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Accessibility, Innovation and Sustainability at AT&T
www.g3ict.org G3ict Publications & Reports Case Study White Paper Series How a culture of inclusion and the adoption of Accessibility, Innovation Universal Design at AT&T drive business processes to serve persons with disabilities and Sustainability at AT&T Global Initiative for Inclusive Information and Communication Technologies A Flagship Advocacy Initiative of the United Nations Global Alliance for ICT and Development Accessibility, Innovation and Sustainability at AT&T How a culture of inclusion and the adoption of Universal Design at AT&T drive business processes to serve persons with disabilities A G3ict Case Study White Paper Series March 2011 About G3ict Acknowledgments G3ict is an Advocacy Initiative of the United Nations Global Alliance for ICT G3ict wishes to express its sincere appreciation to AT&T for opening its door and Development, launched in December 2006 in cooperation with the to document this case study and to the many individuals and organizations Secretariat for the Convention on the Rights of Persons with Disabilities at who participated in the data collection and multiple interviews conducted UN DESA. Its mission is to facilitate and support the implementation of the during this inquiry. Our special appreciation goes to: dispositions of the Convention on the Rights of Persons with Disabilities promoting e-accessibility and assistive technologies. G3ict participants Susan Mazrui - Director - Global Public Policy include industry, the public sector, academia and organizations representing Tari Hartman Squire - Strategic Marketing Communications persons with disabilities. G3ict relies on an international network of ICT Consultant - Disability Issues accessibility experts to develop practical tools, evaluation methods and Avalyn Jackson - Associate Director - Product Marketing benchmarks for States Parties and Disabled Persons Organizations to Aaron Bangor - Principal Member of Technical Staff - AT&T Labs implement policies in support of assistive technologies and e-accessibility. -
GRASS-ROOTS CULTURAL GLOBALISATION the Case of the Nu Jazz DJ Scene in East-Central Europe
GRASS-ROOTS CULTURAL GLOBALISATION The Case of the Nu Jazz DJ Scene in East-Central Europe by Gábor Vályi (Budapest) first publication ›Cultural globalization‹ is a term that is often used with reference to large scale processes of transnational cultural transmission stemming from the expansive strategies of the »culture The article was presented in the industries«.1 However, it would still be a mistake to conceptualize all productive forces of cul- Panel IX Medien und Netzwerke / tural globalization as highly institutionalized and industrialized entities that follow centrally Media and Networks on December plotted top-down plans and strictly profit-maximizing strategies in the production and distri- 12, 2003. bution of cultural goods. We already see the emergence of alternative networks that bind to- Parts of this paper have already ap- gether autonomous actors in the field of cultural production and consumption.These regional peared in my thesis of the same tit- or transnational networks are usually organized from the bottom up, as the locally isolated or le submitted for the MA Culture, marginal cultural producers and consumers look for information and potential partners in Globalisation and the City program- their specific fields.2 Networking is also a way of sharing resources and creating a bigger mar- me at Goldsmiths College (Univ. of ket that reaches beyond one's limited immediate surroundings. However, these grass-roots London) in 2002. My attendance at networks don't always follow the economic rationality of capitalist production and are often this programme and the research created and maintained out of personal interest, enthusiasm or the psychological need for be- itself was in part financed by the longing to a bigger community of like-minded people. -
Boston Divided: Representations and Perceptions of Judge Garrity and Morgan V
Boston Divided: Representations and Perceptions of Judge Garrity and Morgan v. Hennigan by Kerri Anne-Marie Hutchinson A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in History Waterloo, Ontario, Canada, 2009 © Kerri Anne-Marie Hutchinson 2009 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract In 1974 Boston, Massachusetts was forced to confront its civil rights violations. In the case of Morgan v. Hennigan, Judge W. Arthur Garrity Jr. found the city of Boston guilty of intentionally segregating its public schools and ordered Boston to bus students to achieve integration. When busing commenced in the fall of 1974, Boston was a city divided. The citizens of Boston were divided into two main groups: the opponents and supporters but there was no uniform consensus in either group. This study will argue that the motivations for support or opposition were multi-faceted. Those who supported busing had varied reasons for their support and those who opposed busing had varied reasons for their opposition. Through the examination of local and national newspapers and letters of public opinion this work elucidates how Judge Garrity and the Morgan v. Hennigan decision were represented and perceived throughout the city. iii Acknowledgements Firstly, I would like to thank my supervisor, Dr. Andrew Hunt, for his continuous support and enthusiasm throughout the year. -
Carnival in the Creole City: Place, Race and Identity in the Age of Globalization Daphne Lamothe Smith College, [email protected]
Masthead Logo Smith ScholarWorks Africana Studies: Faculty Publications Africana Studies Spring 2012 Carnival in the Creole City: Place, Race and Identity in the Age of Globalization Daphne Lamothe Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/afr_facpubs Part of the Africana Studies Commons Recommended Citation Lamothe, Daphne, "Carnival in the Creole City: Place, Race and Identity in the Age of Globalization" (2012). Africana Studies: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/afr_facpubs/4 This Article has been accepted for inclusion in Africana Studies: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] CARNIVAL IN THE CREOLE CITY: PLACE, RACE, AND IDENTITY IN THE AGE OF GLOBALIZATION Author(s): DAPHNE LAMOTHE Source: Biography, Vol. 35, No. 2, LIFE STORIES FROM THE CREOLE CITY (spring 2012), pp. 360-374 Published by: University of Hawai'i Press Stable URL: https://www.jstor.org/stable/23541249 Accessed: 06-03-2019 14:34 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of Hawai'i Press is collaborating with JSTOR to digitize, preserve and extend access to Biography This content downloaded from 131.229.64.25 on Wed, 06 Mar 2019 14:34:43 UTC All use subject to https://about.jstor.org/terms CARNIVAL IN THE CREOLE CITY: PLACE, RACE, AND IDENTITY IN THE AGE OF GLOBALIZATION DAPHNE LAMOTHE In both the popular and literary imaginations, carnival music, dance, and culture have come to signify a dynamic multiculturalism in the era of global ization. -
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afrique.q 7/15/02 12:36 PM Page 2 The tree of life that is reggae music in all its forms is deeply spreading its roots back into Afri- ca, idealized, championed and longed for in so many reggae anthems. African dancehall artists may very well represent the most exciting (and least- r e c o g n i z e d ) m o vement happening in dancehall today. Africa is so huge, culturally rich and diverse that it is difficult to generalize about the musical happenings. Yet a recent musical sampling of the continent shows that dancehall is begin- ning to emerge as a powerful African musical form in its own right. FromFrom thethe MotherlandMotherland....Danc....Danc By Lisa Poliak daara-j Coming primarily out of West Africa, artists such as Gambia’s Rebellion D’Recaller, Dancehall Masters and Senegal’s Daara-J, Pee GAMBIA Froiss and V.I.B. are creating their own sounds growing from a fertile musical and cultural Gambia is Africa’s cross-pollination that blends elements of hip- dancehall hot spot. hop, reggae and African rhythms such as Out of Gambia, Rebel- Senegalese mbalax, for instance. Most of lion D’Recaller and these artists have not yet spread their wings Dancehall Masters are on the international scene, especially in the creating music that is U.S., but all have the musical and lyrical skills less rap-influenced to explode globally. Chanting down Babylon, than what is coming these African artists are inspired by their out of Senegal. In Jamaican predecessors while making music Gambia, they’re basi- that is uniquely their own, praising Jah, Allah cally heavier on the and historical spiritual leaders. -
SAY NO to the LIBERAL MEDIA: CONSERVATIVES and CRITICISM of the NEWS MEDIA in the 1970S William Gillis Submitted to the Faculty
SAY NO TO THE LIBERAL MEDIA: CONSERVATIVES AND CRITICISM OF THE NEWS MEDIA IN THE 1970S William Gillis Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the School of Journalism, Indiana University June 2013 ii Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee David Paul Nord, Ph.D. Mike Conway, Ph.D. Tony Fargo, Ph.D. Khalil Muhammad, Ph.D. May 10, 2013 iii Copyright © 2013 William Gillis iv Acknowledgments I would like to thank the helpful staff members at the Brigham Young University Harold B. Lee Library, the Detroit Public Library, Indiana University Libraries, the University of Kansas Kenneth Spencer Research Library, the University of Louisville Archives and Records Center, the University of Michigan Bentley Historical Library, the Wayne State University Walter P. Reuther Library, and the West Virginia State Archives and History Library. Since 2010 I have been employed as an editorial assistant at the Journal of American History, and I want to thank everyone at the Journal and the Organization of American Historians. I thank the following friends and colleagues: Jacob Groshek, Andrew J. Huebner, Michael Kapellas, Gerry Lanosga, J. Michael Lyons, Beth Marsh, Kevin Marsh, Eric Petenbrink, Sarah Rowley, and Cynthia Yaudes. I also thank the members of my dissertation committee: Mike Conway, Tony Fargo, and Khalil Muhammad. Simply put, my adviser and dissertation chair David Paul Nord has been great. Thanks, Dave. I would also like to thank my family, especially my parents, who have provided me with so much support in so many ways over the years. -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law. -
Halifu Osumare, the Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 Pp., $85.00 (Hardcover)
International Journal of Communication 7 (2013), Book Review 1501–1504 1932–8036/2013BKR0009 Halifu Osumare, The Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 pp., $85.00 (hardcover). Reviewed by Angela Anima-Korang Southern Illinois University Carbondale Ghana’s music industry can be described as a thriving one, much like its film industry. The West African sovereign state is well on its way to becoming a force to reckon with on the international music market. With such contemporary rap artists as Sarkodie, Fuse ODG (Azonto), Reggie Rockstone, R2Bs, and Edem in its fold, Ghana’s music is transcending borders and penetrating international markets. Historically, Ghana’s varying ethnic groups, as well as its interaction with countries on the continent, greatly influences the genres of music that the country has created over the years. Traditionally, Ghana’s music is geographically categorized by the types of musical instruments used: Music originating from the North uses stringed instruments and high-pitched voices; and music emanating from the Coast features drums and relatively low-pitched voice intermissions. Up until the 1990s, “highlife” was the most popular form of music in Ghana, borrowing from jazz, swing, rock, soukous, and mostly music to which the colonizers had listened. Highlife switched from the traditional form with drums to a music genre characterized by the electric guitar. “Burger-highlife” then erupted as a form of highlife generated by artists who had settled out of Ghana (primarily in Germany), but who still felt connected to the motherland through music, such as Ben Brako, George Darko, and Pat Thomas. -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
Explore African Immigrant Musical Traditions with Your Students Recommended for Grade Levels 5 and Up
Explore African Immigrant Musical Traditions with Your Students Recommended for Grade Levels 5 and up Teacher Preparation / Goals African immigrant musical traditions are as rich and varied as the many languages and cultures of Africa. There are many different reasons for their formation; to explore new influences, to reshape older practices, or to maintain important traditions from the homeland. In these reading and activities students will learn about the African immigrant musical traditions found in the Washington, D.C. area. Special programs held after school and during the weekend and summer have been initiated to teach children more about their culture through the medium of music and dance. In the African immigrant community, music and dance groups immerse the students in the culture of their ancestors’ homeland. Some of these groups have been here for many years and are an important part of the community. Many African-born parents value these programs because they fear that their American-born children may be losing their heritage. In preparation for the lesson read the attached articles, "African Immigrant Music and Dance in Washington, D.C." and "Nile Ethiopian Ensemble: A Profile of An African Immigrant Music and Dance Group." See what you can find out about the musical traditions to be found in your area, and not just those performed by African immigrants, but by others as well. For example, when you start looking, you may find a Korean group or a group from the Czech Republic. If possible, visit a performance of a music or dance group and talk to the teachers or directors of the group. -
Roczniki Hum$Nistyczne
7RZDU]\VWZR 1DXNRZH .DWROLFNLHJR 8QLZHUV\WHWX /XEHOVNLHJR 7RP;/,9]HV]\W 52&=1,., +80$1,67<&=1( 1(2),/2/2*,$ ALFONS PILORZ EVOLUTION SEMANTIQUE DES EMPRUNTS FRANÇAIS EN POLONAIS /8%/,1 TABLE DES MATIERES Avant-propos ................................. 7 Corpus ..................................... 29 Petitcorpus .................................. 67 Analyse ..................................... 77 Remarquesfinales .............................. 159 Bibliographie ................................. 161 AVANT-PROPOS Si les gens regardaient l’étymologie des mots, peut-être comprendraient-ils que la richesse du français vient du brassage des cultures. («Lire», no 204, p. 43, publicité des diction- naires LE ROBERT) Toute préocupation étymologique suppose une visée diachronique. L’étude de l’emprunt entretient des rapports intimes avec l’analyse étymologique. Cependant elle déborde le cadre strictement linguistique de celle-ci pour entrer de plain-pied dans le domaine de l’histoire des rapports culturels. L’emprunt linguistique est un phénomène panhumain, non moins généralisé que les échanges de biens matériels et de techniques. Depuis de très anciennes époques préhistoriques, les sociétés humaines échangent biens de consommation (sel, par exemple), matières premières (silex, ambre...), instruments (couteaux, grattoirs...). Depuis fort longtemps, il n’y a pratiquement plus de groupements humains autarciques. De même, il n’y a guère d’autarcie sur le plan lingui- stique. Les langues, véhicules de cultures, cultures en permanent brassage (évi-