DOCSLIB.ORG

A DEIXIS ANALYSIS of MOANA MOVIE SCRIPT THESIS Submitted

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A DEIXIS ANALYSIS of MOANA MOVIE SCRIPT THESIS Submitted A DEIXIS ANALYSIS OF MOANA MOVIE SCRIPT THESIS Submitted in Partial Fulfillment of the Requirement For degree of Bachelor of Education In English Education NURJANAH Student Number: 1403046020 EDUCATION AND TEACHER TRAINING FACULTY WALISONGO STATE ISLAMIC UNIVERSITY SEMARANG 2018 ii iii iv v MOTTO َّ َوَم ْن يَ تَِّق اللهَ يَ ْجَع ْل لَهُ َم ْخَرًجا ِ ِ ۚ َويَ ْرُزقْهُ م ْن َحْي ُث ََل يَ ْحتَس ُب And for those who fear Allah, He [ever] prepares a way out. And He provides for him from [sources] he never could imagine. (Ath-Talaaq/65 : 2-3) “Believe in everything bigger than yourself and find your Purpose” – Justin Bieber “If you want all your dreams come true, tell it to your Mom” –Nurjannah vi DEDICATION This scientific writing is dedicated to: 1. My dearest parents (Mr. Yahrudin and Mrs. Khalimah). You are both special in every way, encouraging me more and more each passing day. You are the reason why I am so strong because you have taught me everything and I will always keep it inside. You’ve made things better in every situation. Thank you both for always being there and showing me that you truly care. Thank you for your endless prayers, love, effort and contribution in making my education successful and run well. I love you to infinity and beyond. 2. My big family, who always support me with love and prayer. I love you all from the bottom of my heart. 3. Wahyuningsih Nur Farida, S.Par, my best big sister who always there since we were baby. I love you to the moon and back. vii ABSTRACT Nurjanah (1403046020) “A Deixis Analysis of Moana Movie Script”. A final project, Semarang: Bachelor Program of English Language Education and Teacher Training Faculty (FITK), Walisongo State Islamic University Semarang, 2018. This research is purposed to find and analyze the three types of deixis analysis using George Yule (1996) theory and the dominant type of deixis found in Moana movie script. The researcher selected this movie as subject of analysis because the popularity of the movie and also it consisted many deictic words. Therefore, the Moana movie script can be analyzed using pragmatics approach, especially using the theory from George Yule (1996) about deixis analysis. This study was conducted by using descriptive qualitative method. The data used is script of Moana movie (2016). In addition, this script was classified into three types of deixis analysis based on their own criteria. The result of this research showed that the three types of deixis using George Yule (1996) theory such as person deixis, spatial deixis and temporal deixis are used in the Moana movie script. The use of personal deixis indicated the participant in this movie. While, the spatial deixis indicated location and place of event from the participant. Moreover, the temporal deixis indicated the timing of speech event which is used in this movie. The most dominant deixis is personal deixis which consisted of 1.041 deictic expressions. It showed that the movie tells about the moral value and Moana’s experiences to make her village became peace. Keyword: Pragmatics, Deixis, Moana movie script viii ACKNOWLEDGEMENT In the name of Allah, The Most Gracious and The Most Merciful, The Lord of Universe. Alhamdulillah, I do thank to Allah who has given me everything I need. Secondly, peace and salutation always be given to our prophet Muhammad (PBUH) and his followers. This achievment is a great gift from Allah, with His blessing the writer could complete this graduating paper entitled A Pragmatics Analysis of Deixis on Moana Movie Script as requirement for the Bachelor Program of English Language Education of Education and Teacher Training Faculty (FITK) Walisongo State Islamic University Semarang 2018. However, this success would not be achieved without the support, guidance, advice, help and encouragement from individual and institute, and I somehow realize the appropriate moment for me to deepest gratitude for: 1. Dr. H. Raharjo, M. Ed. St, as the Dean of Education and Teacher Training Faculty. 2. Dr. Ikhrom, M.Ag, as the head of English Language Education Department. 3. Muhammad Nafi Annury, M.Pd, as the advisor I. Thank you for the patience for giving guidance, helpful corrections, advice as well as suggestion and encouragement during consultation. May Allah rewards the best in his life. 4. Nadiah Ma’mun, M. Pd, as the advisor II. Thank you for giving guidance, helpful correction and suggestion. May Allah rewards the best in her life. 5. All lecturers at Education and Teacher Training Faculty who always give their knowledge, guidance and advice to the writer during her study. ix 6. Agus Prayogo, M.Pd, who has given his best suggestion and motivation to finish this thesis. 7. Isyqi Amaliyah, S.Pd, God knows how thankful I am to know you in my last. 8. Aui, who just picked two sun flowers and made Te Fiti great again. 9. Induk, Windut and Asmol my cup of tea. 10. Kunti, Santi, Sofi, Cusna, Ela, Layla and Zum my rumpita squad. 11. Raka and Farid my gondes friends. 12. Nurul, Lubs and Mami who taught me that kind of not-a-boring-life. 13. Etika and Afifah my incredible twitter stan. 14. All my friends of PBI A 2014 or called Abuzz Army, you all are the best thing I have ever had. 15. All my friends in Boarding house of An-Nur who always give me learning about life. 16. Last but not least, those who cannot be mentioned one by one, who have supported the writer in finishing this research. Finally, the researcher realizes that this thesis is far from being perfect. Therefore, the writer will happily accept constructive criticism in order to make it better. The writer hopes this thesis would be beneficial for everyone. Aamiin. Semarang, 10th July 2018 The writer, Nurjanah NIM. 1403046020 x TABLE OF CONTENT PAGE OF TITLE ....................................................................... i THESIS STATEMENT ............................................................. ii ADVISOR APPROVAL ............................................................ iii MOTTO ....................................................................................... iv DEDICATION ............................................................................ v ABSTRACT ................................................................................ vi ACKNOWLEDGEMENT ......................................................... vii TABLE OF CONTENT ............................................................. viii LIST OF TABLE ........................................................................ x CHAPTER I INTRODUCTION 1.1. Background of Study .................................. 1 1.2. Reason of Choosing the Topic .................... 8 1.3. Research Questions ..................................... 8 1.4. Objectives of the Study ............................... 9 1.5. The Scope of Study Research ..................... 9 1.6. Significance of the Study ............................ 9 1.7. Definition of Key Terms ............................. 10 1.8. Research Paper Organization ......... ............ 12 CAPTER II REVIEW AND RELATED LITERATURE 2.1 Previous Research ....................................... 14 xi 2.2 Theoretical Review ..................................... 17 2.2.1 Pragmatics ........................................ 17 2.2.2 Context .............................................. 21 2.2.3 Deixis ................................................ 22 2.2.4 Types of Deixis ................................. 26 2.2.4.1 Person Deixis ....................... 26 2.2.4.2 Spatial Deixis ....................... 29 2.2.4.3 Temporal Deixis .................. 32 2.2.5 Function of Deixis ............................ 35 2.2.6 Movie ................................................ 36 2.2.7 Script ................................................. 36 2.2.8 Moana Movie .................................... 36 2.2.8.1. Definition of the Movie ....... 36 2.2.8.2. Sypnopsis of the Movie ....... 39 2.2.9 Biography of the Authors ................. 43 2.2.10 The Elements of Movie...... ......... 46 CHAPTER III RESEARCH METHOD 3.1. Research Design.......................................... 54 3.2. Data Sources ............................................... 55 3.3. Technique of Data Collection ..................... 56 3.4. Technique of Data Analysis ........................ 59 CHAPTER IV FINDING AND DISCUSSION 4.1. Types of Deixis in Moana Movie Script ..... 62 xii 4.1.1. Person Deixis .................................... 62 4.1.2. Spatial Deixis .................................... 77 4.1.3. Temporal Deixis ............................... 84 4.2. The Dominant Deixis .................................. 88 4.3. Contribution ................................................ 90 4.4. Pedagogical Implication................. .......... 90 CHAPTER V CONCLUSION AND SUGGESTION 5.1. Conclusion .................................................. 92 5.2. Suggestion ................................................... 93 BIBLIOGRAPHY APPENDICES CURRICULUM VITAE xiii LIST OF TABLE 1. Table 2.2.3.1. Type of Person Deixis 2. Table 4.1.1.1. Table of Person Deixis 3. Table 4.1.2.1. Table of Spatial Deixis 4. Table 4.1.3.1. Table of Temporal Deixis 5. Table 4.2.1. Pie Chart of the Dominant Deixis xiv CHAPTER I INTRODUCTION This chapter presents research background, research question, objectives of research, limitation research, significance of the study, and definition of key terms. 1.1. Background of Study Human beings are social creatures, who always need a company in their life. They have to cooperate with one another, which can be
Load more

Recommended publications
  • Commonlit | Lin-Manuel Miranda
    Name: Class: Lin-Manuel Miranda By Jessica McBirney 2017 Lin-Manuel Miranda is best known for creating and starring in the Broadway musicals Hamilton and In the Heights. He has received the highest honors in theater, television, and music for his talents and innovation in the arts. In this informational text, Jessica McBirney discusses Miranda’s life and career as an artist. As you read, take notes on the development of Miranda’s career in the entertainment industry. [1] Lin-Manuel Miranda is an American writer and actor who has risen to popularity in recent years for his unique combination of hip-hop and Broadway-style music to tell stories. His two most popular musicals, In The Heights and Hamilton, both purposely feature a diverse range of actors and characters from different backgrounds. Formative Childhood Lin-Manuel Miranda often cites his childhood years as a source of inspiration for his work. He was born on January 16, 1980, in Washington "Lin-Manuel Miranda, 2016" by Nathan Hughes Hamilton is Heights, a majority-Latino neighborhood in Upper licensed under CC BY 2.0. Manhattan, New York. His parents were of mostly Puerto Rican descent; his mother worked as a clinical psychologist, and his father was a Democratic Party consultant who advised New York City’s mayor in political situations. Growing up in Washington Heights gave Miranda a love for music, especially hip-hop. For one month each summer, Miranda also went to stay with his grandparents in Puerto Rico. As a teenager, he wrote jingles for advertisements. Miranda started attending Wesleyan University in 1998, where he co-founded a hip-hop comedy group called Freestyle Love Supreme.
    [Show full text]
  • Danger, Danger
    FINAL-1 Sat, Apr 27, 2019 6:22:37 PM tvupdateYour Weekly Guide to TV Entertainment For the week of May 5 - 11, 2019 Emily Watson stars in “Chernobyl” INSIDE Danger, •Sports highlights Page 2 •TV Word Search Page 2 •Family Favorites Page 4 Hollywood Q&A Page14 danger • On Monday, May 6, join Soviet scientist Valery Legasov (Jared Harris, “The Terror”), nuclear physicist Ulana Khomyuk (Emily Watson, “Genius”) and head of the Bureau for Fuel and Energy of the Soviet Union Boris Shcherbina (Stellan Skarsgård, “River”), as they seek to uncover the truth behind one of the world’s worst man-made catastrophes in the premiere of “Chernobyl,” on HBO. WANTED WANTED MOTORCYCLES, SNOWMOBILES, OR ATVS To advertise here GOLD/DIAMONDS BUY SELL please call ✦ 40 years in business; A+ rating with the BBB. TRADE ✦ For the record, there is only one authentic CASH FOR GOLD, PARTS & ACCESSORIESBay 4 (978) 946-2375 Group Page Shell We Need: SALES & SERVICE Motorsports 5 x 3” Gold • Silver • Coins • Diamonds MASS. MOTORCYCLE1 x 3” We are the ORIGINAL and only AUTHENTIC INSPECTIONS CASH FOR GOLD on the Methuen line, above Enterprise Rent-A-Car 1615 SHAWSHEEN ST., TEWKSBURY, MA at 527 So. Broadway, Rte. 28, Salem, NH • 603-898-2580 978-851-3777 Open 7 Days A Week ~ www.cashforgoldinc.com WWW.BAY4MS.COM FINAL-1 Sat, Apr 27, 2019 6:22:38 PM COMCAST ADELPHIA 2 CHANNEL Kingston Sports Highlights Atkinson Londonderry 10:30 p.m. NESN Red Sox Final Live ESPN Softball NCAA ACC Tournament NESN Baseball MLB Seattle Mariners Salem Sunday Sandown Windham (60) TNT Basketball NBA Playoffs Live Women’s Championship Live at Boston Red Sox Live GUIDE Pelham, 10:55 a.m.
    [Show full text]
  • ARTIST INDEX(Continued)
    ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) APR CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 24 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2021 $NOT HS 19, 22 JUSTIN BIEBER B200 3; CC 8; DLP 11; RBL 25; J. COLE B200 68; PCA 14; RBA 37 LUIS FIGUEROA TSS 21 STEPHEN HOUGH CL 11 LYDIA LAIRD CA 29; CST 33 21 SAVAGE B200 103; RBH 49 A40 13, 26; AC 9, 16, 20; CST 23, 26, 35, 36, KEYSHIA COLE ARB 14 FINNEAS A40 36; AK 18; RO 20 WHITNEY HOUSTON B200 197; RBL 22 LAKE STREET DIVE RKA 46 24KGOLDN B200 65; A40 4; AC 25;
    [Show full text]
  • Movie Review: 'Moana'
    Movie Review: ‘Moana’ By Joseph McAleer Catholic News Service NEW YORK – The same tropical setting that provided the backdrop for the 1949 musical “South Pacific” now lends its exotic flavor to the animated feature “Moana” (Disney). As for the feminism-friendly story of the movie’s eponymous heroine, well, as Rodgers and Hammerstein’s lovelorn Seabees so famously declared, “There is nothing like a dame.” The spunky heroine of Disney’s 56th animated film is a 16-year-old Polynesian princess (voice of Auli’i Cravalho) who seeks not a boyfriend but a grand adventure on the high seas, all to save her world from destruction. There’s no mistaking the entertainment value of “Moana,” gloriously rendered in 3- D, with a delightful array of characters and toe-tapping songs co-written by Lin- Manuel Miranda of Broadway’s “Hamilton.” The film also offers good lessons about family, friendship and the need to be responsible. But Christian parents may be concerned to find that Jared Bush’s screenplay is steeped in indigenous mythology. “Moana” presents a view of creation at odds with the biblical account, and could confuse impressionable minds. Well-catechized teens, however, will likely slough these elements off as mere fantasy. As “Moana” tells it, in the beginning was not God but a comely goddess named Te Fiti, who commanded the oceans and brought life to the world. Te Fiti was joined by a demigod (half -god, half-human) named Maui (voice of Dwayne Johnson). Maui had a nifty talent of pulling islands up from the sea with his trusty fishhook.
    [Show full text]
  • Moana by Jared Bush (Review) Mārata Ketekiri Tamaira, Vilsoni Hereniko, Tagi Qolouvaki, J Uluwehi Hopkins, Candice Elanna Steiner
    Moana by Jared Bush (review) Mārata Ketekiri Tamaira, Vilsoni Hereniko, Tagi Qolouvaki, J Uluwehi Hopkins, Candice Elanna Steiner The Contemporary Pacific, Volume 30, Number 1, 2018, pp. 216-234 (Review) Published by University of Hawai'i Press DOI: https://doi.org/10.1353/cp.2018.0016 For additional information about this article https://muse.jhu.edu/article/683746 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 216 the contemporary pacific • 30:1 (2018) Māui and Moana. Still image from the feature animated film Moana, © Disney 2016. Reproduced with permission. Moana. Computer-animated feature opened up a valuable opportunity film, 107 minutes, color, 2016. In for people in the Pacific to wrestle English, translated into numerous with a complex set of concerns that languages. Written by Jared Bush; are not often discussed in such public directed by Ron Clements and and candid ways and from so many John Musker. Original story. Pro- perspectives. This forum attempts duced by Walt Disney Animation to maintain the momentum of those Studios, distributed by Walt Disney discussions in order to enable us to Studios Motion Pictures. 3d Blu-ray, continue thinking through the film us$34.95. in ways that are reflexive, balanced, and open-minded. Although the four Few films have stimulated as much reviews included here represent but passion and difference of opinion a small sample of the much larger as Disney’s Moana, which opened discourse surrounding Moana, I hope to global audiences in 2016. In the they offer readers not grand answers Pacific context in particular, vibrant so much as rich and varied insights and vigorous debates about the merits that can help generate deeper ques- of the film and Islander participation tions and continuing conversations.
    [Show full text]
  • “Moana” Educator's Guide
    Created in partnership with the Educational Team GRADES 2–6 hree thousand years ago, the greatest sailors in the world voyaged across the vast Pacific, discovering the many islands of Oceania. But then, for a millennium, Ttheir voyages stopped – and no one knows why. From Walt Disney Animation Studios comes “Moana,” a sweeping, CG-animated feature film about an adventurous teenager who sails out on a daring mission to save her people. During her journey, Moana (voice of Auli’i Cravalho) meets the once mighty demigod Maui (voice of Dwayne Johnson), who guides her in her quest to become a master wayfinder. Together, they sail across the open ocean on an action-packed voyage, encountering enormous monsters and impossible odds, and along the way, Moana fulfills the ancient quest of her ancestors and discovers the one thing she’s always sought: her own identity. Directed by the renowned filmmaking team of John Musker and Ron Clements (“The Little Mermaid,” “Aladdin,” “The Princess & the Frog”), produced by Osnat Shurer (“Lifted,” “One Man Band”), and featuring music by Lin-Manuel Miranda, Mark Mancina and Opetaia Foa’i, “Moana” sails into U.S. theaters on November 23, 2016. CONTENTS Standards Alignment Chart.....................3 Teacher’s Background Information.....................4 Resources................................................................11 What You Can Do........................................................12 Lesson 1: The Hero’s Journey.........................................13 Lesson 2: Music and Rhythm of the Ocean......................19 Lesson 3: Wayfinding using Earth’s Natural Elements..........................................24 Lesson 4: Caring for Sea Turtles.........................31 Glossary.........................................40 ACKNOWLEDGEMENTS The Walt Disney Studios would like to take this opportunity to thank Further Explore Moana’s World the amazing teams that came together to develop the “Moana” Educator’s Guide.
    [Show full text]
  • AN ANALYSIS of EDUCATIONAL VALUE in MOANA MOVIE a Thesis
    AN ANALYSIS OF EDUCATIONAL VALUE IN MOANA MOVIE A Thesis Submitted as a Partial Fulfillment of the Requirements for S1-Degree By: VISKA TRI CAHYA 1511040168 Study Program : English Education Advisor : Dewi Kurniawati, M.Pd Co-Advisor : Fithrah Auliya A, M.Hum TARBIYAH AND TEACHER TRAINING FACULTY STATE ISLAMIC UNIVERSITY OF RADEN INTAN LAMPUNG 2019 AN ANALYSIS OF EDUCATIONAL VALUE IN MOANA MOVIE A Thesis Submitted as a Partial Fulfillment of the Requirements for S1-Degree By: VISKA TRI CAHYA 1511040168 Study Program : English Education Advisor : Dewi Kurniawati, M.Pd Co-Advisor : Fithrah Auliya A, M.Hum TARBIYAH AND TEACHER TRAINING FACULTY STATE ISLAMIC UNIVERSITY OF RADEN INTAN LAMPUNG 2019 ABSTRACT Nowadays, a decline of educational value has occurred in our environment especially in the college students. It happens when parents do not give the value education to the children from an early age. Moreover, most teachers or educators are too focused on the subject matter and do not pay attention to the morals or character of children which causes a decline in educational value of children. To minimize the problem, teacher needs media that can help them to teach the subject while at the same time delivering educational value to students. One of the media is movie. Therefore, this research discussed about the educational value in Moana movie. The objective of this research was to find out types of educational value in movie and to describe the educational value presented in the movie. The researcher used theory of semantic by Davies and SPEAKING model by Hymes to analyze the educational value in the movie.
    [Show full text]
  • Why 'Hamilton' Has Heat
    Why ‘Hamilton’ Has Heat By ERIK PIEPENBURG UPDATED June 12, 2016 http://www.nytimes.com/interactive/2015/08/06/theater/20150806-hamilton- broadway.html “Hamilton,” the mega-buzzy bio-musical about Alexander Hamilton and the founding fathers, opened to glowing accolades unlike any in memory. It received 11 Tony Awards, including best musical, and 16 Tony nominations, the most nominations in Broadway history. It won the Pulitzer Prize and a Grammy Award. In his review, Ben Brantley writes: “Yes, it really is that good.” It’s one of the most talked about Broadway shows since “The Book of Mormon” in 2011. Why? It’s a theatrical rarity: a critically acclaimed work, written by a young composer, that’s making a cultural impact far beyond Broadway’s 40 theaters. That it’s told through the language and rhythms of hip-hop and R&B — genres that remain mostly foreign to the musical theater tradition — has put it in contention to redefine what an American musical can look and sound like. As Mr. Brantley wrote in his review of the show Off Broadway, the songs in “Hamilton” could be performed “more or less as they are by Drake or Beyoncé or Kanye.” Ethel Merman it ain’t. So what’s the story behind a show that’s become a Broadway must-see with no marquee names, no special effects and almost no white actors? Here, in six snapshots, is an explanation of why “Hamilton” is a big deal. It’s a Genuine Smash “Hamilton” is on track to become one of the biggest critical and commercial hits in Broadway history.
    [Show full text]
  • The 2020 Investor Day Programming Fact Sheet
    THE 2020 INVESTOR DAY PROGRAMMING FACT SHEET ©Disney Today at The Walt Disney Company’s Investor Day event, Lucasfilm President Kathleen Kennedy announced an impressive number of exciting Disney+ series and new feature films destined to expand theStar Wars galaxy like never before. Introducing the Disney+ slate, Kennedy said, “We have a vast and expansive timeline in the Star Wars mythology spanning over 25,000 years of history in the galaxy—with each era being a rich resource for storytelling. Now with Disney+, we can explore limitless story possibilities like never before and fulfill the promise that there is truly a Star Wars story for everyone.” Among the 10 projects announced for Disney+ is “Obi-Wan Kenobi,” starring Ewan McGregor, with Hayden Christensen returning as Darth Vader, in what Kennedy called, “the rematch of the century.” Also announced are two new series from Jon Favreau and Dave Filoni, off-shoots of the multiple Emmy®-winning “The Mandalorian.” “Rangers of the New Republic” and “Ahsoka,” a series featuring the fan-favorite character Ahsoka Tano, will take place in “The Mandalorian” timeline. Kennedy announced that the next Star Wars feature film, releasing in December 2023, will be “Rogue Squadron,” which will be directed by Patty Jenkins of the “Wonder Woman” franchise. In July 2022, the next installment of the “Indiana Jones” franchise premieres, starring Harrison Ford, who reprises his iconic role. The film is directed by James Mangold. Following are the announced projects, listed in announcement order under the Disney+ and feature film headers: DISNEY+ Ahsoka After making her long-awaited, live-action debut in “The Mandalorian,” Ahsoka Tano’s story, written by Dave Filoni, will continue in a limited series, Ahsoka, starring Rosario Dawson and executive produced by Dave Filoni and Jon Favreau.
    [Show full text]
  • The Canadian Journal of Program Evaluation, 24 (2), 57–79
    The La Canadian Revue Journal canadienne of Program d’évaluation Evaluation de programme 34.2 Fall 2019 / automne 2019 Editor’s Remarks / Un mot de la rédactrice vii Isabelle Bourgeois ARTICLES Revisiting Contribution Analysis 171 John Mayne Self-Evaluation Tool for Action in Partnership: Translation and Cultural Adaptation of the Original Quebec French Tool to Canadian English 192 Angèle Bilodeau and Gillian Kranias Comparison of Canadian and American Graduate Evaluation Education Programs 207 M. Theresa Hunter and James C. McDavid Évaluation de la mise en œuvre du programme d’intervention In vivo chez les jeunes de 11–12 ans d’une école primaire québécoise présentant un problème de comportements intériorisés : une étude exploratoire 235 Catherine Fréchette-Simard, Jonathan Bluteau et Isabelle Plante RESEARCH AND PRACTICE NOTES / NOTES SUR LA RECHERCHE ET LES MÉTHODES Dramatizing Learning, Performing Ourselves: Stories of Theatre-Based Evaluation in Vancouver’s Downtown Eastside 255 Christopher Cook, Carolyn Camman, Andrew Leyland, Suzie O’Shea, and Angela Towle Applying the Collaborative Approaches to Evaluation (CAE) Principles in an Educational Evaluation: Reflections from the Field 272 Jeremy Acree THEME SEGMENT: DEMOCRACY AND EVALUATION / SEGMENT THÉMATIQUE : LA DÉMOCRATIE ET L’ÉVALUATION Démocratisation et efficience sont-elles antinomiques au niveau local? Le cas des réformes managériales des administrations publiques locales en Wallonie 282 Catherine Fallon “Deliverology” and Evaluation: A Tale of Two Worlds 303 Lisa Birch and
    [Show full text]
  • Musical Colonization and Appropriation in Disney's
    social sciences $€ £ ¥ Article Time to Face the Music: Musical Colonization and Appropriation in Disney’s Moana Robin Armstrong Music Department, McDaniel College, Westminster, MD 21157, USA; [email protected]; Tel.: +410-857-2536 Received: 16 May 2018; Accepted: 10 July 2018; Published: 13 July 2018 Abstract: Despite Disney’s presentation of Moana as a culturally accurate portrayal of Polynesian culture, the film suffers from Western ethnocentrism, specifically in its music. This assertion is at odds with marketing of Moana that emphasized respect for and consultation with Polynesians whose expertise was heralded to validate the film’s music as culturally authentic. While the composers do, in fact, use Polynesian musical traits, they frame the sounds that are unfamiliar within those that are familiar by wrapping them with Western musical characteristics. When the audience does hear Polynesian music throughout the film, the first and last sounds they hear are Western music, not Polynesian. As such, the audience hears Polynesian sounds meld into and then become the music that defines a typical American film. Thus, regardless of Disney’s employment of Polynesian musicians, the music of Moana remains in the rigid control of non-Polynesian American composers. Rather than break new ground, Moana illustrates a musical recapitulation of white men’s control and marketing of the representations of marginalized people. Moana’s music is subject to appropriation, an echo of how colonial resources were exploited in ways that prioritize benefits to cultural outsiders. Keywords: Moana; Disney; music; colonialism; imperialism; appropriation; Polynesia 1. Introduction Disney has a long history of telling other people’s stories in feature-length cartoons.
    [Show full text]
  • ARTIST INDEX(Continued)
    ChartARTIST Codes: CJ (Contemporary Jazz) INDEXINT (Internet) RBC (R&B/Hip-Hop Catalog) –SINGLES– DC (Dance Club Songs) LR (Latin Rhythm) RP (Rap Airplay) –ALBUMS– CL (Traditional Classical) JZ (Traditional Jazz) RBL (R&B Albums) A40 (Adult Top 40) DES (Dance/Electronic Songs) MO (Alternative) RS (Rap Songs) B200 (The Billboard 200) CX (Classical Crossover) LA (Latin Albums) RE (Reggae) AC (Adult Contemporary) H100 (Hot 100) ODS (On-Demand Songs) STS (Streaming Songs) BG (Bluegrass) EA (Dance/Electronic) LPA (Latin Pop Albums) RLP (Rap Albums) ARB (Adult R&B) HA (Hot 100 Airplay) RB (R&B Songs) TSS (Tropical Songs) BL (Blues) GA (Gospel) LRS (Latin Rhythm Albums) RMA (Regional Mexican Albums) CA (Christian AC) HD (Hot Digital Songs) RBH (R&B Hip-Hop) XAS (Holiday Airplay) OCT CA (Country) HOL (Holiday) NA (New Age) TSA (Tropical Albums) CS (Country) HSS (Hot 100 Singles Sales) RKA (Rock Airplay) XMS (Holiday Songs) CC (Christian) HS (Heatseekers) PCA (Catalog) WM (World) CST (Christian Songs) LPS (Latin Pop Songs) RMS (Regional Mexican Songs) 31 CCA (Country Catalog) IND (Independent) RBA (R&B/Hip-Hop) DA (Dance/Mix Show Airplay) LT (Hot Latin Songs) RO (Hot Rock Songs) 2020 $NOT HS 17 BLACKBEAR B200 171; AK 4, 14; DES 33; LUKE COMBS B200 21, 27; CA 1, 3; CS 6, 10, FLEETWOOD MAC B200 14, 59; BL 8; DLP 8, TAME IMPALA B200 188; MO 17; RKA 15; LADY A CA 1; CS 15, 22, 30; CST 3; H100 THE 1975 MO 19; RKA 34 H100 54, 71; HD 13; MO 1, 31; ODS 25; RBH 21, 45; H100 45, 57; HA 25; HD 21 18; INT 17; PCA 3, 7; H100 21; HD 3; ODS 10; RO 45 100; HA
    [Show full text]