University of New Mexico Press Fall 2013
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Paula Gunn Allen
The Andrew Norman Guest Lecturer Series 1988: Frank Waters, “Change in the Southwest” 1990: Paula Gunn Allen, “Women’s Spiritual Tradition: A Native American Example” 1991: Rudolfo Anaya, “Saving Our Culture: Kookooee Story” 1992: Patricia Nelson-Limerick, “The Re-envisioning of the American West” 1993: David Carrasco, “From Excavation to Exhibition: The Making of ‘Aztec: The world of Moctezuma’” 1994: David Weber, “The Transformation of North America: Hispanic Legacies” 1995: Charles Wilkinson, “Honoring the Work and Worldview of the Continent’s First Peoples: The Case of the Anasazi Sites of the Colorado Plateau” 1996: George Sanchez, “Race, Immigration, and the Rise of Nativism in Late Twentieth Century America” 1997: James Welch, “Looking for Buffalo Bill” 1998: John Mack Faragher, “The Frontier and West in Our Time” 1999: Linda Hogan, “Writing from the Land: A Reading and Conversation with Linda Hogan” 2000: Euchee Indians, “A Celebration of Euchee Indian Culture and Tradition” 2001: Brent Michael Davids, “The Last of James Fenimore Cooper: New Music by Brent Michael Davids (Mohicans).” 2002: Martha Sandweiss, “Print the Legend: Photography and the Nineteenth-Century West” 2003: Ana Alonso, “The Discourse of ‘Mestizaje’ on Both Sides of the Border: Vasconcelos and Anzaldúa” 2004: Demetria Martinez, Writing in the Margins: Poetry and Other Explorations” 2005: James Brooks, “Mesa of Sorrows: Archaeology, Purity, and Prophetic Violence in the American Southwest” 2006: Karen Chamberlain, “Southwest Solitude: Seduced by a Canyon Oasis” -
Bless Me, Ultima
The Limits of the Representative Text: Women on the Margins in Rudolfo Anaya’s Bless Me, Ultima Kayleigh Rhatigan In my research, I explored the representations of women in the 1972 novel Bless Me, Ultima by Rudolfo Anaya to show the limits of using texts as representations of diversity. Ultima as a Representative Text Jodi Melamed: literary studies “has been persistently defined within postwar orders as a privileged tool that white Americans can use to get to know difference— to learn the supposed inside stories of people of color.” (Represent and Destroy, 2011, pp. XVI) Image Source: https://mainehumanities.org/event/lets-talk-about-it-220/ I became interested in the way teachers represent Bless Me, Ultima when a teacher at my high school told me that he let his students choose between reading Bless Me, Ultima and reading Ceremony by Leslie Marmon Silko. These two books are very different from each other except that they both bring “diversity” to a traditional canon dominated by white, male authors. But why are they interchangeable? In her 2011 book Represent and Destroy, Jodi Melamed argues that, after the canon wars of the 1980s, educational institutions began using texts by people of color as cultural representatives. These methods of literary studies continue to exist within secondary education. For example, the National Endowment for the Arts Big Read Program created a teaching guide for Ultima that treats the novel as a repository of cultural information and invites students to compare their own cultures to the protagonist Antonio’s without considering differences in privilege. In effect, it encourages teachers to use Ultima to teach students about difference as a concept, rather than considering the novel holistically as a literary text. -
Course Catalog 2021–2022 Brooksb School
ACADEMIC POLICIES AND COURSE CATALOG 2021 –2022 BROOKSB SCHOOL B R O O K S S C H O O L ACADEMIC POLICIES & COURSE CATALOG 2021-2022 Brooks School does not discriminate on the basis of race, gender, color, sexual orientation, disability, or religion in the administration of its education policies, admission policies, employment policies, financial aid and loan programs, athletic programs, and other School-administered programs and activities. Last updated: April 19, 2021 by Susanna Waters, Academic Dean Questions or comments? Email: [email protected] INDEX Introduction ................................. 2 ACADEMIC POLICIES Requirements ............................... 3 Diploma Requirements Departmental Graduation Requirements Course Load Promotion Requirements General Policies ........................... 5 Grading System Effort Marks Policies Regarding Course Assignments Pass/Fail Status Credit Policies Adding/Dropping Courses AP Courses & Exams Independent Study Online Learning Winter Term Sixth Form Spring Projects Summer Course Work Academic Honors .......................... 8 Honor Roll Cum Laude Society Academic Probation ..................... 8 Academic Integrity ....................... 9 Class Attendance .......................... 10 The Learning Center ................... 10 COURSE CATALOG Arts ................................................ 11 Music Theater Visual Arts World Languages …..................... 18 Latin Mandarin Chinese French Spanish English .......................................... 24 History ......................................... -
Shamans Drum Back Issues.Pdf
Shaman’s Drum Foundation www.shamansdrumfoundation.org Shaman’s Drum back issues available as of November 2020 $5.00 each plus shipping (see last page of this list for shipping rates) To order, email: [email protected] No. 82 / 2010 The Transformative Rituals of a Huachumero by R. Donald Skillman The Outsider Woman: An Interview with a San Pedro Healer by Ross Heaven, PhD Between Heaven and Earth: Mongolian Shamans Today by Donna Todd The Way of Light: A Healing Journey with Ayahuasca by Rak Razam A Stimulating Guide to Transpersonal Shamanisms (review of Shamanism for Beginners) by Timothy White No. 81 /2009 The Gift of Premonitions by Larry Dossey, MD The Shamanic Heritage of a Korean Mudang by Cheryl Pallant Ayahuasca as Healer of the Soul: An Interview with Silvia Polivoy by Matthew Callaway, PhD An Ayahuasca Healing Retreat in Brazil by Jack Lieberman and Chloe Lieberman Mongolian Healings for the Horse Boy by Rupert Isaacson No. 80 / 2009 SPECIAL ISSUE ON AMAZONIAN SHAMANISM When the Student Is Ready: Apprenticing with the Visionary Vine by Leo Panthera Finding the Jaguar: Tracking the Spirit of Indigenous Healing by Vance Gellert, PhD On Preserving the Diversity of the Ethnosphere by Wade Davis, PhD Seekers of the Mystery on the Ayahuasca Trail by Rak Razam No. 79 / 2009 SPECIAL ISSUE ON SHAMANIC USES OF SALVIA DIVINORUM Martin Pinedo: The Condor of Huasao by Michael Verrilli, DO, and Rev. Deborah Karen Uller Beautiful Painted Arrow’s Sun Moon Dance by Marsha Scarbrough The Spirit of La Pastora by Kathleen Harrison Salvia Divinorum A-Z: An Interview with Daniel Siebert by Martin Ball, PhD Embracing the Sacred Spirit of Salvia Divinorum by Martin Ball, PhD Working with Mazatec Psychoactive Plants by Bret Blosser No. -
Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
"THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr. -
Rudolfo Anaya Annotated Source Reference Bibliography
Rudolfo Anaya Annotated Source Reference Bibliography Sophie Ell Critical Readers 1. Fernández Olmos, Margarite. Rudolfo A. Anaya: A Critical Companion. Westport: Greenwood Press, 1999. In this volume, published in 1999, Margarite Fernández Olmos provides an overview and analysis of several novels by Rudolfo Anaya, including Bless Me Ultima (1972), Heart of Aztlán (1976), Tortuga (1979), Alburquerque (1992), Zia summer (1995), Rio Grande Fall (1996), and Jalamanta (1996). Each chapter begins with a brief contextualization of the novel’s writing, publication, and reception. The overview then covers the plot development, setting, narrative strategies, and characterization in each novel, proceeding to offer critical readings of the particular style and notable themes of the various works. Furthermore, Fernández Olmos suggests alternative reading perspectives, such as a postcolonial view of Alburquerque, a feminist analysis of Rio Grande Fall, or a critical examination of archetypal myth in Bless Me, Ultima. While each chapter can stand alone, when put together they offer important insights into the author’s overall literary trajectory. This larger perspective highlights Anaya’s prolific career as one marked by experimentation with different genres, forms, and styles, while maintaining thematic threads that can be traced through most of his prose fiction, as well as his poetry, essays, and plays. 2. González-T., César A. Rudolfo A. Anaya: Focus on Criticism. La Jolla, CA: Lalo Press, 1990. Published in 1990, Focus on Criticism was the first critical anthology dedicated to a Chicano author. A range of scholars and literary critics have contributed their studies of Anaya’s work to create a varied and rich collection that examines Chicano literature, for the first time, according to the conventions and standards of general literary criticism in the U.S. -
Maszewska Anna 2015 These.Pdf
Université de Montréal Representations of Curanderismo in Chicana/o Texts par Anna Julia Maszewska Départements de Littératures et de Langues du Monde Études Anglaises Faculté des Arts et des Sciences Thèse présentée à la Faculté des Arts et des Sciences en vue de l’obtention du grade de Philosophiae Doctor (Ph.D.) Août, 2015 © Maszewska, 2015 Résumé Ma thèse porte sur les représentations de curanderismo dans Chicana/o textes. Une tradition de guérison, une vision du monde, un système de croyances et de pratiques d'origines diverses, curanderismo répond aux besoins médicaux, religieux, culturels, sociaux et politiques des Chicanas/os à la fois sur le plan individuel et communautaire. Dans mon analyse de textes littéraires (Bless Me, Ultima de Rudolfo Anaya, les poèmes sélectionnés de Pat Mora, The Hungry Woman: A Mexican Medea de Cherríe Moraga) et du cours académique sur curanderismo enseigné à l'Université du Nouveau-Mexique à Albuquerque, que j’approche comme un texte culturel, curanderismo reflète les façons complexes et souvent ambiguës de représenter Chicana/o recherche d'identité, d’affirmation de soi et d’émancipation, résultat d'une longue histoire de domination et de discrimination de Chicana/o aux Etats-Unis. Dans les textes que j’aborde dans ma thèse curanderismo assume le rôle d'une puissante métaphore qui réunit une variété de valeurs, attitudes, concepts et notions dans le but ultimede célébrer le potentiel de soi-même. Mots-clés: littérature Chicana/o, communautés Mexico-Américaines, la frontière Mexico-Américaine, représentation, curanderismo, identité, politique, académie, genre i Abstract My dissertation focuses on representations of curanderismo in Chicana/o texts. -
The Identity Formation of Chicanos in Rudolfo Anaya's Novel Bless Me Ultima
perpustakaan.uns.ac.id digilib.uns.ac.id THE IDENTITY FORMATION OF CHICANOS IN RUDOLFO ANAYA’S NOVEL BLESS ME ULTIMA THESIS Submitted as a Partial Fulfillment of the Requirements for the Sarjana Sastra Degree from English Department Faculty of Letters and Fine Arts Sebelas Maret University By: SHOFI MAHMUDAH BUDI UTAMI C0307006 ENGLISH DEPARTMENT FACULTY OF LETTERS AND FINE ARTS SEBELAS MARET UNIVERSITY 2012 commit to user i perpustakaan.uns.ac.id digilib.uns.ac.id commit to user ii perpustakaan.uns.ac.id digilib.uns.ac.id commit to user iii perpustakaan.uns.ac.id digilib.uns.ac.id PRONOUNCEMENT Name : Shofi Mahmudah Budi Utami Student Number : C 0307006 I declare that this thesis entitled “THE IDENTITY FORMATION OF CHICANOS IN RUDOLFO ANAYA’S NOVEL BLESS ME, ULTIMA” is truly my own work using primary and secondary sources listed in the bibliography. Nevertheless, if it is proven erroneous, I would take any consequences given from the Faculty of Letters and Fine Arts, Sebelas Maret University. Surakarta, July 25, 2012 The researcher, Shofi Mahmudah Budi Utami commit to user iv perpustakaan.uns.ac.id digilib.uns.ac.id MOTTO “Life is never beyond hope” (Bless Me, Ultima) “The smallest bit of good can stand against all the powers of evil in the world and it will emerge the triumphant” (Ultima in Bless Me, Ultima) “Life is a rebirth in one form or another. Just remember that people in life, locally, come from land. Everything goes back to land” (Chief of Native American in the book A Tortilla is like Food and Culture in San Antonito by Carole Counihan) “If you’re not changing, you’re not growing” (Prof. -
SUBTERRANEAN MASQUERADE - the Great Bazaar Cat # TAK002 Format: Limited Eition Digibook / Vinyl Style: Symphonic Progmetal
SUBTERRANEAN MASQUERADE - The Great Bazaar Cat # TAK002 Format: Limited eition Digibook / Vinyl Style: Symphonic Progmetal Artist Website: www.submasq.net www.facebook.com/submasq "Welcome to the carnival of the dysfunctional and the disturbed" Formed back in 1997 with an idea to mix progressive rock, doom metal and 70's-inspired psychedelic rock, Subterranean Masquerade creates music with that edge of extreme metal and the loose atmosphere of Pink Floyd and Iron butterfly. While admittedly not such a pioneering idea on its own, the vision of freeing metal music from genre boundaries, wrapped by grand production is what often make the band's music sound like a carnival of different colors and scents… a masquerade! Subterranean Masquerade's music first came into the world back in 2000 with a cover version of Peter Murphy's classic "Cut's you up". The cover, released as part of an 80's metal cover compilation album, was recorded with guest appearances by Tomas Lindberg of At the Gates, Kobi Farhi of Orphaned Land and produced by Dori Bar Or from Eternal Gray. The first official band release came in the form of a semi-acoustic two track EP (17 minutes long) entitled "Temporary Psychotic State", this recording featured Paul Khur of Novembers doom as the lead vocalist as well as JWW of Agalloch on bass guitar and Andy Winter from the band WINDS on some of the keys and synths. Released later that year by THE END RECORDS, the EP was received with highly positive reviews from media and fans alike. In the midst of working on a full length album, the band entered the studio to record a DEAD CAN DANCE cover track. -
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JAZZ EDUCATION in ISRAEL by LEE CAPLAN a Thesis Submitted to The
JAZZ EDUCATION IN ISRAEL by LEE CAPLAN A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research written under the direction of Dr. Henry Martin and approved by ___________________________________ ___________________________________ Newark, New Jersey May,2017 ©2017 Lee Caplan ALL RIGHTS RESERVED ABSTRACT OF THE THESIS JAZZ EDUCATION IN ISRAEL By LEE CAPLAN Thesis Director Dr. Henry Martin Jazz Education in Israel is indebted to three key figures – Zvi Keren, Arnie Lawrence, and Mel Keller. This thesis explores how Jazz developed in Israel and the role education played. Jazz Education in Israel discusses the origin of educational programs such as the Rimon School of Jazz and Contemporary Music (1985) and the New School Jazz Program (1986). One question that was imperative to this study was attempting to discover exactly how Jazz became a cultural import and export within Israel. Through interviews included in this thesis, this study uncovers just that. The interviews include figures such as Tal Ronen, Dr. Arnon Palty, Dr. Alona Sagee, and Keren Yair Dagan. As technology gets more advanced and the world gets smaller, Jazz finds itself playing a larger role in humanity as a whole. iii Preface The idea for this thesis came to me when I was traveling abroad during the summer of 2015. I was enjoying sightseeing throughout the streets of Ben Yehuda Jerusalem contemplating topics when all of a sudden I came across a jam session. I went over to listen to the music and was extremely surprised to find musicians from all parts of Europe coming together in a small Jazz venue in Israel playing bebop standards at break-neck speeds.