Abstract This article explores the issue of contextualization of music in Latin America, particularly through the lens of Pentecostal singer-songwriter Juan Luis Guerra and his story of healing and conversion. Instead of leaving the pop music scene that had made him famous, he chose instead to stay in pop music and introduce Pentecostal Christian songs into his secular albums and concerts. This is a continuation of a long history of creative contextualization by Pentecostal musicians in sharp contrast to mainline Protestants who still primarily rely on translations of English hymns and music in a world where music is an integral part of the culture. Keywords: music, Pentecostalism, Juan Luis Guerra, contextualization, Latin America Kelly J. Godoy de Danielson is a M.A. in Biblical Studies student at Asbury Theological Seminary. She is a native of El Salvador, where she grew up and worked as an English-as-a-Second-Language teacher in the public schools. Her father worked in radio, and so she developed an interest in Latin American popular music and its role in Hispanic culture. She continues to be interested in how language intersects with theology, both in biblical languages and in modern languages in today’s context. Robert Danielson is an affliate professor at Asbury Theological Seminary and is the Scholarly Communications Librarian for the Seminary.
    [Show full text]
  • The Care-Centered Economy Rediscovering What Has Been Taken for Granted
    ECONOMY + SOCIAL ISSUES VOLUME 16 The Care-Centered Economy VOLUME 16 The Care-Centered Economy Rediscovering what has been taken for granted An essay by Ina Praetorius THE CARE-CENTERED ECONOMY PUBLICATION SERIES ECONOMY + SOCIAL ISSUES VOLUME 16 The Care-Centered Economy Rediscovering what has been taken for granted An essay by Ina Praetorius Edited by the Heinrich Böll Foundation The author Ina Praetorius, Dr. theol., is a graduate in German literature and a Protestant theologian. She was a research fellow at the Institute for Social Ethics at the University of Zurich from 1983 to 1987. She obtained her doctorate in Heidelberg in 1992; her dissertation was entitled «Anthropology and the image of women in German-language theology.» A freelance writer and speaker, she has been living in Wattwil, Switzerland, with her family since 1987. www.inapraetorius.ch Published under the following Creative Commons License: http://creativecommons.org/licenses/by-nc-nd/3.0 . Attribution — You must attribute the work in the manner speci!ed by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Noncommercial — You may not use this work for commercial purposes. No derivatives — If you remix, transform, or build upon the material, you may not distribute the modi!ed material. "e Care-Centered Economy Rediscovering what has been taken for granted An essay by Ina Praetorius Volume 16 of the Publication Series Economy + Social Issues Edited by the Heinrich Böll Foundation 2015 Translators: Sandra H. Lustig (Hamburg), Nancy Chapple (Berlin) Copy Editor: Matthew Harris (Buchen im Odenwald) Layout and design: feinkost Designnetzwerk, Sebastian Langer (predesigned by blotto design) Cover photo: J.-C.
    [Show full text]