Between Policy, Recognition and Rioting: Analyzing the Role of Urban
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Paris, Brittany & Normandy
9 or 12 days PARIS, BRITTANY & NORMANDY FACULTY-LED INTERNATIONAL PROGRAMS ABOUT THIS TOUR Rich in art, culture, fashion and history, France is an ideal setting for your students to finesse their language skills or admire the masterpieces in the Louvre. Delight in the culture of Paris, explore the rocky island commune of Mont Saint-Michel and reflect upon the events that took place during World War II on the beaches of Normandy. Through it all, you’ll return home prepared for whatever path lies ahead of you. Beyond photos and stories, new perspectives and glowing confidence, you’ll have something to carry with you for the rest of your life. It could be an inscription you read on the walls of a famous monument, or perhaps a joke you shared with another student from around the world. The fact is, there’s just something transformative about an EF College Study Tour, and it’s different for every traveler. Once you’ve traveled with us, you’ll know exactly what it is for you. DAY 2: Notre Dame DAY 3: Champs-Élysées DAY 4: Versailles DAY 5: Chartres Cathedral DAY 3: Taking in the views from the Eiff el Tower PARIS, BRITTANY & NORMANDY 9 or 12 days Rouen Normandy (2) INCLUDED ON TOUR: OPTIONAL EXCURSION: Mont Saint-Michel Caen Paris (4) St. Malo (1) Round-trip airfare Versailles Chartres Land transportation Optional excursions let you incorporate additional Hotel accommodations sites and attractions into your itinerary and make the Light breakfast daily and select meals most of your time abroad. Full-time Tour Director Sightseeing tours and visits to special attractions Free time to study and explore EXTENSION: French Riviera (3 days) FOR MORE INFORMATION: Extend your tour and enjoy extra time exploring your efcollegestudytours.com/FRAA destination or seeing a new place at a great value. -
Le Rap Est La Musique Préférée Des Français
Le rap est la musique préférée des Français Laurent Bouneau, Fif Tobossi et Tonie Behar Le rap est la musique préférée des Français Don Quichotte éditions www.donquichotte- editions.com © Don Quichotte éditions, une marque des éditions du Seuil, 2014 ISBN : 978-2- 35949-197-5 Le Code de la propriété intellectuelle interdit les copies ou reproductions destinées à une utilisation collective. Toute représentation ou reproduction intégrale ou partielle faite par quelque procédé que ce soit, sans le consentement de l’auteur ou de ses ayants cause, est illicite et constitue une contrefaçon sanctionnée par les articles L. 335-2 et suivants du Code de la propriété intellectuelle. À toute l’équipe de Skyrock. Spéciale dédicace à la Booska Team. Introduction Il est 4 heures du matin, le samedi 30 août 2014, je n’arrive pas à dormir. Je suis à la fenêtre en train de fumer une cigarette ; dehors, la rue s’est calmée. C’est la fin des vacances, demain une nouvelle sai- son de radio commence, ponctuée de sondages, de pression, de dialogues, d’incompréhension, de force mentale, de magie, de musique. C’est toujours dif- ficile de repartir au combat. Parallèlement à cette année qui commence, une aventure se termine. Celle de ce livre que nous avons écrit, Tonie Behar, Fif Tobossi et moi : Le rap est la musique préférée des Français. Tout au long de cette écriture, j’ai dû me replonger dans mes souvenirs. En 1996, le format de la radio Skyrock a basculé dans le rap et le R’n’B. Ce qu’on appelle aujourd’hui la culture urbaine. -
Rap and Islam in France: Arabic Religious Language Contact with Vernacular French Benjamin Hebblethwaite [email protected]
Rap and Islam in France: Arabic Religious Language Contact with Vernacular French Benjamin Hebblethwaite [email protected] 1. Context 2. Data & methods 3. Results 4. Analysis Kamelancien My research orientation: The intersection of Language, Religion and Music Linguistics French-Arabic • Interdisciplinary (language contact • Multilingual & sociolinguistics) • Multicultural • Multi-sensorial Ethnomusicology • Contemporary (rap lyrics) Religion This is a dynamic approach that links (Islam) language, culture and religion. These are core aspects of our humanity. Much of my work focuses on Haitian Vodou music. --La fin du monde by N.A.P. (1998) and Mauvais Oeil by Lunatic (2000) are considered breakthrough albums for lyrics that draw from the Arabic-Islamic lexical field. Since (2001) many artists have drawn from the Islamic lexical field in their raps. Kaotik, Paris, 2011, photo by Ben H. --One of the main causes for borrowing: the internationalization of the language setting in urban areas due to immigration (Calvet 1995:38). This project began with questions about the Arabic Islamic words and expressions used on recordings by French rappers from cities like Paris, Marseille, Le Havre, Lille, Strasbourg, and others. At first I was surprised by these borrowings and I wanted to find out how extensive this lexicon --North Africans are the main sources of Arabic inwas urban in rap France. and how well-known --Sub-Saharan Africans are also involved in disseminatingit is outside the of religiousrap. lexical field that is my focus. The Polemical Republic 2 recent polemics have attacked rap music • Cardet (2013) accuses rap of being a black and Arab hedonism that substitutes for political radicalism. -
L'histoire Des Afro-Antillais En France
© Coll. Éric Deroo/DR Le 12e Régiment de tirailleurs sénégalais venu pour les cérémonies du 14 juillet, photographie de Meurice, 1939. 1685-2011 L’HISTOIRE DES AFRO-ANTILLAIS EN FRANCE a France noire est une longue histoire qui commence au XVIIe siècle au moment du Code noir et traverse trois siècles d’histoire de France, trois siècles de présences caribéennes, africaines — issues des États-Unis ou de l’océan Indien — dans l’hexagone. Ces présences © Image Source/Getty Images ont contribué à bâtir l’histoire politique, culturelle, militaire, artistique et économique L de ce pays et de la République. Cette exposition en raconte l’histoire oubliée, en montre les traces et les nombreuses images ; elle en souligne toutes les contradictions, du temps des esclaves à celui de la citoyenneté. L’exposition traverse les différentes générations et met en exergue les moments de ruptures et de basculements dans l’histoire de ces présences. Les deux premières étapes s’attachent aux présences anciennes et au moment charnière que constitue la Révolution française (1789), ainsi que l’abolition définitive de l’esclavage en 1848. Commencent alors le « temps des pionniers » et celui de la constitution de l’empire colonial français — le second au monde — qui voient arriver en France étudiants, élus politiques, personnalités artistiques ou sportives, ainsi que des centaines de figurants des « zoos humains ». Avec la Première Guerre mondiale (1914-1918) et les années 20, on entre dans une nouvelle dynamique. Les Afro-Antillais répondent à l’appel de l’Empire lors du conflit et décident de s’installer en France à la sortie de celui-ci, aux côtés de nombreux Afro-Américains. -
Arabismes Dans Les Chansons De Rap Français : Traitement Lexicographique, Adaptation Phonique Et Rôle De L’Origine Des Rappeurs
Masarykova univerzita Filozofická fakulta Ústav románských jazyků a literatur Anna Zelenková Arabismes dans les chansons de rap français : traitement lexicographique, adaptation phonique et rôle de l’origine des rappeurs Magisterská diplomová práce Vedoucí práce: PhDr. Alena Polická, Ph.D. Brno 2013 1 Prohlašuji, že jsem diplomovou práci vypracovala samostatně s využitìm uvedených pramenů a literatury a že se elektronická verze plně shoduje s verzì tištěnou. V Brně dne 30.4. 2013 …………………………………………………… Anna Zelenková 2 Je tiens à remercier Madame Alena Polická, directrice de mon mémoire, pour son soutien, ses corrections et ses conseils précieux. Je voudrais remercier également les locuteurs arabophones - Dominique Caubet, Roland Laffitte, Tomáš Duběda, Igor Dostalìk et Midou Benterari - à qui je me suis adressée et qui ont patiemment répondu à mes questions concernant la langue arabe. 3 Table des matières INTRODUCTION. .......................................................................................................................................6 1. EMPRUNTS ET ARABISMES ..................................................................................................................9 1.1. DEFINITION DE L’EMPRUNT. ................................................................................................................................. 9 1.2. EMPRUNTS À L’ARABE PARMI LES AUTRES TYPES D’EMPRUNTS LEXICAUX ..................................................................... 12 1.3. ARABISMES AU COURS DE L’HISTOIRE ................................................................................................................... -
Postcards from Paris
A concert presented by The Historic New Orleans Collection & the Louisiana Philharmonic Orchestra “Postcards from Paris” is the eighth installment of Musical Louisiana: America’s Cultural The Historic New Orleans Collection Heritage, an annual series presented by The Historic New Orleans Collection and the Louisiana Philharmonic Orchestra. Dedicated to the study of Louisiana’s contributions to the world of and classical music, the award-winning program also provides online educational materials to fourth- the Louisiana Philharmonic Orchestra and eighth-grade public and private school teachers throughout Louisiana. Carlos Miguel Prieto Adelaide Wisdom Benjamin Music Director and Principal Conductor Since the program’s inception, Musical Louisiana has garnered both local and national recognition. The 2008 presentation, “Music of the Mississippi,” won the Big Easy Award for Arts Education; “Made in Louisiana” (2009) received an Access to Artistic Excellence grant from the PRESEnt National Endowment for the Arts; “Identity, History, Legacy: La Société Philharmonique” (2011) received an American Masterpieces: Three Centuries of Artistic Genius grant from the National Postcards from Paris Endowment for the Arts; and “Envisioning Louisiana” (2013) won a $20,000 grant from the National Endowment for the Arts to support its educational component. This year’s concert, “Postcards from Paris,” celebrates the rich cultural and musical connections between France Nicholas Carter, conductor and Louisiana. In addition, three students from the prestigious Conservatoire national supérieur Janet Daley Duval, narrator de musique et de danse de Paris, founded in 1795, will travel from France to perform solos, Laurence Kaptain, cimbalom continuing the centuries-old tradition of musical exchange between the nations. -
Banlieue Violence in French Rap
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2007-03-22 Je vis, donc je vois, donc je dis: Banlieue Violence in French Rap Schyler B. Chennault Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the French and Francophone Language and Literature Commons, and the Italian Language and Literature Commons BYU ScholarsArchive Citation Chennault, Schyler B., "Je vis, donc je vois, donc je dis: Banlieue Violence in French Rap" (2007). Theses and Dissertations. 834. https://scholarsarchive.byu.edu/etd/834 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. "JE VIS, DONC JE VOIS, DONC JE DIS." BANLIEUE VIOLENCE IN FRENCH RAP by Schyler Chennault A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of MA in French Studies Department of French and Italian Brigham Young University April 2007 ABSTRACT "JE VIS, DONC JE VOIS, DONC JE DIS." BANLIEUE VIOLENCE IN FRENCH RAP Schyler Chennault Department of French and Italian Master's Since its creation over two decades ago, French rap music has evolved to become both wildly popular and highly controversial. It has been the subject of legal debate because of its violent content, and accused of encouraging violent behavior. This thesis explores the French M.C.'s role as representative and reporter of the France's suburbs, la Banlieue, and contains analyses of French rap lyrics to determine the rappers' perception of Banlieue violence. -
Spire Spirethe Beacon on the Seine the Beacon on the Seinemarch 2016 July 2016
Spire SpireThe Beacon on the Seine The Beacon on the SeineMarch 2016 July 2016 The American Church in Paris www.acparis.org 65 quai d’Orsay, 75007 Paris +331 40 62 05 00 Please help recycle this publication. When you’re through reading it, instead of tossing it in the bin, return it to the Welcome desk or Foyer. In this issue Thoughts from The Rev. Dr. Scott Herr 3 Bible readings for July 4 Atoms, bodies, and our endless connections, by Billy Roberts 5 A change of season, by The Rev. Jim Lockwood-Stewart 7 Going home/Coming home, by The Rev. Odette Lockwood-Stewart 7 Welcome Bruce and Nancy Morgan 8 ACP Youth Music Program, by Sara Barton 9 Can I get a lift? by Kim Ball 11 Fred’s fête in photos 12-13 Thurber Thursdays for the fall 14 What’s up in Paris: Summer event listings, by Karen Albrecht 15 A Montreal move, by Jean-Christophe Bieselaar 17 A new post in Jordan and work with Syrian refugees, by Michael Beeman 19 ACP Church Council members, 2016-2017 20 “What’s on” at Rafiki Village, Uganda, by Patti Lafage 21 20th anniversary of the Cameroonian Presbyterian Church, by Ursula Perrier 23 Peaceful Paris, by Natalie Hideg 25 Summer ACP calendar, by Lusti Sianturi 26-27 Vacation Bible school, Nocturnes at the Paris zoo, p10 Fred’s fete in photos, p15 p12-13 2 ACP Spire, Summer 2016 Thoughts from The Rev. Dr. Scott Herr Senior Pastor Dear Members and Friends of the ACP, We are now into the summer months and I think all of salvation in rest. -
An Exploration of the Cultural Adaptation Process During an International Experience in France
Journal of International Agricultural and Extension Education Volume 23, Issue 3 doi: 10.5191/jiaee.2016.23304 An Exploration of the Cultural Adaptation Process during an International Experience in France Nathan W Conner University of Nebraska-Lincoln T. Grady Roberts University of Florida James Sterns Oregon State University Abstract The purpose of this study was to explore how a group of students experienced cultural adaptation during a short-term study abroad program in Paris, France. The intrinsic case study was used and data collection methods included pre-experience questions, reflective journaling, post-experience questions, and participant observation. The grounded theory analysis method was used to identify the following eight stages of cultural adaptation: a) Initial Feelings, b) Cultural Uncertainty, c) Cultural Barriers, d) Cultural Negativity, e) Group Dynamics, f) Academic and Career Growth, g) Feelings throughout the Program, and h) Cultural Growth. Findings indicated that participants experienced cultural adaptation in a non-linear fashion and study abroad facilitators should incorporate and encourage cultural learning. Keywords: Study Abroad, Cultural Adaptation, Experiential Learning, Globalization 58 Journal of International Agricultural and Extension Education Volume 23, Issue 3 Introduction suggested that study abroad facilitators To better prepare students to operate assist students in understanding culture. within a global society, calls have been Purposefully designed and implemented made for the globalization of higher learning activities prior, during, and after the education (Longview Foundation, 2008; study abroad experience will allow students National Research Council, 2009; Pickert, to reflect over their experience, connect 1992). The National Association of State prior-knowledge to new knowledge, and to Universities and Land-Grant Colleges increase global awareness (Roberts, Conner, (NASULGC) (1997) believe an educated & Jones 2013). -
Beur Hip-Hop Culture and Banlieue Cinema in Urban France
From Rap to Raı¨ in the Mixing Bowl: Beur Hip-Hop Culture and Banlieue Cinema in Urban France Vale´ rie Orlando Since the Middle Ages a significant number of foreigners have claimed France as ‘‘home.’’ Yet, not until the 1789 Revolution and the later Civil Code was the distinction made between the ‘‘national and the foreigner’’ (Noiriel 9). France’s republican model which promotes effectively effacing all ethnic, religious and/or cultural markers in favor of a unitarian model of society has ‘‘undermined ‘ethnic’ communities of origin and facilitated the emergence of a relatively homogeneous ‘civil status’’’ which, in turn, has sabotaged immigrant groups’ claims to difference and uniqueness in the past (Noiriel 9). Up until the 1980s, absorption of immigrants from Eastern Europe, Italy, and Spain was met with little opposition. However, in the last twenty years unrest in the banlieues, the word of choice of the French mainstream (particularly the media) to describe the urban, often violent neighborhoods on the peripheries of large cities in France, has increasingly drawn lines between the franc°ais-de-souche (white-Catholic-French) and those of color, primarily ‘‘new’’ immigrants from North and sub-Saharan Africa. The word banlieue has changed meaning as the tides of immigration from these non-European countries increase, inciting the media to formulate blanket cliche´ s about the groups housed in these urban seedy ghettos of France. Where once banlieue was used to connote the pristine white middle to upper- middle class neighborhoods around Paris and other large, urban centers it is now, more often than not, a highly charged word used to describe a hyper-masculinized, violent space saturated with delinquency, social unrest, gangs, drugs, and random car burnings. -
Colombian Artists in Paris, 1865-1905
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Colombian Artists in Paris, 1865-1905 Maya Jiménez The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2151 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COLOMBIAN ARTISTS IN PARIS, 1865-1905 by MAYA A. JIMÉNEZ A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 MAYA A. JIMÉNEZ All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor Katherine Manthorne____ _______________ _____________________________ Date Chair of Examining Committee Professor Kevin Murphy__________ ______________ _____________________________ Date Executive Officer _______Professor Judy Sund________ ______Professor Edward J. Sullivan_____ ______Professor Emerita Sally Webster_______ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Colombian Artists in Paris, 1865-1905 by Maya A. Jiménez Adviser: Professor Katherine Manthorne This dissertation brings together a group of artists not previously studied collectively, within the broader context of both Colombian and Latin American artists in Paris. Taking into account their conditions of travel, as well as the precarious political and economic situation of Colombia at the turn of the twentieth century, this investigation exposes the ways in which government, politics and religion influenced the stylistic and thematic choices made by these artists abroad. -
The Life and Times of Antoine Chrysostome Quatremère De Quincy (1755–1849)
Classics at the Dawn of the Museum Era: The Life and Times of Antoine Chrysostome Quatremère De Quincy (1755–1849) LOUIS A. RUPRECHT, JR. It is therefore difficult, if not impossible, for someone not resident in Rome to write anything substantial about ancient art or obscure antiquities; even a few years in Rome is insufficient, as I myself have learned despite laborious preparation. It is not surprising when some- one says that he can find no unknown inscriptions in Italy: . one must know how to seek them out, and a traveler will find them only with difficulty. —Winckelmann, History of the Art of Antiquity, Preface Such was the effect, such was the fate of antiquity in the period I describe, when I visited Rome for the first time. Everything about this magical city contributed to entice my passion for antiquity and to enhance the beautiful illusions that enable us to recover the past and give it reality in the present, this radiance with which the imag- ination supplies the centuries that are long past. Such was the effect, almost a kind of magic, produced by Winck- elmann’s genius as well as by the spectacle of Roman antiquity. But this effect, it must be said, could only be produced in Rome, and by Rome. In vain do we convince ourselves that the antiquities taken from that city today can preserve their virtue. Everywhere else they are sterile, since everywhere else they lack the power deriving from their place; everywhere else they are disenchanted. They become images for which there is no mirror.