Indigenous Peoples' Innovation
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Broken Ideals of Love and Family in Film Noir
1 Murder, Mugs, Molls, Marriage: The Broken Ideals of Love and Family in Film Noir Noir is a conversation rather than a single genre or style, though it does have a history, a complex of overlapping styles and typical plots, and more central directors and films. It is also a conversation about its more common philosophies, socio-economic and sexual concerns, and more expansively its social imaginaries. MacIntyre's three rival versions suggest the different ways noir can be studied. Tradition's approach explains better the failure of the other two, as will as their more limited successes. Something like the Thomist understanding of people pursuing perceived (but faulty) goods better explains the neo- Marxist (or other power/conflict) model and the self-construction model. Each is dependent upon the materials of an earlier tradition to advance its claims/interpretations. [Styles-studio versus on location; expressionist versus classical three-point lighting; low-key versus high lighting; whites/blacks versus grays; depth versus flat; theatrical versus pseudo-documentary; variety of felt threat levels—investigative; detective, procedural, etc.; basic trust in ability to restore safety and order versus various pictures of unopposable corruption to a more systemic nihilism; melodramatic vs. colder, more distant; dialogue—more or less wordy, more or less contrived, more or less realistic; musical score—how much it guides and dictates emotions; presence or absence of humor, sentiment, romance, healthy family life; narrator, narratival flashback; motives for criminality and violence-- socio- economic (expressed by criminal with or without irony), moral corruption (greed, desire for power), psychological pathology; cinematography—classical vs. -
Tony Crook, Peter Rudiak-Gould (Eds.) Pacific Climate Cultures: Living Climate Change in Oceania
Tony Crook, Peter Rudiak-Gould (Eds.) Pacific Climate Cultures: Living Climate Change in Oceania Tony Crook, Peter Rudiak-Gould (Eds.) Pacific Climate Cultures Living Climate Change in Oceania Managing Editor: Izabella Penier Associate Editor: Adam Zmarzlinski ISBN 978-3-11-059140-8 e-ISBN 978-3-11-059141-5 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. © 2018 Tony Crook & Peter Rudiak-Gould Published by De Gruyter Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Managing Editor: Izabella Penier Associate Editor: Adam Zmarzlinski www.degruyter.com Cover illustration: mgrafx / GettyImages Contents His Highness Tui Atua Tupua Tamasese Ta’isi Efi Prelude: Climate Change and the Perspective of the Fish IX Tony Crook, Peter Rudiak-Gould 1 Introduction: Pacific Climate Cultures 1 1.1 Living Climate Change in Oceania 1 1.2 Discourses of Climate Change in the Pacific 9 1.3 Pacific Climate Cultures 16 Elfriede Hermann, Wolfgang Kempf 2 “Prophecy from the Past”: Climate Change Discourse, Song Culture and Emotions in Kiribati 21 2.1 Introduction 21 2.2 Song Culture in Kiribati 24 2.3 Emotions in the Face of Climate Change Discourse in Kiribati 25 2.4 The Song “Koburake!” 26 2.5 Anticipation and Emotions 29 2.6 Conclusion -
Pacific Island History Poster Profiles
Pacific Island History Poster Profiles A Note for Teachers Acknowledgements Index of Profiles This Profiles are subject to copyright. Photocopying and general reproduction for teaching purposes is permitted. Reproduction of this material in part or whole for commercial purposes is forbidden unless written consent has been obtained from Queensland University of Technology. Requests can be made through the acknowldgements section of this pdf file. A Note for Teachers This series of National History Posters has been designed for individual and group Classroom use and Library display in secondary schools. The main aim is to promote in children an interest in their national history. By comparing their nation's history with what is presented on other Posters, students will appreciate the similarities and differences between their own history and that of their Pacific Island neighbours. The student activities are designed to stimulate comparison and further inquiry into aspects of their own and other's past. The National History Posters will serve a further purpose when used as a permanent display in a designated “History” classroom, public space or foyer in the school or for special Parent- Teacher nights, History Days and Education Days. The National History Posters do not offer a complete survey of each nation's history. They are only a profile. They are a short-cut to key people, key events and the broad sweep of history from original settlement to the present. There are many gaps. The posters therefore serve as a stimulus for students to add, delete, correct and argue about what should or should not be included in their Nation's History Profile. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Publications
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 15 Article 17 Issue 1 May 2001 Publications Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific slI ands Commons, and the Pacific slI ands Languages and Societies Commons Recommended Citation (2001) "Publications," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 15 : Iss. 1 , Article 17. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol15/iss1/17 This Commentary or Dialogue is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in Rapa Nui Journal: Journal of the Easter Island Foundation by an authorized editor of Kahualike. For more information, please contact [email protected]. et al.: Publications a reality: Norma Ackel, Joan Amico Ben Baldanza, Gail Bar will agree that it is worth it when you see the incredible color aff, Carolyn and Mark Blackburn, Avonne Bradshaw, Kathy photographs and read the text. It covers ju t about every a peet Cleghorn, Gillian & Alan Cheyney, Robert Chisnell, Tom Christo of the island, the people, and the cultural heritage. It is a "must' Br pher, Frances Connick, Sylvia Coogan, Odile and Pierre Cornu, for anyone who ha been to the island, something to put on your Mary and Hans Dahl, Nan Deal, Sue and Jim DeLong, Rene coffee table, look at often, and dream of your favorite place.... and Anthony Donaldson, Veronica DuFeu, Elaine and Don We will soon be carrying the book, Easter Island Studies, Le Dvorak, Far Horizons Archaeological Trips, Joseph Finney, An edited by Steven Roger Fischer. -
Reflections on Two Collaborative Projects in Contemporary Oceania
The Islands Have Memory: Reflections on Two Collaborative Projects in Contemporary Oceania Guido Carlo Pigliasco and Thorolf Lipp Robert Bellah’s foreword to Paul Rabinow’s Reflections on Fieldwork in Morocco reminds us that fieldwork “involves constant valuation and revaluation” (Bellah 1977, xi). In this article, we revaluate some reflec- tions that we have exchanged in relation to our unfolding projects: The Sawau Project in Beqa Island, Fiji, with the “legendary” Sawau tribe’s firewalkers (map 1; figure 13LJOLDVFRDQG&RODWDQDYDQXD2005; Pigliasco 2009b), and UrSprung in der SüdseeLQ3HQWHFRVW,VODQG9DQXDWXDQG several places in Germany, with the Sa speakers’ “legendary” land divers (map 2; figure 2; Lipp 2009a, 2009b).1 Both the traditional practices and the affiliated projects share several epistemological points. Neither the vilavilairevo (firewalking ceremony) of Beqa nor the gol (land dive) of Pentecost Island is a “rite of passage” in a narrow sense (van Gennep 1960; Turner 1969). These performative rites are volitional, and mainly conducted by adults, with no coercion toward young tribe members to perform (Pigliasco 2007b; Lipp 2008). They often are associ- ated with peril and analgesia but do not involve immediate change of the social status quo. Both practices involve a “gift” strongly intertwined with social relations, in the sense of an endowment mythically received by the ancestors (Pigliasco 2010; Lipp 2008: 303–309); both involve constant community recitation of the myth on which the practices are based; and both have recently been dealing with contested notions of ownership or intellectual property rights (Pigliasco 2009b; Lipp 2008). Moreover, throughout the last three decades, both performances have become iconic of the countries they represent. -
Ambler Theater ART HOUSE
A NONPROFIT Ambler Theater ART HOUSE Previews104A JUNE – SEPTEMBER 2018 Joan Crawford, Frederika Brown, and Norma Shearer in THE WOMEN THE and Norma Shearer in Frederika Brown, Crawford, Joan INCLUDES OUR MAIN ATTRACTIONS AND SPECIAL PROGRAMS A MBLERT HEATER.ORG 215 345 7855 Welcome to the nonprofit Ambler Theater The Ambler Theater is a nonprofit, tax-exempt 501(c)(3) organization. Policies ADMISSION Children under 6 – Children under age 6 will not be admitted to our films or programs unless specifically indicated. General ............................................................$11.25 Late Arrivals – The theater reserves the right to stop selling Members ...........................................................$6.75 tickets (and/or seating patrons) 10 minutes after a film has Seniors (62+) & Students ..................................$9.00 started. Matinees Outside Food and Drink – Patrons are not permitted to bring Mon, Tues, Thurs & Fri before 4:30 outside food and drink into the theater. Sat & Sun before 2:30 .....................................$9.00 Wed Early Matinee before 2:30 ........................$8.00 Accessibility & Hearing Assistance – The Ambler Theater has wheelchair-accessible auditoriums and restrooms, and is Affiliated Theater Members* .............................$6.75 equipped with hearing enhancement headsets and closed You must present your membership card to obtain membership discounts. caption devices. (Please inquire at the concession stand.) The above ticket prices are subject to change. Parking – Check our website for parking information. THANK YOU MEMBERS! Your membership is the foundation of the theater’s success. Without your membership support, we would not How can you support AMBLER THEATER exist. Thank you for being a member. Contact us with your feedback the Ambler Theater? MEMBER or questions at 215 348 1878 x115 or email us at Be a member. -
The Custodians of the Gift. Fairy Beliefs, Holy Doubts and Heritage
PREFACE Thirty years ago, right after finishing law school, I went to Sāmoa. My flight to Apia via Nadi was delayed in Nadi’s airport for several hours. While I was killing time with a trip to Lautoka town’s market and back to the airport, my cab driver, Babu Ram, explained why the airport was overwhelmed: many Indo-Fijians were fleeing the country, seeing little future in staying in Fiji. The Indo-Fijian diaspora had started less than two years before on 25 September 1987, after an army colonel, Sitiveni Rabuka, staged his second coup d’état. Rabuka declared Fiji a republic on 7 October 1987, abrogating the Constitution of Fiji and declaring himself Head of the Interim Military Government. The Commonwealth responded with Fiji’s immediate expulsion from the association, and the tensions between indigenous Fijian and Indo-Fijian ethnic groups were starting to crumble Fiji’s model of biracial political harmony. A month later, on my way back home from Sāmoa I decided to stop in Fiji again, and to spend a whole week in its capital city, Suva. Obviously, there were not many tourists around. Perhaps this explains why, with no reservation, I was able to get a large room, with a rusty fan and a lot of dust and nostalgia, in the Grand Pacific Hotel, Fiji’s grand old lady on Suva’s waterfront. Almost immediately after I left, the hotel closed down for two decades. When I asked the name of a solitary island whose silhouette was visible in the twilight to the south of my room, I was told it was called Beqa and was known in Fiji as “the island of the firewalkers.” I was also told that, back in the day, the firewalkers used to perform outside the hotel and across the street at Thurston Gardens surrounding the Fiji Museum. -
Firewalking: a Contemporary Ritual and Transformation
Firewalking: a contemporary ritual and transformation By: Emily D. Edwards Edwards, Emily D. “Firewalking: A Contemporary Ritual and Transformation.” TDR 42 (1998): 98-114. Made available courtesy of MIT Press: http://mitpress.mit.edu/ ***Reprinted with permission. No further reproduction is authorized without written permission from MIT Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document.*** Abstract: Firewalking is an ancient ritual that can be categorized as a wondrous performance with a powerful effect on believers. The New Age movement is reviving the ceremony through workshops and seminars. The event involves a form of mutual social pretense that overcomes logical convention. A participant in a firewalk that became part of a documentary video describes the experience. Article: Performances in the magical tradition have revived for many contemporary people the pleasures (and terrors) of personal transformation. Tired of more passive, spectator roles in orthodox religions and secular recreations, many individuals actively participate in their own transformation through the contemporary ceremonies revived in New Age movements (and other nonconventional religious movements). New Age rituals reflect a diversity of influences from Native American and African to Asian religious traditions. New Age rituals include practices such as channeling, astral projection, crystal healing, drumming, keening, smudging, and dancing. An awakened craving for transformation produces an exploitable market for spiritual experiences outside orthodox religious establishments, an "exotification" and appropriation of sacred knowledge (see Schechner 1993:228-63). Although these performances occur in a variety of rituals plucked from an assortment of cultural origins, this research will examine firewalking and a particular firewalking ritual in which I was a participant-observer. -
Zenker, Stephanie F., Ed. Books For
DOCUMENT RESUME ED 415 506 CS 216 144 AUTHOR Stover, Lois T., Ed.; Zenker, Stephanie F., Ed. TITLE Books for You: An Annotated Booklist for Senior High. Thirteenth Edition. NCTE Bibliography Series. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-0368-5 ISSN ISSN-1051-4740 PUB DATE 1997-00-00 NOTE 465p.; For the 1995 edition, see ED 384 916. Foreword by Chris Crutcher. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 03685: $16.95 members, $22.95 nonmembers). PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MF01/PC19 Plus Postage. DESCRIPTORS *Adolescent Literature; Adolescents; Annotated Bibliographies; *Fiction; High School Students; High Schools; *Independent Reading; *Nonfiction; *Reading Interests; *Reading Material Selection; Reading Motivation; Recreational Reading; Thematic Approach IDENTIFIERS Multicultural Materials; *Trade Books ABSTRACT Designed to help teachers, students, and parents identify engaging and insightful books for young adults, this book presents annotations of over 1,400 books published between 1994 and 1996. The book begins with a foreword by young adult author, Chris Crutcher, a former reluctant high school reader, that discusses what books have meant to him. Annotations in the book are grouped by subject into 40 thematic chapters, including "Adventure and Survival"; "Animals and Pets"; "Classics"; "Death and Dying"; "Fantasy"; "Horror"; "Human Rights"; "Poetry and Drama"; "Romance"; "Science Fiction"; "War"; and "Westerns and the Old West." Annotations in the book provide full bibliographic information, a concise summary, notations identifying world literature, multicultural, and easy reading title, and notations about any awards the book has won. -
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items. -
Lang, Fritz , 1890–1976, German-American Film Director, B
Lang, Fritz , 1890–1976, German-American film director, b. Vienna. His silent and early sound films, such as Metropolis (1926), are marked by brilliant expressionist technique. He gained worldwide acclaim with M (1933), a study of a child molester and murderer. After directing 15 films, Lang fled Nazi Germany (1933) to avoid collaborating with the government and settled in the United States. His 20 Hollywood films continued his exploration of criminality and the cruel fate that can overtake the unwary. His notable American works include Fury (1936), You Only Live Once (1937), Hangmen Also Die (1943), The Big Heat (1953), and Beyond a Reasonable Doubt (1956). Born in Vienna, Austria, Fritz Lang’s father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten . After high school he enrolled briefly at the Technische Hochschule Wien, then started to train as a painter. From 1910 to 1914 he traveled in Europe and, he would later claim, also in Asia and North Africa. He studied painting in Paris in 1913-14. At the start of the First World War he returned to Vienna, enlisting in the army in January 1915. Severely injured in June 1916, he wrote some scenarios for films while convalescing. In early 1918 he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at UFA and then for Nero-Film, owned by the American Seymour Nebenzahl.