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Mana Wahine Reader a Collection of Writings 1999-2019 - Volume Ii
MANA WAHINE MANA WAHINE READER A COLLECTION OF WRITINGS 1999-2019 - VOLUME II - VOLUME OF WRITINGS 1999-2019 A COLLECTION MANA WAHINE READER A COLLECTION OF WRITINGS 1999-2019 VOLUME II Mana Wahine Reader A Collection of Writings 1999-2019 Volume II I First Published 2019 by Te Kotahi Research Institute Hamilton, Aotearoa/ New Zealand ISBN: 978-0-9951290-0-9 Education Research Monograph No 4. © Te Kotahi Research Institute, 2019 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without prior written permission of the publisher. Design Te Kotahi Research Institute Cover Illustration by Robyn Kahukiwa Print Waikato Print – Gravitas Media The Mana Wahine Publication was supported by: Disclaimer: The editors and publisher gratefully acknowledge the permission granted to reproduce the material within this reader. Every attempt has been made to ensure that the information in this book is correct and that articles are as provided in their original publications. To check any details please refer to the original publication. II Mana Wahine Reader | A Collection of Writings 1999-2019, Volume II III Mana Wahine Reader A Collection of Writings 1999-2019 Volume II Edited by: Leonie Pihama, Linda Tuhiwai Smith, Naomi Simmonds, Joeliee Seed-Pihama and Kirsten Gabel III Table of contents Poem Ngā Māreikura - Nā Hinewirangi Kohu-Morgan 01 Article 19 Colonisation and the Imposition of Patriarchy: A Ngāti Raukawa Woman’s 04 Perspective - Ani Mikaere Article 20 Constitutional -
Sexual and Gender Minority Health Research Listening Session Virtual Meeting November 19, 2020, 1:00 P.M.–2:30 P.M
Sexual and Gender Minority Health Research Listening Session Virtual Meeting November 19, 2020, 1:00 p.m.–2:30 p.m. EST [MEETING START TIME: 1:00 P.M. EST] DR. KAREN PARKER: Welcome to the second annual NIH SGM Health Research Listening Session. I’m so happy to be here. My name is Karen Parker, and my pronouns are she and her. I currently serve as director of the Sexual & Gender Minority Research Office at NIH. The primary goal of today’s listening session is for NIH leaders and staff to hear from community stakeholders about what issues are on their mind regarding SGM-related research and related activities at the National Institutes of Health. Selection of these organizations invited today is based on the diversity of organizational missions and efforts. This year, we will have 11 organizations presenting to us. Before we began listening to comments from these stakeholders, we will hear remarks from several senior NIH leaders. We also have several colleagues in attendance from across the different Institutes, Centers, and Offices at the agency, and we are all excited to hear from them. I will be serving as moderator for today’s session, and we will be prompting speakers, both NIH leaders and invited organizational representatives, to turn your audio and video on when it is your time to provide remarks. Please be sure to mute your audio and video feed when you are not speaking. To members of the public who are joining in today to listen, welcome. This session is being recorded, and both a captioned video and transcription document will be posted to the SGMRO website in the coming weeks. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
On the Postmodern Condition
1 Journal of Undergraduate Research and Scholarly Works Volume 7 December 2020 On the Postmodern Condition Sean Carroll Abstract University of Texas at San Antonio As a cultural movement, Postmodernism begun to solidify itself since the 1970s. Despite what some may say of its necessarily unstructured nature, coherent reflection about it is useful. While there is a growing literature on this topic, the present study, as suggested by David Harvey, seeks to use an historical, materialist framework, as developed by Karl Marx, to interpret postmodern culture. To do this, I began with the studies of the substructures of postmodern culture (political-economic and material conditions), and then sought to find reflective cohesion among its ‘aesthetic’ superstructures (social, philosophical, cinematic, literary, and musical) and their underlying conditions. As a result, from these studies, I found that the aesthetic sentiments of postmodern culture quite neatly map onto the material conditions, which inform its context. These sentiments imply a complicit disposition towards many aspects of late capitalism (such as consumerism and alienation). These findings are significant because it forces postmodernism to take a more honest look at itself, and become self-aware of its implications. My findings imply that if postmodern sentiments truly want to harbor an activism toward the status quo, it must first realign itself with more unifying attitudes. While a single resolution has yet to be concluded, the present study provides some general directions -
Andy Warhol, the Velvet Underground and the Trash Aesthetic La Banalité De La Dégradation : Andy Warhol, Le Velvet Underground Et L’Esthétique Du Trash
Volume ! La revue des musiques populaires 9 : 1 | 2012 Contre-cultures n°1 The Banality of Degradation : Andy Warhol, the Velvet Underground and the trash aesthetic La Banalité de la dégradation : Andy Warhol, le Velvet Underground et l’esthétique du trash Simon Warner Electronic version URL: http://journals.openedition.org/volume/3508 DOI: 10.4000/volume.3508 ISSN: 1950-568X Printed version Date of publication: 15 September 2012 Number of pages: 52-65 ISBN: 978-2-913169-32-6 ISSN: 1634-5495 Electronic reference Simon Warner, « The Banality of Degradation : Andy Warhol, the Velvet Underground and the trash aesthetic », Volume ! [Online], 9 : 1 | 2012, Online since 01 September 2016, connection on 10 December 2020. URL : http://journals.openedition.org/volume/3508 ; DOI : https://doi.org/10.4000/ volume.3508 This text was automatically generated on 10 December 2020. L'auteur & les Éd. Mélanie Seteun The Banality of Degradation : Andy Warhol, the Velvet Underground and the tra... 1 The Banality of Degradation : Andy Warhol, the Velvet Underground and the trash aesthetic La Banalité de la dégradation : Andy Warhol, le Velvet Underground et l’esthétique du trash Simon Warner EDITOR'S NOTE This text was published in Countercultures & Popular Music (Farnham, Ashgate, 2014), while its French translation appeared in this issue of Volume! in 2012. American culture is trash culture. (Hamelan 2004: 3) Introduction BECAUSE HE INVESTED his energies in that promiscuous cultural intersection where Pop Art met both underground film and the methods of mass production, the artist Andy Warhol might be regarded as the king, or indeed queen, of the trash aesthetic. -
New Orleans' Confrontation with Modernity
BETWEEN LOGOS AND EROS: NEW ORLEANS’ CONFRONTATION WITH MODERNITY Erin Christine Moore, BA Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2008 APPROVED: Robert Frodeman, Major Professor and Chair of the Department of Philosophy and Religion Studies David Kaplan, Committee Member Irene Klaver, Committee Member Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Moore, Erin Christine, Between Logos and Eros: New Orleans’ Confrontation with Modernity. Master of Arts (Philosophy), May 2008, 96 pp., 9 illustrations, references, 68 titles. This thesis examines the environmental and social consequences of maintaining the artificial divide between thinking and feeling, mind and matter, logos and eros. New Orleans, a city where the natural environment and human sensuality are both dominant forces, is used as a case study to explore the implications of our attempts to impose rational controls on nature – both physical and human nature. An analysis of New Orleans leading up to and immediately following Hurricane Katrina (2005) reveals that the root of the trouble in the city is not primarily environmental, technological, political, or sociological, but philosophical: there is something amiss in the relationship between human rationality and the corporeal world. I argue that policy decisions which do not include the contributions of experts from the humanities and qualitative social sciences – persons with expertise on human emotions, intentions, priorities and desires – will continue to be severely compromised. Copyright 2008 by Erin Christine Moore ii TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS............................................................................................. iv Chapters 1. INTRODUCTION .......................................................................................1 2. NEW ORLEANS, OCTAVIA’S KIN .........................................................6 3. -
Latin Derivatives Dictionary
Dedication: 3/15/05 I dedicate this collection to my friends Orville and Evelyn Brynelson and my parents George and Marion Greenwald. I especially thank James Steckel, Barbara Zbikowski, Gustavo Betancourt, and Joshua Ellis, colleagues and computer experts extraordinaire, for their invaluable assistance. Kathy Hart, MUHS librarian, was most helpful in suggesting sources. I further thank Gaylan DuBose, Ed Long, Hugh Himwich, Susan Schearer, Gardy Warren, and Kaye Warren for their encouragement and advice. My former students and now Classics professors Daniel Curley and Anthony Hollingsworth also deserve mention for their advice, assistance, and friendship. My student Michael Kocorowski encouraged and provoked me into beginning this dictionary. Certamen players Michael Fleisch, James Ruel, Jeff Tudor, and Ryan Thom were inspirations. Sue Smith provided advice. James Radtke, James Beaudoin, Richard Hallberg, Sylvester Kreilein, and James Wilkinson assisted with words from modern foreign languages. Without the advice of these and many others this dictionary could not have been compiled. Lastly I thank all my colleagues and students at Marquette University High School who have made my teaching career a joy. Basic sources: American College Dictionary (ACD) American Heritage Dictionary of the English Language (AHD) Oxford Dictionary of English Etymology (ODEE) Oxford English Dictionary (OCD) Webster’s International Dictionary (eds. 2, 3) (W2, W3) Liddell and Scott (LS) Lewis and Short (LS) Oxford Latin Dictionary (OLD) Schaffer: Greek Derivative Dictionary, Latin Derivative Dictionary In addition many other sources were consulted; numerous etymology texts and readers were helpful. Zeno’s Word Frequency guide assisted in determining the relative importance of words. However, all judgments (and errors) are finally mine. -
The Improvisational Style of Steve Lacy: Analyses of Selected Transcriptions (1957-1962)
OSTERCAMP, NEIL LEWIS, D.M.A. The Improvisational Style of Steve Lacy: Analyses of Selected Transcriptions (1957-1962). (2018) Directed by Dr. Steven Stusek. 44 pp. This document investigates and draws conclusions regarding the improvisational style of Steve Lacy between 1957 and 1962 based on improvised solos from the albums Soprano Sax, Reflections, and Evidence. His improvisational tendencies are inspected through detailed analysis of transcriptions. Specifically, his melodic and harmonic approach, tone (timbre, articulation, tessitura), and use of rhythm will be unpacked. Lacy is widely considered a leading force in jazz improvisation, and yet there are no comprehensive studies of his style. He is often referenced because of the rarity of his instrument, and not the unique character of his improvisation. Due to the vast amount of musical output, only the early part of Lacy’s career will be considered. My objectives include the gathering of biographical information, transcription and analysis of selected solos during the given time period, and the formulation of conclusions that give a clear definition of Lacy’s playing style based on melodic and harmonic approach, use of rhythm, and tone. Melodic and harmonic approach includes the explanation of voice leading, chord-scale relationships, and musical vocabulary. Use of rhythm will be examined through swing feel, phrasing, and recurring tendencies. Tone is described based on musical elements such as timbre, articulation, and tessitura. During the given time period, Lacy’s improvisational style is consistent in regard to melodic and harmonic approach, tone, and use of rhythm. Despite the fact that his career as a solo artist was in its infancy, he had already established a personal style. -
Solidarity, Not Charity: Mutual Aid in Natural Disaster Relief
SOLIDARITY, NOT CHARITY: MUTUAL AID IN NATURAL DISASTER RELIEF By Zoe Kenney A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Sociology Northern Arizona University April 2019 Janine Schipper, Ph.D., Chair Yvonne Luna, Ph.D. Douglas Degher, Ph.D. ABSTRACT ABSTRACT This paper focuses on Mutual Aid Disaster Relief (MADR), a grassroots organization providing natural disaster relief rooted in the principles of mutual aid and autonomous direct action. Through participant-observation of a series of workshops and semi-structured interviews with activists and organizers, this research explores why it is that individuals are motivated to act within this grassroots network, as opposed to participating in other efforts in response to natural disasters. Through an exploration of MADR`s collaborative approach to disaster relief and their focus on the social implications of climate chaos, as well as an analysis of their guiding principles and organizational structure, this paper highlights the ways in which state, federal, and industrial non-profit assistance often fall short in meeting the needs of marginalized individuals and communities, while speaking to how these gaps might be filled in ways that would reduce vulnerability while building longitudinal resilience. TABLE OF CONTENTS 1. Introduction _________________________________________________________ 2 2. Literature Review ____________________________________________________ 8 2 Disaster Studies __________________________________________ 8 Social -
Engaging People Living with Hiv in Trauma-Informed Peer Support: a Guidebook
ENGAGING PEOPLE LIVING WITH HIV IN TRAUMA-INFORMED PEER SUPPORT: A GUIDEBOOK By Andrea Blanch, Beth Filson, and Darby Penney With contributions from Cathy Cave Adapted by Donovan Ackley III and Leah Harris ENGAGING PEOPLE LIVING WITH HIV IN TRAUMA-INFORMED PEER SUPPORT: A GUIDEBOOK By Andrea Blanch, Beth Filson, and Darby Penney With contributions from Cathy Cave Adapted by Donovan Ackley III and Leah Harris Acknowledgments This guide was adapted for the Substance Abuse and Mental Health Services Administration (SAMHSA) by Donovan Ackley III and Leah Harris, the National Association of State Mental Health Program Directors (NASMHPD) from SAMHSA’s original “Engaging Women in Trauma-Informed Peer Support: A Guidebook, written by Andrea Blanch, Beth Filson, and Darby Penney, with contributions from Cathy Cave (Draft document April 2012); under contract number HHSS2832012000211, with SAMHSA, U.S. Department of Health and Human Services (HHS). Pam Rainer served as Project Manager (Advocates for Human Potential, Inc.) and Joan Gillece served as the Project Director (NASMHPD). Mary Blake served as SAMHSA’s Contracting Officer’s Representative, and Ilze Ruditis served as SAMHSA’s Task Lead. Disclaimer The views, opinions, and content of this publication are those of the authors and do not necessarily reflect the views, opinions, or policies of SAMHSA or HHS. The listing of non-federal resources is not all-inclusive, and inclusion on the listing does not constitute endorsement by SAMHSA or HHS. Public Domain Notice All material appearing in this report is in the public domain and may be reproduced or copied without permission from SAMHSA. Citation of the source is appreciated. -
The Routledge Companion to Remix Studies
THE ROUTLEDGE COMPANION TO REMIX STUDIES The Routledge Companion to Remix Studies comprises contemporary texts by key authors and artists who are active in the emerging field of remix studies. As an organic interna- tional movement, remix culture originated in the popular music culture of the 1970s, and has since grown into a rich cultural activity encompassing numerous forms of media. The act of recombining pre-existing material brings up pressing questions of authen- ticity, reception, authorship, copyright, and the techno-politics of media activism. This book approaches remix studies from various angles, including sections on history, aes- thetics, ethics, politics, and practice, and presents theoretical chapters alongside case studies of remix projects. The Routledge Companion to Remix Studies is a valuable resource for both researchers and remix practitioners, as well as a teaching tool for instructors using remix practices in the classroom. Eduardo Navas is the author of Remix Theory: The Aesthetics of Sampling (Springer, 2012). He researches and teaches principles of cultural analytics and digital humanities in the School of Visual Arts at The Pennsylvania State University, PA. Navas is a 2010–12 Post- Doctoral Fellow in the Department of Information Science and Media Studies at the University of Bergen, Norway, and received his PhD from the Program of Art and Media History, Theory, and Criticism at the University of California in San Diego. Owen Gallagher received his PhD in Visual Culture from the National College of Art and Design (NCAD) in Dublin. He is the founder of TotalRecut.com, an online com- munity archive of remix videos, and a co-founder of the Remix Theory & Praxis seminar group. -
Reading Economic Disposability: the Function(S) of Waste in Literary Systems of Exchange Has Been Approved for the Department of English
READING ECONOMIC DISPOSABILITY: THE FUNCTION(S) OF WASTE IN LITERARY SYSTEMS OF EXCHANGE by ANDREW LINDQUIST B.A., SUNY Fredonia, 2010 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of English 2015 This thesis entitled: Reading Economic Disposability: The Function(s) of Waste In Literary Systems of Exchange has been approved for the Department of English Dr. Penelope Kelsey Dr. Karen Jacobs Dr. Karim Mattar Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. IRB protocol # ____________________ iii Lindquist, Andrew Stephen (M.A., English) Reading Economic Disposability: The Function(s) of Waste in Literary Systems of Exchange Thesis directed by Associate Professor Penelope Kelsey Despite the attention paid by economists and journalists to the abundance of material garbage in recent years, few conceptual understandings of the term “waste” as a socio-economic function are offered in economic discourse. Essentially, waste is treated as the unwanted-but- inevitable byproduct of otherwise beneficial productive processes. But as a few scholars, authors and general critics of the capitalist world economy have implied, the increasing production of waste and garbage (in both material and social senses) over the past century is not simply an inevitable and unfortunate side effect of a capitalist mode of production but in fact its primary operating logic. As a thorough examination of the development of capitalism into what Immanuel Wallerstein has termed a “world-system” demonstrates, the primacy of capital accumulation, one of the essential principles of contemporary capitalist production, is accompanied by a complementary logic of disposability.