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An Autoethnography of Scottish Hip-Hop: Identity, Locality, Outsiderdom and Social Commentary
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier An autoethnography of Scottish hip-hop: identity, locality, outsiderdom and social commentary Dave Hook A thesis submitted in partial fulfilment of the requirements of Edinburgh Napier University, for the award of Doctor of Philosophy June 2018 Declaration This critical appraisal is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated in the text. It has not been previously submitted, in part or whole, to any university or institution for any degree, diploma, or other qualification. Signed:_________________________________________________________ Date:______5th June 2018 ________________________________________ Dave Hook BA PGCert FHEA Edinburgh i Abstract The published works that form the basis of this PhD are a selection of hip-hop songs written over a period of six years between 2010 and 2015. The lyrics for these pieces are all written by the author and performed with hip-hop group Stanley Odd. The songs have been recorded and commercially released by a number of independent record labels (Circular Records, Handsome Tramp Records and A Modern Way Recordings) with worldwide digital distribution licensed to Fine Tunes, and physical sales through Proper Music Distribution. Considering the poetics of Scottish hip-hop, the accompanying critical reflection is an autoethnographic study, focused on rap lyricism, identity and performance. The significance of the writing lies in how the pieces collectively explore notions of identity, ‘outsiderdom’, politics and society in a Scottish context. Further to this, the pieces are noteworthy in their interpretation of US hip-hop frameworks and structures, adapted and reworked through Scottish culture, dialect and perspective. -
A Life Worth Living
A LIFE WORTH LIVING A LIFE WORTH LIVING Albert Camus and the Quest for Meaning robert zaretsky the belknap press of harvard university press Cambridge, Massachusetts, and London, En gland 2013 Copyright © 2013 by the President and Fellows of Harvard College all rights reserved Printed in the United States of America Library of Congress Cataloging- in- Publication Data Zaretsky, Robert, 1955– A life worth living : Albert Camus and the quest for meaning / Robert Zaretsky. pages cm Includes bibliographical references and index. ISBN 978- 0- 674- 72476- 1 (hardcover : alk. paper) 1. Camus, Albert, 1913– 1960. 2. Conduct of life. I. Title. B2430.C354Z37 2013 194—dc23 2013010473 CONTENTS Prologue 1 1. Absurdity 11 2. Silence 59 3. Mea sure 92 4. Fidelity 117 5. Revolt 148 Epilogue 185 Notes 199 A c k n o w l e d g m e n t s 2 2 1 Index 223 A LIFE WORTH LIVING PROLOGUE “Even my death will be contested. And yet what I desire most today is a quiet death, which would bring peace to those whom I love.”1 Albert Camus’ prediction, written in the last decade of his life, has been borne out, though perhaps not his hope. Over the past several years, contests have simmered and burst over the French Algerian writer’s legacy. Shortly after becoming France’s president, Nicolas Sarkozy made a state visit to Algeria. The visit garnered more than the usual attention, in part because Sarkozy had come to offi ce with a reputation as a bluntly spoken conservative who saw no reason for France to apologize for its role as a colonial power. -
HARLEM in SHAKESPEARE and SHAKESPEARE in HARLEM: the SONNETS of CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, and GWENDOLYN BROOKS David J
Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 5-1-2015 HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS David J. Leitner Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/dissertations Recommended Citation Leitner, David J., "HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS" (2015). Dissertations. Paper 1012. This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS by David Leitner B.A., University of Illinois Champaign-Urbana, 1999 M.A., Southern Illinois University Carbondale, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Department of English in the Graduate School Southern Illinois University Carbondale May 2015 DISSERTATION APPROVAL HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS By David Leitner A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of English Approved by: Edward Brunner, Chair Robert Fox Mary Ellen Lamb Novotny Lawrence Ryan Netzley Graduate School Southern Illinois University Carbondale April 10, 2015 AN ABSTRACT OF THE DISSERTATION OF DAVID LEITNER, for the Doctor of Philosophy degree in ENGLISH, presented on April 10, 2015, at Southern Illinois University Carbondale. -
Nostalgia in Indie Folk by Claire Coleman
WESTERN SYDNEY UNIVE RSITY Humanities and Communication Arts “Hold on, hold on to your old ways”: Nostalgia in Indie Folk by Claire Coleman For acceptance into the degree of Doctor of Philosophy December 20, 2017 Student number 17630782 “Hold on, hold on to your old ways” – Sufjan Stevens, “He Woke Me Up Again,” Seven Swans Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................................................. Claire Coleman Acknowledgements This thesis could not have been completed without the invaluable assistance of numerous colleagues, friends and family. The love, respect and practical support of these people, too many to name, buoyed me through the arduous privilege that is doctoral research. With special thanks to: The Supers – Dr Kate Fagan, Mr John Encarnacao and Associate Prof. Diana Blom My beloved – Mike Ford My family – Nola Coleman, Gemma Devenish, Neale Devenish, and the Fords. The proof-readers – Alex Witt, Anna Dunnill, Pina Ford, Connor Weightman and Nina Levy. My choir families – Menagerie, Berlin Pop Ensemble and Dienstag Choir Administrative staff at Western Sydney University Dr Peter Elliott Ali Kirby, Kate Ballard, Carol Shepherd, Kathryn Smith, Judith Schroiff, Lujan Cordaro, Kate Ford and the many cafes in Perth, Sydney and Berlin -
Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy
Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-2-2017 On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy Evan Nave Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, Creative Writing Commons, Curriculum and Instruction Commons, and the Educational Methods Commons Recommended Citation Nave, Evan, "On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy" (2017). Theses and Dissertations. 697. https://ir.library.illinoisstate.edu/etd/697 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ON MY GRIND: FREESTYLE RAP PRACTICES IN EXPERIMENTAL CREATIVE WRITING AND COMPOSITION PEDAGOGY Evan Nave 312 Pages My work is always necessarily two-headed. Double-voiced. Call-and-response at once. Paranoid self-talk as dichotomous monologue to move the crowd. Part of this has to do with the deep cuts and scratches in my mind. Recorded and remixed across DNA double helixes. Structurally split. Generationally divided. A style and family history built on breaking down. Evidence of how ill I am. And then there’s the matter of skin. The material concerns of cultural cross-fertilization. Itching to plant seeds where the grass is always greener. Color collaborations and appropriations. Writing white/out with black art ink. Distinctions dangerously hidden behind backbeats or shamelessly displayed front and center for familiar-feeling consumption. -
T H E P Ro G
Thursday, February 28, 2019 at 8:30 pm m a r Son Lux g Ian Chang , Drums and Sensory Percussion o Rafiq Bhatia , Guitar r Ryan Lott , Piano, Voice, and Electronics P Jackson Hill , Bass and Synthesizer e h T This evening’s program is approximately 75 minutes long and will be performed without intermission. Please make certain all your electronic devices are switched off. Lead support provided by PGIM, the global investment management businesses of Prudential Financial, Inc. Endowment support provided by Bank of America This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall American Songbook Additional support for Lincoln Center’s American Songbook is provided by Rita J. and Stanley H. Kaplan Family Foundation, The DuBose and Dorothy Heyward Memorial Fund, The Shubert Foundation, Great Performers Circle, Lincoln Center Spotlight, Chairman’s Council, and Friends of Lincoln Center Public support is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center Artist catering provided by Zabar’s and Zabars.com UPCOMING AMERICAN SONGBOOK EVENTS IN THE APPEL ROOM : Friday, March 1 at 8:30 pm Oscar Isaac Saturday, March 2 at 8:30 pm Martha Plimpton: All the Presidents Mann Monday, March 4 at 8:30 pm Joyce DiDonato: Songplay For tickets, call (212) 721-6500 or visit AmericanSongbook.org. -
On the Digital-Political Topography of Music
Michigan Technological University Digital Commons @ Michigan Tech Dissertations, Master's Theses and Master's Dissertations, Master's Theses and Master's Reports - Open Reports 2014 ON THE DIGITAL-POLITICAL TOPOGRAPHY OF MUSIC Daniel William Lawrence Michigan Technological University Follow this and additional works at: https://digitalcommons.mtu.edu/etds Part of the Music Commons, and the Rhetoric Commons Copyright 2014 Daniel William Lawrence Recommended Citation Lawrence, Daniel William, "ON THE DIGITAL-POLITICAL TOPOGRAPHY OF MUSIC", Dissertation, Michigan Technological University, 2014. https://doi.org/10.37099/mtu.dc.etds/785 Follow this and additional works at: https://digitalcommons.mtu.edu/etds Part of the Music Commons, and the Rhetoric Commons ON THE DIGITAL-POLITICAL TOPOGRAPHY OF MUSIC By Daniel William Lawrence A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In Rhetoric and Technical Communication MICHIGAN TECHNOLOGICAL UNIVERSITY 2014 © 2014 Daniel William Lawrence This dissertation has been approved in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY in Rhetoric and Technical Communication. Department of Humanities. Dissertation Advisor: Dr. Stefka Hristova Committee Member: Dr. Robert Johnson Committee Member: Dr. Karla Kitalong Committee Member: Mr. Christopher Plummer Department Chair: Dr. Ronald Strickland ii Table of Contents List of Figures ....................................................................................................................... -
SonLuxIsTheGrandGenre-LessDreamOfLos
Son Lux is the grand genre-less dream of Los Angeles composer Ryan Lott brought to roiling, vivid life with the help of two New Yorkers, guitarist Rafiq Bhatia and drummer Ian Chang. Each is a writer, producer, and performer with omnivorous taste and a penchant for wild improvisation—a band whose mix of electronic pop, unusual soul, and outright experimentalism feels more inviting than ever on the project's fifth album, Brighter Wounds. The songs therein leave behind Son Lux's typically universal themes for deeply personal fare. While making Brighter Wounds, Lott became a father to a baby boy and lost a best friend to cancer. Days of "firsts" were also days of "lasts," and the normal fears that accompany parenthood were compounded by a frightening new reality—Lott's son arrived shortly after Election Day. These songs draw on all of that: warm reflections of a fading past, pain wrenched from a still-present loss, and a mix of anxiety and hope for a future that is promised to no one. -
Downloads, the Bandleader Composed the Entire Every Musician Was a Multimedia Artist,” He Said
AUGUST 2019 VOLUME 86 / NUMBER 8 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
The Conservatives in Crisis
garnett&l 8/8/03 12:14 PM Page 1 The Conservatives in crisis provides a timely and important analysis incrisis Conservatives The of the Conservative Party’s spell in Opposition following the 1997 general election. It includes chapters by leading academic experts The on the party and commentaries by three senior Conservative politicians: Lord Parkinson, Andrew Lansley MP and Ian Taylor MP. Having been the dominant force in British politics in the twentieth century, the Conservative Party suffered its heaviest general Conservatives election defeats in 1997 and 2001. This book explores the party’s current crisis and assesses the Conservatives’ failure to mount a political recovery under the leadership of William Hague. The Conservatives in crisis includes a detailed examination of the reform of the Conservative Party organisation, changes in ideology in crisis and policy, the party’s electoral fortunes, and Hague’s record as party leader. It also offers an innovative historical perspective on previous Conservative recoveries and a comparison with the revival of the US Republican Party. In the conclusions, the editors assess edited by Mark Garnett and Philip Lynch the failures of the Hague period and examine the party’s performance under Iain Duncan Smith. The Conservatives in crisis will be essential reading for students of contemporary British politics. Mark Garnett is a Visiting Fellow in the Department of Politics at the University of Leicester. Philip Lynch is a Senior Lecturer in Politics at the University of Leicester. Lynch Garnett eds and In memory of Martin Lynch THE CONSERVATIVES IN CRISIS The Tories after 1997 edited by Mark Garnett and Philip Lynch Manchester University Press Manchester and New York distributed exclusively in the USA by Palgrave Copyright © Manchester University Press 2003 While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors. -
Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 106 CONGRESS, FIRST SESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 106 CONGRESS, FIRST SESSION Vol. 145 WASHINGTON, THURSDAY, NOVEMBER 4, 1999 No. 154 House of Representatives The House met at 10 a.m. The point of no quorum is considered titles in which concurrence of the The Reverend Father Allen P. withdrawn. House is requested. Novotny, S.J., President, Gonzaga Col- f S. 185. An act to establish a Chief Agricul- lege High School, Washington, D.C., of- tural Negotiator in the Office of the United PLEDGE OF ALLEGIANCE fered the following prayer: States Trade Representative. Almighty God, You made us to Your The SPEAKER. Will the gentleman S. 580. An act to amend title IX of the Pub- own image and set us over all creation. from Louisiana (Mr. VITTER) come for- lic Health Service Act to revise and extend Once You chose a people and gave them ward and lead the House in the Pledge the Agency for Healthcare Policy and Re- search. a destiny and, when You brought them of Allegiance. Mr. VITTER led the Pledge of Alle- S. 688. An act to amend the Foreign Assist- out of bondage to freedom, they carried ance Act of 1961 to reauthorize the Overseas with them the promise that all men giance as follows: Private Investment Corporation. and women would be blessed and all I pledge allegiance to the Flag of the S. 1232. An act to provide for the correction men and women could be free. United States of America, and to the Repub- of retirement coverage errors under chapters It happened to our forbearers, who lic for which it stands, one nation under God, 83 and 84 of title 5, United States Code. -
Resurrecting the Absurd
Resurrecting the Absurd: Contemporary applications of the mechanics of style in Albert Camus’s L’étranger By Serge Anthony Larocque (100836153) A thesis and creative component submitted to the Department of English at Royal Holloway, University of London in partial fulfilment of the requirements for the Practice-based PhD in Creative Writing 2018 1 Declaration of Authorship I, Serge Anthony Larocque, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Serge Anthony Larocque Date: September 9, 2018 2 Abstract This thesis considers the communication and appropriation of Albert Camus’s philosophy of the Absurd through works of literary fiction, and addresses two questions: What elements of style did Camus use in L’étranger to facilitate the understanding and appropriation of his absurdist ideas, and how can these elements be applied or modified to suit a contemporary audience? This thesis argues that this literary mode transcends historical boundaries, and that the philosophical ideas which are at the forefront of absurdist fiction can help readers navigate the turmoil of their lives. This thesis also argues the importance of following a particular literary style when writing in this genre, which champions the use of a stream of consciousness-style narration, short and simple prose, and establishing a lack of emotion throughout the text. Lastly, this critical piece argues for the use of a specific type of main character, who embodies or represents the philosophical notion of Camus’s revolt through his behaviour and beliefs, as well as through his physical and psychological profile.