Graduate Course Descriptions, 2006 Winter
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Revenge and the Rule of Law in Nineteenth-Century American Literature
UNIVERSITY OF CALIFORNIA, SAN DIEGO Exceptional Vengeance: Revenge and the Rule of Law in Nineteenth-Century American Literature A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Lisa M. Thomas Committee in charge: Professor Nicole Tonkovich, Chair Professor John Blanco Professor Michael Davidson Professor Rachel Klein Professor Shelley Streeby 2012 Copyright Lisa M. Thomas, 2012 All rights reserved. The Dissertation of Lisa M. Thomas is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2012 iii DEDICATION To my family, friends, and committee for their endless encouragement, support, and patience. Whatever happens next, thanks for coming along (and putting up) with me. iv TABLE OF CONTENTS Signature Page…………………………………………………………………........ iii Dedication…………………………………………………………………………. iv Table of Contents………………………………………………………………….. v Acknowledgments ………………………………………………………………… vi Vita ………………………………………………………………………………… vii Abstract ……………………………………………………………………………. viii Introduction: Revenge, Justice, and Exceptionalist Rhetoric in the Nineteenth-Century United States………………………………………….. 1 Chapter 1: Reluctant Warriors: Community and Conflict in William Gilmore Simms’s The Yemassee ……………………………………………………… 51 Chapter 2: Unlikely Killers: Justifying Violence against Native Americans through Hannah Duston’s Captivity and Nick of the Woods ……………….. 125 Chapter 3: Revenge and Regret on the Texas -
Spiritual Blues: a Blues Methodological Investigation of a Black Community's Culturally Indigenous Ways of Knowing and Citizenship Praxis
Georgia State University ScholarWorks @ Georgia State University Educational Policy Studies Dissertations Department of Educational Policy Studies Spring 5-9-2016 Spiritual Blues: A Blues Methodological Investigation of a Black Community's Culturally Indigenous Ways of Knowing and Citizenship Praxis Melissa Vaughn Follow this and additional works at: https://scholarworks.gsu.edu/eps_diss Recommended Citation Vaughn, Melissa, "Spiritual Blues: A Blues Methodological Investigation of a Black Community's Culturally Indigenous Ways of Knowing and Citizenship Praxis." Dissertation, Georgia State University, 2016. https://scholarworks.gsu.edu/eps_diss/142 This Dissertation is brought to you for free and open access by the Department of Educational Policy Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Educational Policy Studies Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. ACCEPTANCE This dissertation, Spiritual Blues: A Blues Methodological Investigation of a Black community's culturally indigenous ways of knowing and citizenship praxis, by Melissa Speight Vaughn was prepared under the direction of the candidate’s Dissertation Advisory Committee. It is accepted by the committee members in partial fulfillment of the requirements for the degree, Doctor of Philosophy, in the College of Education and Human Development, Georgia State University. The Dissertation Advisory Committee and the student’s Department -
Slipperman's Recording Distorted Guitars from Hell
MARSH: Slipperman's Recording Distorted Guitars Thread From Hell (If you want to skip this introduction and cut to the content, click here.) It's the kind of thing you find on the net and think that the person who created it must have snapped. It's too good, too useful, and they're giving all of this away for free. So being the cheap bastard that I am, I saved all of it on a local disc in case Slipperman ever came to his senses and started charging money for it. While it all started as an internet discussion of how to record and mix distorted guitars it evolved into one of the best online resources that I have ever found regarding the process, methods and sheer terror which is recording heavy guitar-oriented music. It's said that those who can't do, teach ... so when you find someone like Slipperman who can do and teach -- pay attention, because it's a rare gift. Much of the technical information can be found in other places, but the tangential nature of these lessons combined with heaps of tips gleaned from hard work experience makes this an invaluable resource. The main thread itself is still a part of the M.A.R.S.H. (a highly recommended resource) and the recently reposted files can be found here. On this page you will find the accompanying images and the mp3s (which eventually replaced text altogether). As far as I know this is a complete collection of all the material. Of course inevitably this stuff was too good to last, and somehow someone on the technical side of the forums at the MARSH lost all of this stuff. -
AW Biography 2012
Alan Wilder / Recoil (Long-form Biography) Recoil is the project of Alan Charles Wilder, formerly of Depeche Mode. Born on 1st June 1959, he is a classically-trained musician and renowned contemporary music producer. Recoil was born in 1986 as a two-track experimental EP. Simply entitled ‘1 + 2’, this collection of primitive demos caught the attention of Mute Records label boss Daniel Miller and was inconspicuously released as a mini-album on 12" vinyl. An album, 'Hydrology', soon followed in 1988 and both were eventually re-issued by Mute on CD as 'Hydrology plus 1+2'. These early Recoil recordings revealed Alan’s position as a pioneer in the newly emerging world of sampling technology and demonstrated how he could turn the Depeche sound around to create something entirely new. Wilder described the project at the time as “... an antidote to Depeche Mode; a way to alleviate the frustrations of always working within a pop format”. Almost immediately, Wilder found himself back in the studio to record what would become the most successful Depeche Mode album to date,‘Violator’. It wasn’t until the band finally allowed themselves an extended break after the enormously successful 'World Violation' tour that Alan could return to Recoil - not, however, before agreeing to produce 'Ebbhead', an album for label-mates Nitzer Ebb. It was during this time that he cemented a working relationship with lead singer Douglas McCarthy who would return the favour by singing on Recoil’s next album,‘Bloodline’. Released in 1991, Wilder recruited guest vocalists for the first time with further contributions from Toni Halliday and Moby, helping to produce an album that demonstrated his ability to concoct slow-burning soundscapes drenched in drowsy paranoia. -
COLLECTED the Alan Wilder/Depeche Mode Historic Equipment, Vinyl & Memorabilia Auction
auction.recoil.co.uk omegaauctions.co.uk COLLECTED THE ALAN WILDER/DEPECHE MODE HISTORIC EQUIPMENT, VINYL & MEMORABILIA AUCTION Saturday 3rd September 2011 COLLECTED THE ALAN WILDER/DEPECHE MODE HISTORIC EQUIPMENT, VINYL & MEMORABILIA AUCTION Saturday 3rd September 2011 at 3.00pm Zion Arts Centre, 335 Stretford Road, Hulme, Manchester, M15 5ZA ON VIEW Friday 2nd September 11.00am - 8.00pm Saturday 3rd September 10.00am - 2.45pm Catalogue £5.00 Omega Auctions Telephone: +44 161 865 0838 Email: [email protected] www.omegaauctions.co.uk HISTORY - ALAN WILDER FOREWORD After classical training from an early age, Alan Wild- “Since those heady DM years, I have concentrated fully on my once side project Recoil (which originated in er’s career in music began at the age of 16 when he 1986). The most significant work has evolved since 1996. Free from former commitments, I began operating secured the position of studio assistant at DJM Studi- from my own studio, ‘The Thin Line’, and at my own pace, gradually piecing together what would become the os in London’s West End. Following 3 years of moder- ‘Unsound Methods’, ‘Liquid’ and ‘subHuman’ albums. Over the course of the last 12 years I have been ably ac- ate success in a variety of different bands, he joined companied by Paul Kendall who brings his idiosyncratic view to the whole procedure. Depeche Mode in 1981 after replying to an advert in Melody Maker. The recent ‘Selected’ collection is made up of my personal favourites, remastered and edited together into what I consider a cohesive and total listening experience. -
Nasa'suniversityprogram
NASA TM X-74142 NASA'SUNIVERSITYPROGRAM /'_lkjI^r'T,_lCIVL ni:}AklTq%.41t_,• , _ & ..........RF.qFARCH CONTRACTS _77-13891 Unclas G3/_l 582o0 , / j National Aeronautics and Space Administration Office of University Affairs Washington, D. C. 20546 FISCAL YEAR 1 976 IMPORTANT NOTICE This report is compiled primarily from information obtained from two internal NASA sources: 1. "CASE Report on Support of Colleges and Universities" (NASA Form 1356). 2. "Individual Procurement Action Report" (NASA Form 507). Therefore, other sources should be used for completing Forms 507 or 1356. # NASA'S UNIVERSITY PROGRAM ACTIVE GRANTS AND RESEARCH CONTRACTS FISCAL YEAR 1976 National Aeronautics and Space Administration Oifice of University Affairs Washington, D.C. 20546 I Acknowledgements This report was developed in the Policy Coordination Division of the Office of University Affairs under the guidance of W. A. Greene, Chief. Preparation of the input data for processing was accomplished by Doris J. Goodwin, Management Information Systems Officer. The Scientific and Technical Information Office produced the reproduction masters on the Phdton Computer. Additional Copies This publication is available from the National Technical Information Service (NTIS), 5285 Port Royal Rd., Springfield, Virginia 22161 for $4.75. FOREV¢ORD AsbasicpolicyNASAbelievesthatcollegesand universities should be encouraged to participate in the nation's space and aeronautics program to the maximum extent ........ ,-,4 111 _lUt_,, 1.1, Ulll v_,| ol_l_o are considered as partners with government and industry in the nation's aerospace program. NASA's objective is to have them bring their scientific, engineering, and social research competence to bear on aerospace problems and on the broader social, economic, and international i/nplications of NASA's technical and scientific programs. -
Morning Final No. 13 BUCK DHARMA and ERIC BLOOM Made a Trek out to Los Angeles So Fortunate
Morning Final No. 13 BUCK DHARMA AND ERIC BLOOM made a trek out to Los Angeles so fortunate. Interstate 5 had closed going South, so there was in January to visit the National Association of Music Merchandisers no way to get to Springfield by ground. After several conference (NAMM) convention. This is “the big one,” as far as music calls, we went North and flew out of Sea-Tac airport in Seattle conventions go, and the show attracts not only buyers from the and landed in Eugene just in time to play. Weird being in the major musical equipment middle of a National disaster...” Buck commented, “From supply stores, but also a Portland to Ellensburg, we waited 21/2 hours to pass a mudslide plethora of big-name on I-5 in southern Washington. Saw luxury condos with the first musicians — it is one of the floor underwater in downtown Portland, a whole village hip deep places to “see and be seen.” along I-5 and many acres of farms and yards awash along the Besides displays of all the Mackenzie River.” latest products, famous and well-respected bands and BÖC GEEK NEWS: Attention all PC Gamers! A recent issue of the musicians perform at the magazine CD Rom Today comes with a demo of a new booths of companies whose interactive game called “Ripper.” It features the talents of many products they support. stars such as Christopher Walken, Karen Allen, Burgess The boys came out to Meredith, John Rhys Davies, Jimmy (J.J.) Walker, Ossie Davis check out all the new and Tahnee Welch (Raquel’s daughter, from Cocoon). -
The Music of Donny Hathaway Everything Is Everything Donny Hathaway, 1970
SUMPTUOUS SOUL: THE MUSIC OF DONNY HATHAWAY EVERYTHING IS EVERYTHING DONNY HATHAWAY, 1970 Keisha Hicks 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 August 2014 Committee: Angela Nelson, Advisor Rebecca Mancuso, Graduate Faculty Representative Ellen Berry Radhika Gajjala © 2014 Keisha Hicks All Rights Reserved iii ABSTRACT Angela Nelson, Advisor The song “This Christmas” by Donny Hathaway is played only once a year during the holiday season. His presence is so strong during the holidays for African Americans because he is one of the distinctive cultural markers of the season. The question at hand is why is he relegated to the Christmas season but what about the rest of the year. In 2010, National Public Radio (NPR) created the series 50 Great Voices as a way to expose NPR listeners to artists who were not at the forefront of public consciousness. On June 26, 2010 Donny Hathaway debuted as the “Neglected Heart of Soul” but does “neglected” hold up. I believe “neglected” becomes situational depending on who is doing the remembering. The objective of my dissertation is to locate Donny Hathaway as a central figure in 1970s Soul music, to understand his growing influence over contemporary artists, and his musical legacy. I used Stuart Hall’s “representation” as my overarching theoretical framework. I wanted a theory that would be fluid enough to be relevant in the different phases of Donny Hathaway’s musical career. By using representation I was able to identify and understand the musical influences on Donny Hathaway. -
Morning Final No. 3 HOT AIR the WORLD of by MELNE
Morning Final No. 3 HOT AIR THE WORLD OF BY MELNE Well, surprise material contained G’day mates! It’s the MF Back-to-School issue, so included surprise...When on COE:TMY... here is our obligatory essay, What I Did On My Summer Vacation: we were since only half of Our two week excursion to the East Coast is detailed in the feature told it was live mate- article this issue. Our very special thanks go this time to our guest that rial. Come to artist Zeke Roeser, who provided his summer vacation activities for the EE CBS find out now EE cover. Also thanks to Rob Reich and Rick “C.C. Voodoo” Carroll for was releasing CBS is plan- their contributions and Laser Ray for Career Of ning to his photographic skill. TT TT Evil:TMY instead release ETL You’ll note the different, more con- of a CD release of after all, and sistent look in this issue, as we finally LL Extra Terrestrial you can look LL became computerized! What a God- Live, we were left for it to be send! Things should really start shap- wondering about released sometime ing up now: Keeping track of mem- the choice of around November. bership, tapes and videos, and every- thing else will be a lot easier now. (Now I can hardly believe the way I used to assemble this magazine!) The usual plethora of frivolous in- formation is contained here—in case you’re ever invited to a BÖC-version of Trivial Pursuit you’ll have a wealth Hey Joe! Whadaya of information from which to Hey Joe! Whadaya draw....So, get to it and turn the page! Know?Know? Looking for love in all the wrong places Bolle at the Öyster Bar in New York The Cult Brothers are, as I write this, in Myrtle Beach, South Carolina playing a six-night-stand at a place on the beach called Rock Burger—sink your teeth into that one! They plan to work hard on a lot of new songs, playing new ones every night so that when they return they can go into the studio and start recording a Cult Bros. -
Brian Darrith
The Blues: Religious or Anti-Religious? Brian Darrith Bluesman Cedric Burnside can be heard in the smoky juke joints of Memphis and North Mississippi singing out from behind his drum set, “Some people dislike me/because I sing the blues/a guy put his hands on me/and I knocked him out his shoes/I know we not suppose to fight/but if I had to, I’d do it every day/God, I know it’s wrong/please forgive me for living this way/and I just want to make it in this world” (Burnside, 2007 [in press]). This song, entitled “I Just Want to Make It,” acknowledges violent behavior as wrong yet accepts the reality that fighting is sometimes a necessity; thus, one can only ask God’s forgiveness. Some might consider this acceptance of sin as evil and, worse yet, his sought after forgiveness a mockery to the practice of repentance. Does this text ridicule Christian practices? Is this text anti-religious? On the other hand, does this text genuinely seek atonement for sinful fighting? Is this text religious? To understand the answer to these questions, one must look at the history of blues music to give Burnside’s text a background and setting. Many scholars have noted that music has been an essential part of black survival and is inseparable from black existence (Cone, 1972, p.1-7). This is because African- American music is founded upon “expressions of the human heart of love, pain, and longing” (Stax Museum, 2007), and this music “moves the people toward the direction of liberation” (Cone, 1972, p. -
The Unfinished Revolution: Haiti, Black Sovereignty and Power in the Nineteenth-Century Atlantic World Chronicles the Ways That Haiti’S Black
The Unfinished Revolution LIVERPOOL STUDIES IN INTERNATIONAL SLAVERY, 13 The Unfinished Revolution Haiti, Black Sovereignty and Power in the Nineteenth-Century Atlantic World Karen Salt The Unfinished Revolution Liverpool University Press First published 2019 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © 2019 Karen Salt The right of Karen Salt to be identified as the author of this book has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. 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, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication data A British Library CIP record is available ISBN 978-1-78694-161-9 cased epdf ISBN 978-1-78694-954-7 Typeset by Carnegie Book Production, Lancaster Contents Contents List of Figures vii Acknowledgements ix Introduction: Sovereignty and Power 1 1 Games of Sovereignty and Opportunity 59 2 Selling Citizenship, Recognising Blood, Stabilising Sovereignty 83 3 Burlesquing Empire: Performing Black Sovereignty on the World Stage 113 4 Welcome to the New World Order: Haiti and Black Sovereignty at the Turn of the Century 153 5 Sovereignty under Siege? Contemporary Performances of Black Sovereignty 191 Bibliography 213 Index 237 • v • Figures Figures 2.1 Portrait of Jonathas Granville (1824). Oil on canvas. Philip Tilyard. Baltimore Museum of Art. 103 3.1 N. Corradi, “Empire d’Haïti,” lithographic plate 1 from Album Impérial d’Haïti, New York: Th. Lacombe, 1852. -
Morning Final No. 7
Morning Final No. 7 When I first started reporting the status of 7” releases, BAR I had some inquiries as to the whereabouts of all the 12” releases..as If I had forgotten something!!...well, fret no longer, cause this is the issue of the Twelve Inchers. HOT AIR With only two markets pressing the big singles, the US and UK, there have been at least a few neat col- from hollywood lectibles for the die-hards out there looking for some by melne more rare stuff to listen to. The first 12” singles were pressed in 1975 when Disco was unleashed and DJ’s needed special longer ver- sions of the otherwise too short radio hit singles, which Well Albie! This issue has an answer averaged a mere 3 minutes per tune. In the eighties, to the many inquiries on the exploits of though, the record companies realized they could BÖC’s most prolific member, Albert woo the consumer with all kinds of remixes, edited ver- Bouchard, and a profile of the newest sions and B-sides to make the sale of 12 inchers a lucra- öyster, Chuck Bürgi! As you receive this tive business and no longer the exclusive terrain of pro- issue, rest assured that your editor is motion or DJs. beginning a lengthy, much-needed va- In 1972, though, Columbia Records had already cation in the homeland of Minnesota. released the Live Bootleg EP for radio stations and crit- After so many years in southern ics/reviewers to whet their appetite for Tyranny & Mu- California, it’s time for a dose of real win- tation.