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Human Heritage and Competitiveness in Europe
Foreword by Nicole Notat Foreword by Patrick Itschert HUMAN HERITAGE AND COMPETITIVENESS IN EUROPE YVES BAROU and the European HRD Circle with the participation of Michel Aglietta and Tony Bainbridge, Piotr Bednarczuk, Charles-Henri Besseyre-des-Horts, Stephen Bevan, Ursula Biernert, Hervé Borensztejn, Jean-Paul Bouchet, Xavier Broseta, Elisabetta Caldera, Wendy Cartwright, Christophe Fourel, Rainer Gröbel, Loïc Hislaire, Cornelia Hulla, Steve Jefferys, Walter Jochmann, Jérôme Julia, Yves Litzelmann, Paul Mayer, Bruno Mettling, Christian Monjou, Pierre-Olivier Monteil, Gian Paolo Naef, Alain Oumeddour, Bernard Perry, Véronique Rouzaud, Peter Schlögl, Dirk Schneemann, Philippe Vivien and Lionel Zinsou Foreword by Nicole Notat ............................................................................................................................................ 4 Foreword by Patrick Itschert ..................................................................................................................................... 6 Introduction: the missing competitiveness link ................................................................................................. 8 A – From human capital to Human Heritage, Yves Barou ...................................................................... 9 A concept can hide another ......................................................................................................................................... 9 1: The 4 functions of Corporate Human Heritage, Yves Barou .............................................................. -
The Girl Typing Discourse in North American Children's Television
The Girl Typing Discourse in North American Children’s Television Animation, 1990-2010 Emily Chandler A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of the Arts and Media Faculty of Arts and Social Sciences March 2017 Table of Contents Abstract 4 Acknowledgements 5 List of Figures 6 Introduction 7 Problem Identification 7 Aims 9 Scope of Inquiry and Rationale for Time Period, Medium and Topic 10 Theoretical Framework 13 Gap in Research 16 Sampling and Selection Procedures 17 Data Analysis Methods 22 Research Questions 23 Thesis Chapter Outline 24 Chapter One: Literature Review 25 Girl Typing 25 Female Representation in Animation 30 Postfeminist Discourses of Girlhood and Feminism 34 Girls as Empowered 34 Girls Out of Control 37 Neoliberal Feminism 41 Gap Identification 44 Conclusion 46 Chapter Two: Methodology and Methods 48 Introduction 48 Methodology 48 Data Analysis Methods 49 Discourse Analysis 50 Textual Analysis 51 Narrative Analysis 53 Limitations of Data Analysis Methods 55 Positionality 56 Sampling and Selection Procedures 58 Limitations of Sampling and Selection Procedures 59 Conclusion 60 Chapter Three: Agency and Power in As Told By Ginger 61 Introduction 61 As Told By Ginger (Nickelodeon, 2000-2004) 63 Everygirls 66 Popular Girls 70 Girl Typing and the Subverted Transformation 78 Episode Analysis: “Deja Who?” 81 2 Conclusion 89 Chapter Four: Androcentrism and Gender Entitlement in Recess 91 Introduction 91 Recess (Disney, 1997-2003) 91 Tomboys 98 Girly-Girls 104 Episode Analysis: “First -
The Quarryman's Wife
The Quarryman’s Wife A novel By Mary E. DeMuth Mary E. DeMuth, Inc. P.O. Box 1503 Rockwall, TX 75087 Copyright 2011 All rights reserved. No part of this publication may be reproduced in any form without written permission from Mary E. DeMuth, Inc, P.O. Box 1503, Rockwall, TX 75087, www.marydemuth.com. Cover design by Mary DeMuth Cover photo by Mary E. DeMuth Author photo by Sophie M. DeMuth This novel is a work of fiction. Any people, places or events that may resemble reality are simply coincidental. The book is entirely from the imagination of the author, though based on historical data. ISBN-10: 0983436762 ISBN-13: 978-0-9834367-6-8 Unless otherwise noted, all Scripture quotations in this publication are taken from the King James Version (KJV). Author’s Note his book is written for my great grandmother, Mary Walker, who lived like TJesus, told her stories fearlessly, wrote poems for everyone, and loved her chil- dren even after devastating loss. Her pluck and candor fueled my desire to write this book as a testament to her life. This is the first novel I ever penned, so it’s dear to me. When I submitted it back in 2004, editors said they didn’t want Depression-era fiction. So I put this book on a shelf, always wanting to see it in print, never forgetting the story, hop- ing someday others would enjoy it. Now that it’s in print, I hope The Quarryman’s Wife touches your resolve, energizes you to love others more fiercely, and helps you to persevere through your own economic stress, grief, or changing family dynamics. -
Organizing Music
The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 5: Organizing Music §1 Evolution “Huh-ooohw,” hovers an unstable, low male voice, “huh-eeehw.” A sudden Mountain-Song-like movement lifts the melody to a high pitch: like a rubber band stretched and then released, the voice howls: “ee-oo.” It remains high, but the volume now wavers and decreases, into a nasal falsetto. “Ii- ih-i-i,” on the last bit of breath. Silence again, a loud sigh “whiiiy,” followed by high, barely audi- ble, “e-e-e” sounds. Low again: “whoo-oo-ee.” The melody now jumps back and forth between al- most painfully high and low registers, while simultaneously working the overtones through changes of the vowel. Silence, another sigh, followed by a glissando. The sixth phrase is relatively conven- tional – a few drawn-out high notes with only microtonal fluctuations, briefly interrupted by a sud- den dive into lower registers. Then the glockenspiel enters with a quiet tremolo. On Taoism 道极 (1985) begins with composer Tan Dun singing the germ cell of the composition. A bass clarinet and bass bassoon take turns developing the melodic line provided by the voice, render- ing the music almost monophonic: a single calligraphic-melodic line divided over the three solo in- struments employs a palette of tone-colors on a canvas of strings.1 The seven phrases of the open- ing, the seventh accompanied by the glockenspiel, also foreshadow the division of the thir- teen-minute composition into seven parts.