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Directors Fortnight Cannes 2000 Winner Best Feature
DIRECTORS WINNER FORTNIGHT BEST FEATURE CANNES PAN-AFRICAN FILM 2000 FESTIVAL L.A. A FILM BY RAOUL PECK A ZEITGEIST FILMS RELEASE JACQUES BIDOU presents A FILM BY RAOUL PECK Patrice Lumumba Eriq Ebouaney Joseph Mobutu Alex Descas Maurice Mpolo Théophile Moussa Sowié Joseph Kasa Vubu Maka Kotto Godefroid Munungo Dieudonné Kabongo Moïse Tshombe Pascal Nzonzi Walter J. Ganshof Van der Meersch André Debaar Joseph Okito Cheik Doukouré Thomas Kanza Oumar Diop Makena Pauline Lumumba Mariam Kaba General Emile Janssens Rudi Delhem Director Raoul Peck Screenplay Raoul Peck Pascal Bonitzer Music Jean-Claude Petit Executive Producer Jacques Bidou Production Manager Patrick Meunier Marianne Dumoulin Director of Photography Bernard Lutic 1st Assistant Director Jacques Cluzard Casting Sylvie Brocheré Artistic Director Denis Renault Art DIrector André Fonsny Costumes Charlotte David Editor Jacques Comets Sound Mixer Jean-Pierre Laforce Filmed in Zimbabwe, Mozambique and Belgium A French/Belgian/Haitian/German co-production, 2000 In French with English subtitles 35mm • Color • Dolby Stereo SRD • 1:1.85 • 3144 meters Running time: 115 mins A ZEITGEIST FILMS RELEASE 247 CENTRE ST • 2ND FL • NEW YORK • NY 10013 www.zeitgeistfilm.com • [email protected] (212) 274-1989 • FAX (212) 274-1644 At the Berlin Conference of 1885, Europe divided up the African continent. The Congo became the personal property of King Leopold II of Belgium. On June 30, 1960, a young self-taught nationalist, Patrice Lumumba, became, at age 36, the first head of government of the new independent state. He would last two months in office. This is a true story. SYNOPSIS LUMUMBA is a gripping political thriller which tells the story of the legendary African leader Patrice Emery Lumumba. -
1±21±2 1±21±2
Revue dramatickyÂch umenõ VydaÂva Kabinet divadla a filmu 1±21±2 1±21±2 Slovenskej akadeÂmie vied RocÏnõÂk 53 ± 2005 ± CÏõÂslo 1±2 OBSAH Hlavny redaktor: Andrej Mat'asÏõÂk RedakcÏna rada: MilosÏ MistrõÂk, JuÂlius PasÏteka, JaÂn SlaÂdecÏek, Ida HledõÂkovaÂ, SÏ TU DIE Karol HoraÂk, NadezÏda LindovskaÂ,JaÂn ZavarskyÂ, Miloslav Bla- hynka, Ladislav CÏ avojskyÂ, Jana Dutkova Ladislav CÏ avojskyÂ: MuzikaÂlovy BednaÂrik ............................... 3 Miloslav Blahynka: Esteticka analyÂza opery a jej mozÏnosti ................. 22 Dagmar InsÏtitorisovaÂ: O divadelnej konvencii .......................... 28 Anton Kret: Z esejõ ozaÂhadaÂch tvorby: Talent alebo Vystupovanie na Olymp .. 32 VladimõÂrSÏtefko: Zabudnuty rezÏiseÂr Ernest StrednÏansky .................. 36 Martin PaluÂch: Film ako zrkadlo subjektu I. ............................. 57 Elena KnopovaÂ: TajovskeÂho ZÏ ensky zaÂkon a Hasprov Tajovsky ............. 69 Technicka redaktorka: Jana JanõÂkova ROZHL' ADY Adresa redakcie: Kabinetdivadla a filmu SAV MilosÏ MistrõÂk: Sarah Kane ± samovrazÏda dialoÂgu ........................ 95 DuÂbravska cesta 9 Dagmar SabolovaÂ-Princic: Ako vypovedat'nevypovedane ................ 106 841 04 Bratislava Slovenska republika ROZHOVOR TelefoÂn: ++ 4212/ 54777193 Andrej Mat'asÏõÂk ± MatuÂsÏ Ol'ha: DivaÂk chodõ do divadla pre odpoved' Fax: ++ 4212/ 54777567 na otaÂzku ako zÏit' ............................................... 114 E-mail: [email protected] STATE Dagmar PodmakovaÂ: OpaÈt' o cÏloveku... na ceste ....................... -
A Structural Approach to the Arabian Nights
AWEJ. Special Issue on Literature No.2 October, 2014 Pp. 125- 136 A Structural Approach to The Arabian Nights Sura M. Khrais Department of English Language and Literature Princess Alia University College Al-Balqa Applied University Amman, Jordan Abstract This paper introduces a structural study of The Arabian Nights, Book III. The structural approach used by Vladimir Propp on the Russian folktales along with Tzvetan Todorov's ideas on the literature of the fantastic will be applied here. The researcher argues that structural reading of the chosen ten stories is fruitful because structuralism focuses on multiple texts, seeking how these texts unify themselves into a coherent system. This approach enables readers to study the text as a manifestation of an abstract structure. The paper will concentrate on three different aspects: character types, narrative technique and setting (elements of place). First, the researcher classifies characters according to their contribution to the action. Propp's theory of the function of the dramatist personae will be adopted in this respect. The researcher will discuss thirteen different functions. Then, the same characters will be classified according to their conformity to reality into historical, imaginative, and fairy characters. The role of the fairy characters in The Arabian Nights will be highlighted and in this respect Vladimir's theory of the fantastic will be used to study the significance of the supernatural elements in the target texts. Next, the narrative techniques in The Arabian Nights will be discussed in details with a special emphasis on the frame story technique. Finally, the paper shall discuss the features of place in the tales and show their distinctive yet common elements. -
Larry's Handy Dandy SOWPODS Wordolator
Larry's Handy Dandy SOWPODS Wordolator Words with Q not followed by U (84) BUQSHA BUQSHAS BURQA BURQAS FAQIR FAQIRS INQILAB INQILABS MBAQANGA MBAQANGAS MUQADDAM MUQADDAMS NIQAB NIQABS QABALA QABALAH QABALAHS QABALAS QABALISM QABALISMS QABALIST QABALISTIC QABALISTS QADI QADIS QAID QAIDS QAIMAQAM QAIMAQAMS QALAMDAN QALAMDANS QANAT QANATS QASIDA QASIDAS QAT QATS QAWWAL QAWWALI QAWWALIS QAWWALS QI QIBLA QIBLAS QIGONG QIGONGS QINDAR QINDARKA QINDARS QINGHAOSU QINGHAOSUS QINTAR QINTARS QIS QIVIUT QIVIUTS QOPH QOPHS QORMA QORMAS QWERTIES QWERTY QWERTYS SHEQALIM SHEQEL SHEQELS SUQ SUQS TALAQ TALAQS TRANQ TRANQS TSADDIQ TSADDIQIM TSADDIQS TZADDIQ TZADDIQIM TZADDIQS UMIAQ UMIAQS WAQF WAQFS YAQONA YAQONAS Words without Vowels (28) BRR BRRR CH CRWTH CRWTHS CWM CWMS CWTCH HM HMM MM NTH PFFT PHPHT PHT PSST PST SH SHH ST TSK TSKS TSKTSK TSKTSKS TWP ZZZ ZZZS Words with Vowels and One Consonant by Consanant (130) BEAU OBIA OBOE CIAO COOEE ACAI AECIA A DIEU IDEA IDEE ODEA AIDE AIDOI AUDIO EIDE OIDIA EUOI EUOUAE A GEE AGIO AGUE OGEE AIGA EUGE HIOI HUIA OHIA EUOI JIAO AJEE OUIJA KAIE KUIA AKEE LIEU LOOIE LOUIE LUAU ALAE ALEE ALOE ILEA ILIA OLEA OLEO OLIO AALII AULA AULOI EALE AIOLI MEOU MIAOU MOAI MOOI MOUE AMIA AMIE EMEU OUMA NAOI ANOA INIA ONIE UNAI UNAU AINE AINEE AUNE EINA EINE AEON EOAN EUOI EUOUAE PAUA EPEE OUPA QUAI QUEUE AQUA AQUAE RAIA ROUE AREA AREAE ARIA URAEI URAO UREA AERIE AERO AURA AURAE AUREI EERIE EURO IURE OORIE OURIE A SEA EASE OOSE AIAS EAUS TOEA ATUA ETUI AITU AUTO IOTA EUOI EUOUAE EUOUAE VIAE EVOE UVAE UVEA EAVE A WEE I XIA EAUX ZOAEA -
Cartographie De L'industrie Haïtienne De La Musique
CARTOGRAPHIE DE L’INDUSTRIE HAÏTIENNE DE LA MUSIQUE Organisation Diversité des Nations Unies des expressions pour l’éducation, culturelles la science et la culture Merci à tous les professionnels de la musique en Haïti et en diaspora qui ont accepté de prendre part à cette enquête et à tous ceux qui ont participé aux focus groups et à la table ronde. Merci à toute l’équipe d’Ayiti Mizik, à Patricio Jeretic, Joel Widmaier, Malaika Bécoulet, Mimerose Beaubrun, Ti Jo Zenny et à Jonathan Perry. Merci au FIDC pour sa confiance et d’avoir cru à ce projet. Cette étude est imprimée gracieusement grâce à la Fondation Lucienne Deschamps. Chambre de Commerce et d’Industrie Textes : Pascale Jaunay (Ayiti Mizik) | Isaac Marcelin (Ayiti Nexus) | Philippe Bécoulet (Leos) Graphisme : Ricardo Mathieu, Joël Widmaier (couverture) Editing: Ricardo Mathieu, Milena Sandler Crédits photos couverture : Josué Azor, Joël Widmaier Firme d’enquête et focus group : Ayiti Nexus Tous droits réservés de reproduction des textes, photos et graphiques réservés pour tous pays ISBN : 978-99970-4-697-0 CARTOGRAPHIE DE L’INDUSTRIE HAÏTIENNE LA MUSIQUE Dépot Légal : 1707-465 2 Imprimé en Haïti CARTOGRAPHIE DE L’INDUSTRIE HAÏTIENNE DE LA MUSIQUE Organisation Diversité des Nations Unies des expressions pour l’éducation, culturelles la science et la culture CARTOGRAPHIE DE L’INDUSTRIE HAÏTIENNE LA MUSIQUE 3 SOMMAIRE I. INTRODUCTION 8 A. CONTEXTE DU PROJET 8 B. OBJECTIFS 8 C. JUSTIFICATION 9 D. MÉTHODOLOGIE 10 1. Enquêtes de terrain 10 2. Focus groups 13 3. Analyse des résultats 13 4. Interviews 14 5. Table-ronde nationale 14 II. -
I Am Not Your Negro
Magnolia Pictures and Amazon Studios Velvet Film, Inc., Velvet Film, Artémis Productions, Close Up Films In coproduction with ARTE France, Independent Television Service (ITVS) with funding provided by Corporation for Public Broadcasting (CPB), RTS Radio Télévision Suisse, RTBF (Télévision belge), Shelter Prod With the support of Centre National du Cinéma et de l’Image Animée, MEDIA Programme of the European Union, Sundance Institute Documentary Film Program, National Black Programming Consortium (NBPC), Cinereach, PROCIREP – Société des Producteurs, ANGOA, Taxshelter.be, ING, Tax Shelter Incentive of the Federal Government of Belgium, Cinéforom, Loterie Romande Presents I AM NOT YOUR NEGRO A film by Raoul Peck From the writings of James Baldwin Cast: Samuel L. Jackson 93 minutes Winner Best Documentary – Los Angeles Film Critics Association Winner Best Writing - IDA Creative Recognition Award Four Festival Audience Awards – Toronto, Hamptons, Philadelphia, Chicago Two IDA Documentary Awards Nominations – Including Best Feature Five Cinema Eye Honors Award Nominations – Including Outstanding Achievement in Nonfiction Feature Filmmaking and Direction Best Documentary Nomination – Film Independent Spirit Awards Best Documentary Nomination – Gotham Awards Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: Arianne Ayers Ryan Werner Rene Ridinger George Nicholis Emilie Spiegel Shelby Kimlick Magnolia Pictures Cinetic Media MPRM Communications (212) 924-6701 phone [email protected] [email protected] [email protected] [email protected] [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com SYNOPSIS In 1979, James Baldwin wrote a letter to his literary agent describing his next project, Remember This House. -
Moloch Tropical Ou Le Film Politique En Haïti
Haïti en Marche, édition du 08 au 14 Septembre 2010 • Vol XXIV • N° 33 HIER & AUJOURD’HUI Moloch Tropical ou le fi lm politique en Haïti PORT-AU-PRINCE, 1er Septembre – Le ci- ‘L’homme sur les quais’ et ‘Lumumba’) a réalisé un dernier Selon différents articles parus à l’extérieur, ‘Mo- néaste haïtien Raoul Peck (plus connu comme l’auteur de fi lm intitulé ‘Moloch Tropical’. loch Tropical’ – qui n’a pas encore été projeté en Haïti - est l’histoire d’un dictateur et celui-ci aurait des traits marquants avec l’ex-président et prêtre Jean-Bertrand Aristide. Nous n’avons pas encore vu le fi lm et ne saurions (CINEMA /p. 6) Dans le rôle du dictateur haïtien surnommé Moloch, l’acteur Zinédine Soualem, et assise au fond la touchante Sonia Rolland Papa Doc recevant une mission militaire américaine VIOLENCES ET DROGUE Elections : Qui a la légitimité comme La sécurité demeure candidat du parti présidentiel ? fragile en Haïti à PORT-AU-PRINCE, 4 Septembre – C’est la le lui interdit. Mais les candidats eux-mêmes hésitent à se veillée d’armes. Qu’est-ce qui domine l’actualité ? Les lancer. Ils sont en train de délimiter leurs pieds carrés ou l'approche des élections visites du chef de l’Etat aux différents candidats à la pré- surface de réparation. Ils posent leurs banderilles comme sidence. Or le président n’est pas candidat, la Constitution (LEGITIMITE / p. 4) NEW YORK (Nations unies) - La sécurité demeure fragile en Haïti à l'approche des élections présidentielle et lé- gislatives du 28 novembre qui risquent d'être affectées par un nombre croissant d'armes en circulation et un trafi c de drogue qui se renforce, souligne mardi un rapport de l'ONU. -
Narrative ‘Trauma-Testimony’ and Fragmented Identity in Sometimes in April
Narrative ‘Trauma-Testimony’ and Fragmented Identity in Sometimes in April Soji Cole Faculty of Humanities, Brock University 1812 Sir Isaac Brock Way, St. Catherines, Ontario, Canada E-mail: [email protected] This paper examines how trauma victims’ sense of self is split and how personal identity is fragmented in the course of giving testimony of the traumatic events. The film ‘Sometimes in April’ is used as a case study based on its critical engagement with different elements of narrativity of traumatic events, and the subject of identity. The paper adopts the concepts of narrative construction of the self, selfhood, and identity following the works of scholars like Ricoeur, Schechtman and Taylor. It argues that the film ‘Sometimes in April’ is an alternative sociological space for the studying and understanding of narrative and identity construction of victims and witnesses to the 1994 Rwandan genocide. Narrative, Identity, Testimony, African film, Trauma Traditionally, trauma refers to a physical and psychological phenomenon which constitute a violent disruption of the body’s integrity. It is described as an intensely painful experience in which the mental and emotional after-effects can completely alter the sufferer’s relationship and perception with the surrounding world. The unprocessed memory of the experience always remains engraved in the mind, leading to pathologies of memory, emotion and practical functioning. In the late nineteenth century, the concept began to be applied to psychological phenomena by pioneers like Sigmund Freud and Pierre Janet in their work on hysteria. Psychological trauma refers to an experience that overwhelmed a person’s normal means of mentally processing stimuli. -
In Solidarity Anti-Racism Training Bibliography, Resources & Digital References
1 In Solidarity Anti-Racism Training Bibliography, Resources & Digital References Compiled by Deacon Joan Crawford for St. Philip’s in the Hills Episcopal Church-Jan 2021 BOOKS Alexander, Michelle. The New Jim Crow: Mass Incarceration in the Age of Colorblindness. Samuel DeWitt Proctor Conference, 2011. Anderson, Carol. (2020). WHITE RAGE the unspoken truth of our racial divide; the unspoken truth of our racial divide. S.l.: BLOOMSBURY PUBLISHING PLC. Baptist, Edward E. The Half Has Never Been Told: Slavery and the Making of American Capitalism. Basic Books, 2016. DiAngelo, R. (2019). White fragility: Why it's so hard for white people to talk about racism. London: Allen Lane, an imprint of Penguin Books. Kendi, I. X. (2017). Stamped from the beginning: The definitive history of racist ideas in America. New York: Nation Books. Reynolds, J., & Kendi, I. X. (2020). Stamped: Racism, antiracism, and you. New York: Little, Brown and Company. King, Martin Luther. A Letter from a Birmingham Jail. Publisher not identified, 1968. Rothstein, Richard. The Color of Law: a Forgotten History of How Our Government Segregated America. Liveright Publishing Corporation, a Division of W.W. Norton & Company, 2017. Stevenson Bryan. Just Mercy: A Story of Justice and Redemption. Spiegel & Grau, 2015. Washington, Harriet A. Medical Apartheid: The Dark History of Medical Experimentation on Black Americans from Colonial Times to the Present. Paw Prints, 2010 (Anchor Books, 2008) Wilkerson, Isabel. The Warmth of Other Suns: The Epic Story of Americas Great Migration. Random House, 2010. Wilkerson, I. (2020). Caste: The origins of our discontents. New York: Random House. Rev. Joan Crawford [email protected] FILMS 13th by Ava DuVernay only available on NETFLIX Tell Them We Are Rising: The Story of Black Colleges and Universities by Stanley Nelson; on PBS I Am Not Your Negro by Raoul Peck available on Prime, Netflix and other outlets The Hate U Give – written by Angie Thomas. -
Hip Hop Culture in a Small Moroccan City SMALL MORROCAN CITY
Seilstad: Hip Hop Culture in a Small Moroccan City SMALL MORROCAN CITY . Hip Hop Culture in a Small Moroccan City Brian Seilstad This paper explores Hip Hop culture by tracing its development from the global level through the Arab world to finally its manifestation in Morocco. Hip Hop culture is defined broadly as a wide range of artistic expressions—rap, graffiti, breakdancing, DJing, etc.—and also a mind-set or way of life. The focus on the Moroccan context starts at the national level, pointing out some of the key artists, issues Moroccan Hip Hop faces, and how this has been explored by scholars of Hip Hop. The paper focuses on an ethnographic exploration of Hip Hop culture in Ifrane, a small Moroccan city. An analytic approach suggested in Patti Lather’s 1991 book Getting Smart informs and expands the paper particularly by privileging the emancipatory power of Moroccan Hip Hop, creating a nuanced view of the impact of Hip Hop on the lives of youth in this small community. Finally, the paper employs a self-reflexive stance to critically view the author’s own position in the research project in order to name some of the challenges and contradictions of a white male American doing Hip Hop research in the Moroccan context. I was a Peace Corps Volunteer in Morocco from 2005-2007. During that time, I worked in a small town, Amizmiz, near Marrakesh that I came to see as “normal” in terms of infrastructure, schools, and people. Of course, I am using the term “normal” here ironically as “normal” is one of language’s powerful tools for the creation and maintenance of arbitrary, and often oppressive, cultural values and practices.1 When I moved back to Morocco to work as Al Akhawayn University (AUI) in 2010, I lived in another small town near Fes named Ifrane. -
Matching Islamic Patterns in Kufic Images
Pattern Anal Applic (2015) 18:601–617 DOI 10.1007/s10044-014-0437-z SHORT PAPER Matching Islamic patterns in Kufic images Damla Arifoglu • Emre Sahin • Hande Adiguzel • Pinar Duygulu • Mehmet Kalpakli Received: 2 October 2011 / Accepted: 16 November 2014 / Published online: 21 January 2015 Ó Springer-Verlag London 2015 Abstract In this study, we address the problem of Keywords Cultural heritage Á Calligraphy Á Kufic Á matching patterns in Kufic calligraphy images. Being used Sequence matching Á Graph matching as a decorative element, Kufic images have been designed in a way that makes it difficult to be read by non-experts. Therefore, available methods for handwriting recognition 1 Introduction are not easily applicable to the recognition of Kufic pat- terns. In this study, we propose two new methods for Kufic Decorative inscriptions have been used both in Western pattern matching. The first method approximates the con- and Eastern cultures throughout the history. As depicting tours of connected components into lines and then utilizes humans in art is discouraged in Islam, geometric patterns chain code representation. Sequence matching techniques and calligraphy have been the main form of artistic with a penalty for gaps are exploited for handling the expression in Islamic cultures.1 variations between different instances of sub-patterns. In Kufic is one of the oldest calligraphic forms of the the second method, skeletons of connected components are various Islamic scripts. Kufic derives its name from the city represented as a graph where junction and end points are of Kufa, where it was developed around the eighth century, considered as nodes. -
Patrice Émery Lumumba
Swarthmore College Works French & Francophone Studies Faculty Works French & Francophone Studies 2008 Patrice Émery Lumumba Carina Yervasi Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-french Part of the French and Francophone Language and Literature Commons Recommended Citation Carina Yervasi. (2008). "Patrice Émery Lumumba". A Historical Companion To Postcolonial Literatures: Continental Europe And Its Empires. https://works.swarthmore.edu/fac-french/46 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in French & Francophone Studies Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Patrice Émery Lumumba 37 Patrice Émery Lumumba Patrice Émery Lumumba (1925–61), a Congolese leader of the nationalist independence movement against Belgian colonialism and co-founder of the Mouvement National Congolais (MNC) in 1958, was the first Prime Minister of what is now the Democratic Republic of the Congo from June 1960 until September 1960, when he was removed from office by a confluence of forces under the direction of President Joseph Kasavubu, Colonel Joseph Désiré Mobutu, and Belgian and American officials. Lumumba was born in Onalua in the Katako-Kombe district of Sankuru in the Kasai province of the Belgian Congo and educated by Protestant missionaries. He was registered as an évolué and worked as a postal clerk and as a charismatic salesman, an image made famous first in Aimé Césaire’s play Une Saison au Congo (1967) and then in Raoul Peck’s biographical film Lumumba (2000). He became active in the independence movements in the mid-1950s and began a career as a journalist and writer, editing a Congolese postal workers’ newspaper L’Écho, and writing for La Voix du Congolais, La Croix du Congo and the Belgium-based, L’Afrique et le Monde.