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Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
Overwhelming Terror, the Product of Four Decades of Research Among Semai, Demonstrates That Semai Ways Of
OverwhelmingTerrorDSRPBK.qxd 10/13/08 1:04 PM Page 1 Anthropology • Asia DENTAN War and Peace Library Series Editor: Mark Selden “Overwhelming Terror, the product of four decades of research among Semai, demonstrates that Semai ways of life are not something rare and strange, but a continuation LOVE, FEAR, PEACE, AND VIOLENCE AMONG SEMAI OF MALAYSIA TERROR OVERWHELMING of the ways of successful ancient egalitarian societies. Cultural anthropology should be the study in depth of human beings and the application of that knowledge to a deeper understanding of one’s own beliefs and practices. Robert Knox Dentan, applying lessons learned among Semai to contemporary American problems, succeeds admirably in a way that makes one proud to be an anthropologist. Overwhelming Terror was written by a man of perceptive mind and OVERWHELMING TERROR loving heart.” —Carol Laderman, City College–CUNY This powerful ethnography of a people believed to be the least violent in the world LOVE, FEAR, PEACE, AND VIOLENCE explores how they maintain peaceful relations even under the most dire circum- AMONG SEMAI OF MALAYSIA stances. Robert Knox Dentan, the world’s foremost scholar of Semai, brings its mem- bers vividly to life. His book includes translations of their poetry, dramatized accounts of particular events, and narratives in their own words. Throughout, the author highlights the mechanisms and costs of peace, underscoring their relevance to everyday life in all societies. Students and scholars of peace studies, conflict res- olution, ethnography, and Southeast Asia will find this unique work an invaluable and compelling study. Robert Knox Dentan is professor emeritus of anthropology at State University of New York at Buffalo. -
Change This Title! (DRAFT: August 19, 2021)
VOWEL HARMONY AND SOME RELATED PROCESSES IN FUNGWA by Samuel Kayode Akinbo BA (Hons) Linguistics, University of Ibadan, 2012 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate and Postdoctoral Studies (Linguistics) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2021 © Samuel Kayode Akinbo, 2021 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Vowel harmony and related processes in Fungwa submitted by Samuel Kayode Akinbo in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Linguistics Examining Committee: Douglas Pulleyblank, Linguistics, UBC Supervisor Gunnar Olafur´ Hansson, Linguistics, UBC Supervisory Committee Member Rose-Marie Dechaine,´ Linguistics, UBC Supervisory Committee Member Anne-Michelle Tessier, Linguistics, UBC University Examiner Jessica de Villiers, English Language & Literatures, UBC University Examiner ii Abstract This dissertation investigates vowel harmony and some related processes in Fungwa, which is an endangered Kainji language spoken in Nigeria. In the language, there are two kinds of vowel harmony. In the first pattern of vowel harmony, the vowels of CV prefixes and clitics agree in backness with the vowel of the adjacent root syllable. However, V prefixes and proclitics do not exhibit this vowel harmony. I argue that the domain of harmony is subject to a word minimality condition and the requirement for an initial onset. The integration of CV prefixes and clitics into the harmonic domain with the root morpheme is forced bythe minimality condition. To satisfy the onset requirement on the domain of harmony, V pre- fixes and proclitics are excluded from the harmonic domain. -
Midwestern Journal of Theology
MIDWESTERN JOURNAL OF THEOLOGY Vol. 10 Spring 2011 No. 1 CONTENTS Editorial Articles THEME: BIBLICAL THEOLOGY Theme Classic: On the Proper Distinction between Biblical and Dogmatic Theology (1787) Johann Philipp Gabler 1-11 THE SIZEMORE LECTURES 2011 Sizemore I: The Inaugurated Eschatological Indicative and Imperative in Relation to Christian Living and Preaching Greg K. Beale 12-31 Sizemore II: The Inaugurated End-Time Tribulation and Its Bearing on the Church Office of Elder and on Christian Living in General Greg K. Beale 32-57 Appreciation, Agreement, and a Few Minor Quibbles: A Response to G. K. Beale James M. Hamilton 58-70 The Holman Christian Standard Study Bible and Malachi 2:16: A Brief Response J. Alan Branch 71-86 Who Hates...Divorce? A Text-Critical Examination of Malachi 2:16 Daniel R. Watson 87-102 Bell’s Hell: A Dialogue With Love Wins ii Midwestern Journal of Theology Rustin Umstattd 103-23 Cutting-Edge Obsolescence: Rob Bell’s Reliance on a Long- Discredited Universalist Rendering of Matthew 25:46 in Love Wins Ronald V. Huggins 124-29 Where Is Exhortation in Hebrews? Discourse Analysis and Genre Division in the Epistle to the Hebrews Todd R. Chipman 130-44 Kersey Graves’s Sixteen Crucified Saviors: Prometheus as Test Case Ronald V. Huggins 145-65 John Bunyan on Justification Joel R. Beeke 166-89 The “Repentance of Jerome”: How the Great Translator of the Latin Vulgate Bible Got His Priorities Turned Round. Ronald V. Huggins 190-200 Book Reviews: Whosoever Will: A Biblical-Theological Critique of Five- Point Calvinism. David L. -
The Brisbane Sound
THE BRISBANE SOUND Scott Bradley Regan BMus, BMus (Hons) DOCTORAL THESIS By CREATIVE WORKS Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Creative Industries Faculty Queensland University of Technology 2019 Abstract What is the Brisbane Sound, and what does it actually sound like? Many cities are said to have their own musical ‘sound’, for example, the Liverpool Sound (Cohen 1994), the Dunedin Sound (McLeay 1994; Mitchell 1996; Bannister 2006), and the Canterbury Sound (Bennett 2002). Brisbane, Australia is no different. Since the late 1970s, music journalists and other cultural intermediaries (Bourdieu 1984) have constructed the idea of a ‘Brisbane Sound’, and used it to consecrate a specific cohort of bands that emerged during the ‘five golden years’ of Brisbane music history, between 1978 and 1983. Yet, despite the cultural currency and prevalence of the trope in subcultural parlance, this so-called Brisbane Sound has remained entirely absent from existing scholarly literature about the local Brisbane music scene. This Doctoral Thesis by Creative Works aims to remedy this gap, and in doing so, contributes new knowledge to our understanding of Brisbane popular music history and cultural memory. It also proposes a novel way of addressing the perennial conundrum of music’s ineffability, by using music to explain music. I take an interdisciplinary approach to answer the question ‘what does the Brisbane Sound sound like?’ by adapting methods from three key fields: cultural studies, popular musicology, and creative practice. First, I collate and analyse how the Brisbane Sound trope has been defined in media discourses over time.