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Safeguarding Women's Rights in Afghanistan
153 Oxfam Briefing Paper 3 October 2011 A place at the table Safeguarding women‟s rights in Afghanistan www.oxfam.org Participants from the Women for Women programme, Afghanistan. © Women for Women International. Women in Afghanistan have achieved real progress in areas such as political participation, the rule of law, and education since 2001, but these hard-won gains remain fragile. With the imminent withdrawal of international forces, there is a risk that the government may sacrifice women’s rights in order to secure a political deal with the Taliban and other armed opposition groups. The government and its international partners must do much more to support Afghan women’s efforts and uphold their rights while ensuring that women have a strong voice in any future negotiations and political settlements. Summary ‘Women want peace but not at the cost of losing our freedom again.’ Noorjahan Akbar, co-founder of Young Women for Change.1 Ten years on from the start of the Western intervention in Afghani- stan, Afghan women are facing an uncertain future. Women have strived for and made important gains since the fall of the Taliban in 2001, including in political participation and access to education, but these gains are fragile and reversible. The precarious situation for Afghan women is set against a backdrop of spreading insecurity across Afghanistan. Civilian casualties are in- creasing, with May 2011 the deadliest month of the war for civilians since 2007.2 As security deteriorates across the country, violence against women is also on the rise. Both the Afghan and US governments are attempting to engage in parallel talks with the Taliban to reach a political solution to the con- flict before international military forces withdraw by the end of 2014. -
Women, Business and the Law 2020 World Bank Group
WOMEN, BUSINESS AND THE LAW 2020 AND THE LAW BUSINESS WOMEN, WOMEN, BUSINESS AND THE LAW 2020 WORLD BANK GROUP WORLD WOMEN, BUSINESS AND THE LAW 2020 © 2020 International Bank for Reconstruction and Development / The World Bank 1818 H Street NW, Washington, DC 20433 Telephone: 202-473-1000; Internet: www.worldbank.org Some rights reserved 1 2 3 4 23 22 21 20 This work is a product of the staff of The World Bank with external contributions. The findings, interpretations, and conclusions expressed in this work do not necessarily reflect the views of The World Bank, its Board of Executive Directors, or the govern- ments they represent. The World Bank does not guarantee the accuracy of the data included in this work. The boundaries, colors, denominations, and other information shown on any map in this work do not imply any judgment on the part of The World Bank concerning the legal status of any territory or the endorsement or acceptance of such boundaries. Nothing herein shall constitute or be considered to be a limitation upon or waiver of the privileges and immunities of The World Bank, all of which are specifically reserved. Rights and Permissions This work is available under the Creative Commons Attribution 3.0 IGO license (CC BY 3.0 IGO) http://creativecommons.org/ licenses/by/3.0/igo. Under the Creative Commons Attribution license, you are free to copy, distribute, transmit, and adapt this work, including for commercial purposes, under the following conditions: Attribution—Please cite the work as follows: World Bank. 2020. Women, Business and the Law 2020. -
Ticket to the Opera SYLLABUS
Ticket to the Opera Fall, 2018 SYLLABUS All of us, opera connoisseurs, amateurs and newBies alike, are here to savor great music, learn aBout an art form, share perceptions and opinions, and enjoy each other’s company. Participation in class discussion is highly encouraged. Presentations are also encouraged and are meant to Be an interesting learning experience, shared with interested learners. ALL contriButions are welcome and valued. Class #1: Thursday, SeptemBer 13 • Introduction to the class—ice breaker: Penney (20 minutes) • Introduction to the co-coordinators: Penney, Penny, Linda (10 mins) • Preview of the performances: Aida (& Netrebko), Linda Samson & La Fanciulla, Penny Marnie, Penney (20 minutes total) Second hour • A quick history of opera: Penney (30 minutes) • Syllabus: Penney (15 minutes) • Introduce First Listening Challenge (15 minutes) Class #2: Thursday, SeptemBer 20 AIDA • Discuss Listening Challenge (20 minutes) • Verdi biography (15 minutes) • The story/libretto/librettist (15 minutes) Second hour • The Italian legacy in Opera (from the Baroque to the Modern) (30 minutes) • Arias to look forward to, what to listen for: Penny (30 minutes) • Listening Challenge: Which tenor do you prefer? Which soprano? Class #3 Thursday, September 27 AIDA • Discuss Listening (20 minutes) • Cast: Spotlight on the performers: (30 minutes) o Anna Netrebko + Anita Rachvelishvili o Aleksandrs Antonenko + Quinn Kelsey o Dmitry Belosselskiy + Ryan Speedo Green Second hour • Stories from the class: Aida’s you have seen (15 minutes) • Past -
Gennaio 2021 Numero Miscellaneo Issue 45
Numero 45 – Gennaio 2021 Numero miscellaneo Issue 45 – January 2021 Miscellaneous Issue ISSN: 1824-4483 DEP n. 45 Indice Ricerche Parte monografica La violenza domestica in Asia orientale e sud-orientale Sara D’Attoma, Introduzione p. I Sara D’Attoma, 百年好(不)合! Cento anni di (in)felicità coniugale! Aspetti normativi del divorzio per violenza domestica nella Repubblica popolare cinese p. 1 Hsiaowei Kuan, The Law on Domestic Violence and Its Practice in Taiwan, (Taiwan) p. 24 Sumiko Honda, Reiko Ogawa, Domestic Violence in Japan: An Invisible Problem in the “Safest Country in the World” p. 35 Elodie Voisin, “As husband I must be violent”. Continuum of violence in forced migration and militarized policies. Ethnography among Rohingya Refugees in Malaysia p. 60 Parte miscellanea Corina Costea, The Evolution of Romanian Law and Mechanism in the Fight against Trafficking in Human Beings. A Focus on the Situation of Women p. 80 Doreen Perl-Valentina Srbuljevic, The Importance of the Inclusion of Women’s Rights in the US – Taliban Peace Treaty p. 98 Documenti Claire Goll, La mano di cera (1917), traduzione di Serena Tiepolato p. 122 Kathleen Lonsdale, Security and Responsibility (1954), traduzione e cura di Maria Grazia Suriano p. 127 Recensioni, interventi, resoconti Annalisa Zabonati, “Bringing peace home”. I corpi delle donne e degli animali nonumani nell’analisi ecofemminista critica di Carol J. Adams p. 151 Arianna Ceschin, “La degradazione è la dea del momento”: natura e società nella scrittura di Anna Maria Ortese p. 158 Claire Tomalin, Jane Austen, la vita (Bianca Tarozzi) p. 169 Vandana Shiva, Reclaiming the Commons, Biodiversity, Indigenous Knowledge and the Rights of Mother Earth (Sara Dal Monico) p. -
Humanitarian and Reconstruction Assistance to Afghanistan, 2001
A Joint Evaluation Evaluation A Joint A Joint Evaluation Afghanistan was a troubled country in 2001. Not only is Afghanistan one of the poorest HUMANITARIAN 2001-05 AFGHANISTAN, ANDTO RECONSTRUCTION ASSISTANCE countries in the world, but protracted armed confl ict since 1978 had forced 6 million HUMANITARIAN AND out of a population of some 25 million people to fl ee to neighbouring countries, caused massive destruction of infrastructure and paved the way for warlords to rule over large RECONSTRUCTION ASSISTANCE parts of the country. The 2001 11 September attack by Al Qaeda placed Afghanistan at the centre of international politics and provoked the US-led ‘Coalition of the Willing’s attack on 7 October on Al Qaeda bases in Afghanistan in collaboration with a loose alliance of TO AFGHANISTAN, 2001-05 Northern Afghan groups and the subsequent overthrow of the Taliban regime. After the international military operation and up to mid-2004 Afghanistan received close FROM DENMARK, IRELAND, THE NETHERLANDS, SWEDEN to Euro 3.2 billion in total of humanitarian and development aid to rebuild the country. Of this, 25 % - Euro 791 billion came from fi ve bilateral donors: the United Kingdom, AND THE UNITED KINGDOM the Netherlands, Sweden, Denmark and Ireland. In 2004 the fi ve donors decided to commission a joint evaluation of their aid programmes 2001-2005. The evaluation was carried out by a consortium led by Chr. Michelsen Institute, Bergen, Norway, contracted by Danida’s Evaluation Department on behalf of the fi ve donors. The donors’ support to Afghanistan was not just another humanitarian operation. It was a multi-dimensional intervention combining the objectives of development co-operation with broad foreign and domestic policy objectives, where the donors – of whom some had taken an active part in ousting the old regime – also aimed at supporting Afghanistan’s new start through putting into place a new and democratically elected government and market economy. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
Senior News July 2016
Senior News July 2016 Senior Activity Center, 1699 Homes Avenue, Ashland OR 97520 tel: 541-488-5342 Online at: www.ashlandseniorcenter.org tty: 711 Ice Cream Social !! Featuring JABBERWOCKY Wednesday, July 20th, 12:30 Mark your calendars and join us for an old fashioned Ice Cream Social with great music performed by Jabberwocky in beautiful Hunter Park next to the Senior Center. The eight-piece band plays a fun-loving ar- ray of old time favorites, including Five Foot Two, Eyes of Blue; Clarinet Marmalade; and Makin’ Whoopee to name a few. This event is free; however, tips for the band will be gladly accepted. Sit back, relax and enjoy a wonderful summer afternoon with music in the park. Hope to see you there! RVTD Transportation Focus Group Every four years the United Way seeks the input of Jackson County resi- dents on improving the mobility of three target groups: individuals with disabilities, older adults and persons of low income. Your input is valued so please come and share how you travel around the Rogue Valley, your im- pression of the transportation options available and any barriers to trans- portation you may face. Come and participate with us at the Transportation Focus Group on Wednesday, July 13th, 12:45 p.m. at the Ashland Senior Center. Please join us! Dagoba Chocolates and Caldera Brewing Company Tour Join us on Thursday, July 7th, 10:30 a.m. for tours of Dagoba Chocolates and the Caldera Brewing Company. Dagoba is known for crafting fine chocolate in a socially responsible way. We will get a window tour of how the chocolates are crafted and then sample a variety of them. -
Opening New Doors Eastman’S Community Music School in Its New Home SUMMER@ EASTMAN 2019
OUTREACH CONVERSATION Ethno at Eastman Advocacy through Art Song Barbara B. Smith EASTMAN NOTESSPRING 2019 Opening New Doors Eastman’s Community Music School in its New Home SUMMER@ EASTMAN 2019 Check out our new website! Explore the 40+ programs, institutes, workshops, and collegiate courses (online and on-site) we’re offering this summer! NEW PROGRAMS • Eastman French Horn Institute • Eastman Saxophone Project (ESP) Institute • French Lyric Diction (online course) • Keys to Healthy Music • MusiKinesis®: Music, Dance, Dalcroze • A theater-inspired team-building workshop NEW THIS YEAR! The College Board has approved Eastman as an APSI® MUSIC THEORY site. Dr. Joel Phillips, a certified APSI® instructor, will teach the five-day workshop, offering AP teaching certification. FOR MORE INFORMATION VISIT: summer.esm.rochester.edu EASTMAN SCHOOL OF MUSIC • UNIVERSITY OF ROCHESTER { SPRING 2019 } The mbira or “thumb piano,” part of Zimbabwe’s Shona culture for centuries, 2 is a welcome recent arrival at Eastman. From the Dean 3 Brief Notes 4 Alumni on the Move 21 School News 25 8 18 Recordings Opening Advocacy 27 Ethnomusicology Advancement Notes 14 New Doors through 28 at Eastman As it approaches a Art Song Alumni Notes centennial in a beautiful Eastman alumni in the Interdisciplinary and influential, new home, Eastman’s 32 Lynx Project bring the “ethno” has a lively presence at Community Music In Memoriam rarefied song recital to School continues to Eastman. Also: an interview with fresh new places. 34 enrich Rochester. Tributes Barbara B. Smith ’43E (MM) 35 Faculty Notes ON THE COVER (left to right): Naomi Foley ’99E, Young Eastman Children’s Chorus Director, with ECMS students Maria Kim (piano), 36 Peter Foley (bass), and Micah Kim (violin). -
John Wayne at Fox — the Westerns
JOHN WAYNE AT FOX — THE WESTERNS ohn Wayne at Fox – not a lot of films, Bernstein’s music is as iconic and big as the federate who decides to burn his plantation but some extraordinarily entertaining Duke himself. (rather than leave it to the carpetbaggers) Jones. Interestingly, John Wayne’s first and take his people to Mexico. Wayne is a credited screen appearance, The Big Trail, A year earlier, the John Wayne Fox western Union soldier trying to sell horses – the two was for Fox. The 1930 western should have was North to Alaska, a big, sprawling comedy former enemies join up and there follows made him a star – but it didn’t. Wayne toiled western starring the Duke, Stewart Granger, much excitement, drunken brawls, a romance in all kinds of films for all kinds of studios enticing Capucine, Ernie Kovacs and teen between Wayne’s adopted Indian son and and it took John Ford and his smash hit film, heartthrob Fabian. The director was Henry Hudson’s daughter, and more excitement, all Stagecoach, to make Wayne an “overnight Hathaway, a regular at Fox, who’d helmed rousingly scored by Hugo Montenegro. sensation” and box-office star. Unlike many such classics as The House on 92nd Street, of the stars of that era, Wayne wasn’t tied to Call Northside 777, Kiss of Death, Fourteen Montenegro, born in 1925, began as an or- one studio – he bounced around from studio Hours, Niagara, Prince Valiant and many chestra leader in the mid-1950s, then going to studio, maintaining his independence. He others, as well as several films with Wayne, to Time Records, where he did several great returned to Fox in 1958 not for a western but including The Shepherd of the Hills, Legend albums in the early 1960s. -
Composer Robert Paterson Celebrates 50Th Birthday with Premieres and a New Album the Four Seasons – out April 24
FEBRUARY 19, 2020 CONTACT: STUART WOLFERMAN [email protected] 718-938-7679 Composer Robert Paterson celebrates 50th birthday with premieres and a new album The Four Seasons – Out April 24 This spring, the composer enjoys three Carnegie Hall performances, including two world premieres, and the culmination of his 20-year-long “Four Seasons” project. Spring 2020 marks a particularly busy and celebratory period for composer Robert Paterson. Called a “modern day master” by the New York Times, Paterson’s String Quartet No. 3 will be premiered at Carnegie Hall’s Weill Hall on March 5 by the Indianapolis String Quartet. On April 17, he celebrates his 50th birthday and the release of his 21-song Four Seasons project (out April 24 on Paterson’s American Modern Recordings). On May 6, the Oratorio Society of New York, under Kent Tritle, will perform Paterson’s Whitman’s America. Paterson’s ability to set text has been widely praised, with Gramophone stating that he “could probably set a telephone book to music and create something that captivates.” In The Four Seasons the composer has set the poems of Ann Stanford, Sharan Strange, Wallace Stevens, keep reading Dorothea Tanning, to name a few. The world premiere recording consists of four song-cycles (21 songs), written over the last 20 years, for four voice types (each representing a different season). The four singers on the album are soprano Marnie Breckenridge, mezzo-soprano Blythe Gaissert, tenor Alok Kumar, and bass-baritone David Neal. In 2014, the six Winter Songs were released as part of a broader collection. -
Benjamin Britten's War Requiem
Benjamin Britten’s War Requiem Benjamin Britten / Composer Ann Arbor Symphony Orchestra UMS Choral Union Ann Arbor Youth Chorale Scott Hanoian / Conductor Tatiana Pavlovskaya / Soprano Anthony Dean Griffey / Tenor Stephen Powell / Baritone Scott VanOrnum / Organ Saturday Evening, February 16, 2019 at 8:00 Hill Auditorium Ann Arbor 32nd Performance of the 140th Annual Season Choral Music Series This evening’s performance is supported by the Jerry Blackstone UMS Choral Union Performance Fund and the Frances Mauney Lohr Choral Union Endowment Fund. Media partnership provided by WEMU 89.1 FM, WRCJ 90.9 FM, and WGTE 91.3 FM. The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Stephen West and the U-M Department of Vocal Performance for their participation in events surrounding this evening’s performance. Mr. Griffey appears by arrangement with Colbert Artists. Mr. Powell appears by arrangement with Barrett Artists. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Benjamin Britten War Requiem, Op. 66 I. Requiem aeternam II. Dies irae III. Offertorium I V. Sanctus V. Agnus Dei VI. Libera me This evening’s performance runs approximately 80 minutes in duration and is performed without intermission. 3 WAR REQUIEM (1962) Benjamin Britten Born November 22, 1913 in Lowestoft, England Died December 4, 1976 in Aldeburgh, England UMS premiere: This piece has never been performed on a UMS concert. Snapshots of History…In 1962: • First Lady Jacqueline Kennedy takes television viewers on a tour of the White House • The US announces its embargo against Cuba • The Sault Ste. -
SAVANT BOOK REVIEW Tuesday December 5, 2017
SAVANT BOOK REVIEW Tuesday December 5, 2017 Hello! A Book Review today, and a very positive one. Good books about film directors are not easy to come by, and when a real winner surfaces like Bernard Eisenschitz’s book on Nicholas Ray or Foster Hirsch’s on Otto Preminger, I take notice. Joining those for reference-quality value and getting an A+ for sheer entertainment, Alan K. Rode’s Michael Curtiz A Life in Film is engaging from the start and doesn’t let up. Curtiz is different because he was never a cult director or one likely to be studied from an academic viewpoint — he was an artisan that for the bulk of his career worked at just one studio. But he had a terrific, recognizable style and made more ‘great’ golden age Hollywood pictures than anybody — Errol Flynn swashbucklers, Yankee Doodle Dandy, Casablanca, Mildred Pierce, White Christmas among them. He wasn’t an outright rebel or a hyphenate that generated his own scripts; he didn’t have highly personal themes to express. He also did everything — high adventure, literary adaptations, tense thrillers, ‘women’s dramas’ and even light comedies. Although Curtiz tangled with his studio bosses Jack Warner and Hal Wallis as much as anybody, before this book all I really knew about him was that he had made silent films in Hungary, and that he tied mogul Sam Goldwyn for quoted malapropisms, the most famous being “Bring on the empty horses,” from The Charge of the Light Brigade. With a sure hand, good research and a knack for amusing ironies, author Rode really brings Curtiz to life.