DOCSLIB.ORG

Doing Justice As a Path to Sustainability in Community Work

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Doing Justice As a Path to Sustainability in Community Work DOING JUSTICE AS A PATH TO SUSTAINABILITY IN COMMUNITY WORK PROEFCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Tilburg, op gezag van de rector magnificus, prof. dr. Ph. Eijlander, in het openbaar te verdedigen ten overstaan van een door het college voor promoties aangewezen commissie in de Ruth First zaal van de Universiteit op dinsdag 9 februari 2010 om 14. 15 uur door Victoria ann Reynolds geboren op 21 march 1961 te Toronto, Ontario, Canada Promotores: Prof. Dr. Kenneth J. Gergen Prof. Dr. John B. Rijsman SUMMARY: DOING JUSTICE AS A PATH TO SUSTAINABILITY IN COMMUNITY WORK I believe that it is possible to stay alive and useful in community work that takes place in contexts of social injustices. Sustaining ourselves in this difficult and sometimes spiritually painful work becomes more possible when we are able to work in accord with our ethics, embrace a spirit of solidarity, and see our collective work as doing justice. In the frame of this writing, I describe the paths that have led me to this work from social justice activism. The clients I have worked alongside have impacted my work, particularly survivors of torture and political violence, and people of the downtown Eastside of Vancouver who are subjected to social injustices and extreme marginalization. I am the supervisor for counsellors, community workers, and practitioners who work in these contexts of social injustice, and it is my task to shoulder them up to be useful for the long haul. In Part I, I outline my ethical stance for doing justice. This stance is comprised of six Guiding Intentions. Centering Ethics helps us put our shared ethics at the center by taking positions against neutrality and for justice. Doing Solidarity means that we see all of our work towards justice as inter-connected and that we act collectively. Naming Power requires identifying injustices and taking positions that address abuses of power. It includes witnessing peoples' resistance to oppression, addressing privilege, and creating practices of accountability. Fostering Collective Sustainability acknowledges that we are meant to do this work together. We resist individualism, and invite collective social responsibility for a just society without putting the burden of an unjust society on the backs of individual workers. Critically Engaging with Language acknowledges the power of language, and commitments to using language in liberatory ways. It welcomes the language that occurs outside of words. Structuring Safety creates practices that invite safety into our work, informs us to act as allies where we are privileged, and to honour collaboration. In Part II, I outline the Solidarity Group practice that I created in response to both the contexts of injustice I worked in, and my longstanding commitment to this ethical stance for doing justice. The Solidarity Group promotes collective sustainability by nourishing workers connections with an ethic of doing justice in their work and their lives. It brings forward a spirit of social justice, and invites us to act in solidarity with the aim of creating an experience of community while contesting isolation and individualism. The center of the Solidarity Group is collective. I invite participants into group work that holds the entire group at the center as the resource. The supervisor is not the resource. The dialogue is organized around experiences which may include acts of justice, ethical struggles, startling successes, or painful losses. This is a different emphasis because we do not organize around "cases" or problems of individual workers. Solidarity Groups are inspired by Collaborative and Narrative therapies and are influenced by the innovative history of Reflecting Teams. In bridging activism and community work my hope is that the ethical stance of doing justice can make a contribution to our collective sustainability. As with clients, we do not want to be merely survivors of this ii complex work. We want to be of use, acting in accord with the ethics to which we are committed and fully alive across time. For David Walton 1959 -2005 Whose integrity, unapologetic-earnestness, and ethical ways of being continue to humble and inspire. And whose solidarity accompanies me on many paths to liberation, and in this writing. I have worked alongside survivors of torture and political violence and community workers in New Zealand, Australia, Dharamsala (India), Chile, and Canada. In Botswana, Africa, I worked and lived with political refugees. These good people are the heart of this work. iii Doing Justice as a Path to Sustainability in Community Work CONTENTS The Frame .......................................................................................................................................................... 1 i. Introduction ........................................................................................................................................................................... 1 ii. "Here We Are, Amazingly Alive, Against Long Odds" ................................................................................................... 1 iii. The Frame: The Clients, the Community Workers, the Supervisor, a Supervision of Solidarity ........................ 4 Part I. An Ethical Stance for Doing Justice: The Guiding Intentions ................................................... 17 1. Introduction to an Ethical Stance for Doing Justice: The Guiding Intentions ............................................................ 18 2. The Guiding Intentions ....................................................................................................................................................... 23 A. Centering Ethics .................................................................................................................................................................................. 23 B. Doing Solidarity .................................................................................................................................................................................... 33 C. Addressing Power ............................................................................................................................................................................... 47 D. Fostering Collective Sustainability ................................................................................................................................................... 62 E. Critically Engaging with Language ..................................................................................................................................................... 77 F. Structuring Safety ................................................................................................................................................................................. 95 3. Conclusion to an Ethical Stance for Doing Justice: The Guiding Intentions ............................................................ 108 Part II The Solidarity Group Practice ...................................................................................................... 109 1. Introduction to the Solidarity Group Practice ............................................................................................................. 109 2. Outline of the Solidarity Group ...................................................................................................................................... 110 3. The Solidarity Group: An Imagined Practice Example ............................................................................................... 112 4. The Spirit of the Solidarity Group Practice: The East Van Crew ............................................................................ 137 5. Furthering Talk on the East Van Crew's Solidarity Group ........................................................................................ 151 6. Following Threads of Intention: Focused Re-tellings from Solidarity Groups ...................................................... 156 7. Solidarity Notes: Letters from the Listening Witnesses ............................................................................................ 170 8. The Fluidity of the Solidarity Group: The Flow of Contexts and Formations ..................................................... 173 9. Furthering Talk from Within the Solidarity Group Practice ..................................................................................... 176 10. Other Solidarity Practices Informed by the Guiding Intentions ............................................................................. 179 A. The Solidarity Team ......................................................................................................................................................................... 180 B. People-ing the room ............................................................................................................................................................................. 183 C. The Supervision Witnessing Interview ......................................................................................................................................... 184 11. Conclusion to the Solidarity Group Practice ............................................................................................................. 189 Part III: Looking Back and Looking Ahead ............................................................................................
Load more

Recommended publications
  • Ani Difranco's Musical Structuring of Subjectivity and Pleasure in Dilate
    Dilating on Life: Ani DiFranco's Musical Structuring of Subjectivity and Pleasure in Dilate. by Adelia Honeywood Harrison B.M., The Eastman School of Music of the University of Rochester, 1993. A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Music; Historical Musicology) We accept thi^thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2000 © Adelia Honeywood Harrison, 2000 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Date Agrii atJmn DE-6 (2/88) Abstract The experience of subjectivity provided by an art form can consist of the sense of "recognizing ourselves, our feelings, our bodies, our beliefs, or our social positions" in the art work (Middleton, 1990). For fans of guitarist-singer-songwriter Ani DiFranco, the identification with a subjective reality experienced in her music is powerful and pleasurable enough to inspire them with ardent devotion. Ani DiFranco's influence may not be simply reduced to her media image as a bisexual feminist, with fanatically obsessive and possessive fans, who has achieved stunning financial success completely independent of any major recording label.
    [Show full text]
  • 1 O B S E R V E R
    1 O B S E R V E R Wednesday, April 15,1998 « Vol. XXXI No^Z4 THE INDEPENDENT NEWSPAPER SERVING NOTRE DAME AND SAINT MARY'S Pendergast pleads guilty in point-shaving scandal By PAUL SUWAN “Mr. Pendergast has agreed to cooper­ and Dewey Williams, 25, in connection Lee’s arraignment was set for April 20. The Daily Northwestern ate fully with the government’s investiga­ with a scheme to fix three NU men’s bas­ After the arraignment, Pendergast was tion,” assistant U.S. Attorney Patrick ketball games during the 1994-95 season. released on a $4,500 personal recog­ It was a gray, gloomy day outside, but Collins said. “We expect him to be one of Prosecutors estimated that between nizance bond. At the government’s federal prosecutors in the Northwestern our lead witness­ $40,000 and request, his sentencing will be postponed point shaving scandal got just what they es at trial.” $70,000 was until all trials in the case are over. wanted inside U.S. District Court in Pendergast and r . P e n d e r g a s t h a s a g r e e d t o b e t on NU Collins said Pendergast, a former kicker Chicago — the case’s his attorney, games against for the Notre Dame football team, would COOPERATE FULLY WITH THE GOV­ lirst guilty plea. Thomas Foran, ‘m: the University norm ally face 15 months to 21 months in As expected, alleged left the Dirksen ERNMENT’S INVESTIGATION.’ of Wisconsin, jail without a government recommenda­ mastermind Kevin Federal Building Penn State tion for a reduction in sentence.
    [Show full text]
  • 1999 Spring Quiz and Quill Magazine
    Otterbein University Digital Commons @ Otterbein Quiz and Quill Otterbein Journals & Magazines Spring 1999 1999 Spring Quiz and Quill Magazine Otterbein English Department Otterbein University, [email protected] Follow this and additional works at: https://digitalcommons.otterbein.edu/quizquill Part of the Fiction Commons, Nonfiction Commons, and the Poetry Commons Recommended Citation Otterbein English Department, "1999 Spring Quiz and Quill Magazine" (1999). Quiz and Quill. 89. https://digitalcommons.otterbein.edu/quizquill/89 This Book is brought to you for free and open access by the Otterbein Journals & Magazines at Digital Commons @ Otterbein. It has been accepted for inclusion in Quiz and Quill by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. ’i .4 V ■ V ■'■ S f i • V V.:v '-J- ■"'''' J- Quiz And Quill Otterbein College Spring 1999 Westerville, Ohio Editors Beth Gartland Erin McDonald Amy Peirano Staff Ellen Beversluis Amy Vollemecke Rob Fleming Eric Weiss Anthony Fulton Dawn Wood Carrie Leonard Clint Zehner Kate Thomas Faculty Advisor Dr. James Bailey Cover photo by Martha Schultz Editors' s Notes We are excited and relieved to present this years Quiz and Quill. It is the result of a year long effort to compile works by Otterbein s talented and unique writers. The staff has worked year-long on promoting the writing contests, holding poetry and drama readings and sponsoring events which focus on writing. To the full-time staff members, thank you for your help. We’d also like to thank the students who helped at different times throughout the year: Michael Smith and Eon Ngu.
    [Show full text]
  • Ladyslipper Catalog Table of Contents
    LADYSLIPPER CATALOG TABLE OF CONTENTS Ordering Information 2 Women's Spirituality * New Age 39 Ladyslipper On-Line! * Ladyslipper Listen Line 3 Women's Music * Feminist * Lesbian 46 Readers' Comments 4 Alternative 54 Free Gifts 5 Rock/Pop 56 Gift Orders * Gift Certificates 6 Folk/Singer-Songwriter 58 Musical Month Club * Donor Discount Club 7 Country 64 Ladyslipper's Top 100 8 Jazz 65 Mailing List Info * Buy a Brick, Build Our Future 9 Gospel 66 Ladyslipper's "Baby Pictures" 11 Blues * R&B/Rap 67 Cassette Madness Sale 12 Cabaret 68 Holiday 13 Acappella 69 Cards * Posters * Grabbags 16 Choral 70 Calendars 17 Dance 72 Classical 18 "Mehn's Music" 73 Global * Celtic/British Isles 21 Comedy 76 European 27 Spoken * Babyslipper Catalog 77 Latin American 28 Videos 79 Asian/Pacific 30 Songbooks * T-Shirts 83 Arabic/ Middle Eastern * Jewish 31 Books 84 African 32 Dedication * Credits * Join Our E-Mail List * Come Visit .... 85 African Heritage 34 Order Blank 86 Native American 35 Artist Index 87 Drumming/Percussion 37 MAIL: Ladyslipper, 3205 Hillsborough Road, Durham NC 27705 USA PHONE ORDERS: 800-634-6044 (Mon-Fri 9-9, Sat 10-6 Eastern Time) FAX ORDERS: 800-577-7892 INFORMATION: 919-383-8773 ORDERING INFO E-MAIL: [email protected] WEB SITE: www.ladyslipper.org PAYMENT: Orders can be prepaid or charged (we BACK-ORDERS AND ALTERNATIVES: If we are FORMAT: Each description states which formats are don't bill or ship C.O.D. except to stores, libraries and temporarily out of stock on a title, we will automati­ available: CD = compact disc, CS = cassette.
    [Show full text]
  • Download/1470/216
    SINGING QUEER: ARCHIVING AND CONSTRUCTING A LINEAGE THROUGH SONG by Katharine A. Cherry-Reid B.A., The University of Guelph, 1997 B.Ed., The University of British Columbia, 2000 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Gender, Race, Sexuality and Social Justice) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2015 © Katharine A. Cherry-Reid, 2015 Abstract Using an arts-based approach, this research examines how songs written by queer and lesbian musicians can account for and archive queer lived existence while constructing a musical genealogy for listeners and artists alike. By examining my own experience of listening to and attending performances of certain queer and lesbian identified musicians, and then composing and performing my own songs in public spaces, I make a case for the corporeal mobility of songs, and a process I have termed “queer musical lineaging.” Much of the research around music to date has centred on how it impacts and influences brain activity, and how it brings together subcultures and publics. The significance of this project lies in the research around musical processes and practices (listening, composing, performing) as corporeal acts that connect bodies to one another, and build kinships. This research draws mainly upon primary sources of autoethnographic, written accounts in the form of journal entries, stories, poems and song lyrics, and conducts an interpretive analysis of six “queer” songs, five composed by the author of this thesis, and one composed in collaboration with a trans* youth. This project will contribute to research on arts-based practices as archival work, as well as the impact that songs have on people’s lives by broadening our understanding of music’s corporeal effects and genealogical role in lived experience.
    [Show full text]
  • WRPM Recordings
    Full list of recordings held in the WRPM (Women's Revolutions Per Minute) Collection Special Collections & Archives, Goldsmiths, University of London Accession no. Artist Title Label Format Year Notes Keyword Tejano Roots : The Women Arhoolie Tape 1991 Comp. By Oneworld C9999000175618 We Have a Dream Tape Peacesongs C9999000175619 Sisterfire Tape C9999000175620 Girlfriend Tape C9999000175632 Vol. 2: Women of Mali Tape 1994 Wassoulou Sound This is Street Music C9999000175631 1982-92 Tape C9999000175630 Redwood Collection Tape Vol. 3 : Waulking Songs Greentrax C9999000175629 from Barra Recordings Tape 1994 Scottish Tradition C9999000175628 Vol.2: Women of Mali Tape 1994 Wassoulou Sound Independent C9999000175627 Vol. 4: Sweet Petunias Rosetta Records Tape 1986 Women’s Blues Women’s Railroad Blues : Sorry But I Can’t Take Women’s Heritage C9999000175626 You Rosetta Records Tape 1980 Series Jailhouse Blues 1936 & C9999000175625 1939 Rosetta Records Tape 1987 Women’s Heritage Series Independent C9999000175624 Vol. 3 : Super Sisters Rosetta Records Tape 1985 Women’s Blues Redwood Records & Aural Tradition C9999000175623 Live from El Salvador Records Tape Women’s Heritage Series Independent C9999000175622 Vol. 2 : Big Mamas Rosetta Records Tape 1985 Women’s Blues Accession no. Artist Title Label Format Year Notes Keyword C9999900040006 Live from El Salvador Redwood Records CD 1991 One Night Stands at Blow the Fuse C9999900040007 Blow the Fuse Records CD 1994 Le Mystère Des Voix C9999900040033 Bulgares Vol. 2 4AD CD 1988 One Night Stands at Blow the Fuse C9999000175770 Blow the Fuse Records TAPE 1994 An Ovatones C9999000175756 Into the Red TAPE 1993 Recording C9999000175862 Flying High Long Time TAPE 1989 Wallen, Errollyn: It all Depends on You Cooper, Linsay: The Road is Wider than Long Maconchy, Elizabeth: My Dark Heart Lontano: Copies of LeFanu, Nicola: The Old DAT Masters British C9999000175966 Woman of Beare TAPE Women Composers Schynige Platte English Choir of Berne Swiss Festival, Bern C9999000175953 TAPE 1992 Vol.
    [Show full text]
  • Nonconformity, Bisexual Consciousness and Transversity in the Work of Ani Difranco
    ‘Face Up and Sing’: Nonconformity, Bisexual Consciousness and Transversity in the Work of Ani DiFranco Nan Alice Espeseth 154584 Institutt for Fremmedspråk Vårsemesteret 2008 TABLE OF CONTENT Foreword i Introduction 1 Short Biography of Ani DiFranco 7 Chapter 1: Ani DiFranco in Context: The Continuum of American Non-Conformity 11 1. 1. Planting the Seeds for Change: Ralph Waldo Emerson and Walt Whitman 13 1. 2. Beat but Not Broken: The Beat Generation and Allen Ginsberg 18 1. 3. Like a Rolling Stone: The Role of Folk Music, Bob Dylan and Woody Guthrie 28 1. 4. Fellow Workers: Utah Phillips and Ammon Hennacy 41 Chapter 2: Feminism and Sexuality: The Third Wave and Bisexual Consciousness 51 2. 1. The Third Wave 52 2. 2. The Individual Experience: DiFranco’s Stories 62 2. 3. The Bisexual Consciousness 73 Chapter 3: Transversity 83 3. 1. Location and Subject Territory 84 3. 2. Transversity and Extended Democracy 91 Conclusion 101 Bibliography 105 FOREWORD The first time I heard Ani DiFranco I was 17 or 18, sitting legs crossed in front of a tape recorder in the hallways of my high school listening to a tape that had been sent to a friend of mine from someone she knew in the U.S. The first song I heard was “The Story.” I read some years later that the way DiFranco’s music had started to spread was by tapes being circulated between campuses in the US and I remember thinking how fittingly it was that it had reached my ears the same way. I also drew the line between DiFranco being only 19 when she released her first album where “The Story” appears and that I had been in my late teens the first time I heard her muisc.
    [Show full text]
  • Bestillingsnr. Artist Tittel 0808 E-76 Meir E-Stoff 1255 Conradi,Kåre HC
    Bestillingsnr. Artist Tittel 0808 E-76 Meir E-stoff 1255 Conradi,Kåre HC Andersen 1447 Conradi,Kåre Profetene 12004 Trashcan Darlings Tunes from the Trashcan 51832 Oslo Gospel Choir God gave me a new song 60011 Div art Den lille redningsskøyta Elias 60012 Div art Jippi - mine barnesanger 61117 Div art Fola, fola blakken - kjente og kjære dyr 61118 Lindland,Elisabeth/Nissa Nyberget Casta la Vista-Nissa og Elisabeths beste 61121 Div art Barnesangskatten 61126 Andersen,Maj Britt Pulverheksas jul 61127 Div art Magiske Kroker og hemmeligheter-sanger a 61128 AF1 Alle for en! 61134 Ugress/NRK Kometkameratene 61136 Bredeli,Oline Rørstad Fjellgården i Trollheimen - fra Tvserien 61138 Div art Supersanger med Fantorangen og Kuraffen 61139 Div art Barnas Sommer 61142 Barnas Supershow Hytta Vår 61147 Gråtass De beste fra Gråtass 61150 Div art Jul Jul Jul! (De beste sangene fra barne 61155 Egner,Thorbjørn/Div art Vi har den ære. En hyllest til T Egner 61157 Blåfjell 2 Jakten på det magiske horn (soundtrack) 61165 Div art Karsten og Petra:sangene fra filmene og 61166 Div art Barna synger Kaptein Sabeltann 61167 Div art Barna synger Thorbjørn Egner 61168 Div art Barna synger Alf Prøysen 61179 Superbarna Vi vil leke! 61188 Meg og Kammeraten min Gjenta-Jenta 61189 Meg og Kammeraten min Gjenta-Jenta (VINYL) 61192 Egner,Thorbjørn/Katzenjammer/Myhre/Heger Hakkebakkeskogen (filmmusikken) 61193 Egner,Thorbjørn/Katzenjammer/Myhre/Heger Hakkebakkeskogen (filmmusikken) (VINYL) 61196 Superbarna Hipp Hurra 61197 Div art (NRKs julekalender) Snøfall 61198 Sangfoni
    [Show full text]
  • ND Campus Reflects on Fall Dances
    --------------- Ani ~1ondav,.: November 18,2002 THE rocks Windy City page 12 The Independent Newspaper Seroing Notre Dame and Saint Mary's VOL XXXVII NO. 59 HTTP://OBSERVER.ND.EDU ND campus reflects on fall dances Senior Club to the basement By TERESA FRALISH of the Knights of Columbus Assistant News Editor building, where dorm dances could be held. Just one semester after the One of the major players in University instituted sweeping last year's decision to end in­ changes in an effort to curb hall dances, Father Mark drinking among Notre Dame Poorman, the University's students, 19 dorms have held vice-president for Student their fall dances under the Affairs, said he felt the new new policies that require requirements had been a dorms to hold their SYHs out­ good policy. side of the residence halls. "It's early to say," Poorman Despite the new regulations, said. "But overall we have students and staff say it received a lot of positive feed­ seems too early to tell what back about the dances this the final result will be. year, especially from stu­ "I think the jury's still out," dents." said Jeff Shoup, director of R eprese n tati ves from Hesidence Life. Student Government worked Last March, Student Affairs with Poorman's office over announced the new policies, the summer to ensure that ending a long time tradition the new policies would be of in-hall SYHs. University implemented smoothly. "Our officials felt that many stu­ office worked all summer dents were leaving the dances with Student Body President ANNIE: O'CONNORi[he Observer to drink in their rooms.
    [Show full text]
  • Hate Kills: a Social Justice Response to “Suicide” Vikki Reynolds, Reflections by Jennifer White 2012
    Hate Kills: A social justice response to “suicide” Vikki Reynolds, Reflections by Jennifer White www.vikkireynolds.ca 2012 (This article is framed from a keynote address delivered in October 2011 by Vikki at the CASP [Canadian Association for Suicide Prevention] National Conference: New Conversations on Suicidality. Jennifer White offers her reflections and critique in the margins.) Thanks for welcoming me. "Suicide" is not an issue on which I'm an expert at all. I'm not speaking in Comment [JW1]: The placing of the word suicide in quotation marks effectively the domain really of what gets called suicide, I'm here more as an activist in the social justice disrupts its taken-for-granted quality. I movement, in which there are no experts, and a whole bunch of workers. I greatly appreciate being understand this to mean that suicide is not a single, stable, nor self-evident reality. It is invited and I'd like to thank Dammy Albach for meeting with me for coffee and welcoming me to your interesting to consider how reading this text community. When the committee invited me to speak I said "I'm not sure you want me. I'm going to say (instead of listening to Vikki speak it) offers a different vantage point for making “shit”, I have tattoos and I'm going to talk about justice - this usually isn't comforting stuff". Everybody meaning. always says they want you, so I said "No, you need to meet with me and make sure I'll be of use". You Comment [JW2]: I welcome the day want to go places where you're in the right place - so I'm convinced that we're all in the right place, and when the field of suicidology might get re- we're all doing the same work.
    [Show full text]
  • Proquest Dissertations
    Righteous Sounds and Reproductive Justice: The Influence of Ani DiFranco's Music for Reproductive Rights Activists By Anna Lise Domanski A thesis submitted in partial fulfilment of the requirements for the degree Master of Arts MA Program in Social Justice and Equity Studies BROCK UNIVERSITY St. Catharines, Ontario February 2008 © Anna Lise Domanski, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-46557-8 Our file Notre reference ISBN: 978-0-494-46557-8 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Untitled Meditation No
    TABLE OF CONTENTS Ordering Information 2 Women's Music * Feminist * Lesbian 46 Ladyslipper On-Line! * Ladyslipper Listen Line 3 Alternative 54 Mailing List Information 4 Rock/Pop 56 Readers' Comments 4 Folk/Singer-Songwriter 58 New Sounds To Warm Your Winter 5 Country 64 Gift Orders * Gift Certificates 10 Jazz 65 Musical Month Club * Donor Discount Club 11 Gospel 66 Cassette Madness Sale 12 Blues * R&B/Rap 67 Holiday 13 Cabaret 68 Cards * Posters * Grabbags 16 Acappella 69 Calendars 17 Choral 70 Classical 18 Dance 72 Global * Celtic/British Isles 21 "Mehn's Music" 73 European 27 Comedy 76 Latin American 28 Spoken * Babyslipper Catalog 77 Asian/Pacific 30 Videos 79 Arabic/ Middle Eastern * Jewish 31 Songbooks * T-Shirts 83 African 32 Books 84 African Heritage 34 Free Bonus Gifts! 85 Native American 35 Credits * Join Our E-Mail List * Come Visit 85 Drumming/Percussion 37 Order Blank 86 Women's Spirituality * New Age 39 Artist Index 87 MAIL: Ladyslipper. 3205 Hillsborough Road. Durham NC 27705 USA PHONE ORDERS: 800-634-6044 (Mon-Fri 9-9. Sat 10-6 Eastern Time) ORDERING INFO FAX ORDERS: 800-577-7892 INFORMATION: 919-383-8773 E-MAIL: [email protected] WEB SITE: www.ladyslipper.org PAYMENT: Orders can be prepaid or charged (we BACK-ORDERS AND ALTERNATIVES: If we are FORMAT: Each description states which formats are don't bill or ship C.O.D. except to stores, libraries and temporarily out of stock on a title, we will automati­ available: CD = compact disc, CS = cassette. Some schools). Make check or money order payable to cally back-order It unless you include alternatives recordings are available oniy on CD or only on cassette, Ladyslipper, Inc.
    [Show full text]