Poverty Reduction Strategy Paper

Total Page:16

File Type:pdf, Size:1020Kb

Poverty Reduction Strategy Paper © 2003 International Monetary Fund February 2003 IMF Country Report No. 03/39 Mali: Poverty Reduction Strategy Paper Poverty Reduction Strategy Papers (PRSPs) are prepared by member countries in broad consultation with stakeholders and development partners, including the staffs of the World Bank and the IMF. Updated every three years with annual progress reports, they describe the country's macroeconomic, structural, and social policies in support of growth and poverty reduction, as well as associated external financing needs and major sources of financing. This country document for Mali, dated May 29,2002, is being made available on the IMF website by agreement with the member country as a service to users of the IMF website. To assist the IMF in evaluating the publication policy, reader comments are invited and may be sent by e-mail to [email protected]. Copies of this report are available to the public from International Monetary Fund • Publication Services 700 19th Street, N.W. • Washington, D.C. 20431 Telephone: (202) 623-7430 • Telefax: (202) 623-7201 E-mail: publications(S)imf.org • Internet: http://www.imf.org Price: $15.00 a copy International Monetary Fund Washington, D.C. ©International Monetary Fund. Not for Redistribution Translated from French REPUBLIC OF MALI One People — One Aim - One Faith FINAL PRSP DOCUMENT PREPARED AND ADOPTED BY THE GOVERNMENT OF MALI MAY 29, 2002 Poverty Reduction Strategy Paper The government of Mali has, in recent years, expressed its desire to make the fight against ßöv^nty th>0 priority among all development priorities. This desire responds to a twofold need: on the one hand; $gt ift&kfe dçv£Î0pflïÊni programs more effective to the benefit of poor people; and on the other, to define new policies, «fcw aciesis a»d finally to take appropriate short- and medium-term measures permitting the government to öiafcfevrÄl(loöid,^ttd efficient use of internal and external funding. / f^m^m^a«Aae |¥*V ©International Monetary Fund. Not for Redistribution -1 - Executive Summary l The Challenge and Significance of the PRSP l Status Review of Poverty, Employment and Growth 1 Long-Term Strategic Vision 2 The Main Themes of the Strategy 2 Overall Objectives and Macro-economic Framework 4 Costs and Financing of the PRSP 4 Implementation, Monitoring and Evaluation 4 Presentation of the PRSP Document 5 1. Introduction: The Challenges and Significance of the PRSP 7 1.1 Challenges and the Long-Term Strategic Vision 7 1.2 Participatory Process of the PRSP: An Exercise off to a Good Start and to be Continued 8 2. Recent Economic Developments in Mali, 1994-2001 11 3. Status of Poverty 12 3.1 Definition of Poverty 12 3.2 Measurement and Profile of Poverty 12 3.3 Spatial Analysis 13 3.4 Analysis of the Link between Poverty and Health 17 3.5 Analysis of the Link between Poverty and Education 17 3.6 Analysis of Other Factors Affecting Living Standards 18 3.6.1 Drinking Water and Sanitation 18 3.6.2 Living Conditions.... 18 3.6.3 Pollution and Nuisances 19 4. Status of Progress on Priority Areas Requiring Strengthening 19 4.1 Institutional Context 19 4.1.1 The Performance of the Public Sector 21 4.1.2 The Democratic Process and Decentralization / Devolution Process . 22 4.1.3 Corruption 25 4.1.4 Culture, Religion, Harmony and Security 25 4.2 The Social Sector 26 4.2.1 Health 26 4.2.2 Education 26 4.2.3 Employment 27 4.2.4 Social Protection 28 4.2.5 Involvement of Women 28 4.2.6 The Position of Children 28 4.2.7 The Position of the Malian Family 29 4.3 Infrastructure 29 4.4 The Productive Sector 30 4.4.1 The Primary Sector 30 4.4.2 The Secondary Sector 32 4.4.3 The Tertiary Sector 32 4.4.4 Development of the Private Sector 33 ©International Monetary Fund. Not for Redistribution -11 - 5. Strategie Vision and Foundations of the PRSP 34 5.1 The ENP Mali 2025 34 5.1.1 The Mali 2025 vision 34 5.1.2 Ambitions and Determining Factors Necessary for Achieving the Desired Future 35 5.2 Strategic Components of the National Strategy for Poverty Reduction (SNLP)3 5 6. Obj ectives of the Poverty Reduction Strategy Paper 36 6.1 General Objectives 36 6.2 Specific Objectives 37 6.2.1 Pre-requisite Pillar: Macroeconomic Objectives 37 6.2.2 Pillar 1 : Ensuring Institutional Development and Improved Governance and Participation 37 6.2.3 Pillar 2: Developing Human Resources and Access to Basic Social Services 37 6.2.4 Pillar 3 : Developing Basic Infrastructure and Productive Sectors 38 7. Policies and Macroeconomic Framework 40 7.1 Budgetary and Fiscal Policy 40 7.2 External Debt 41 7.3 Monetary Policy 41 7.4 Macroeconomic Framework 41 8. Improving Public Sector Performance 43 8.1 Improving the Performance of the Public Administration 43 8.2 Strengthening National Development Planning and Management Capabilities44 8.3 Improving Public Expenditure Management 45 8.4 Coordination, Effectiveness of Foreign Aid and Poverty Reduction 46 9. Consolidation of the Democratic, Participatory and Decentralization process 47 9.1 The Democratization Process 47 9.2 Decentralization / Devolution 47 9.3 Strengthening Civil Society Capabilities 48 10. The Fight Against Corruption 48 10.1 The Anti-corruption Strategy 48 10.2 Strengthening the Capabilities and Credibility of the Judicial System 49 11. Culture, Religion, Harmony and Security 50 12. Strengthening Health, Nutrition and Population Services 51 12.1 "fflV/AIDS and Development" 52 12.2 Population Strategy 53 12.3 Results Sought 54 13. Strengthening Education and Literacy Programs 54 13.1 Strategic Orientations 55 13.2 Anticipated Results 55 14. The Fight Against Poverty: Improvements in Living Standards 56 ©International Monetary Fund. Not for Redistribution -Ill - 14.1 Water Supply and Sanitation 56 14.2 Living Conditions 57 14.3 Pollution and Nuisances 57 15. Cross-Cutting Issues 57 15.1 The Role of Women in the Poverty Reduction Process 57 15.2 Improving the Position of Children and the Role of the Family 58 15.3 Employment and Vocational Training 60 15.3.1 Employment Strategy 60 15.3.2 Strategy on Vocational Training 61 15.4 Solidarity and Social Protection 61 16. Development of Basic Infrastructure 63 16.1 Transport Infrastructure 63 16.2 Telecommunications Infrastructure 63 16.3 Development of Industrial Zones 64 16.4 Development of the Energy Sector 64 17. Development of the Productive Sectors 64 17.1 Development of the Primary Sector 64 17.1.1 Rural Sector Development 64 17.1.2 Sustainable Management of Natural Resources 68 17.2 Development of the Secondary Sector 68 17.2.1 Development of Industry and Handcrafts 68 17.2.2 Development of the Mining Sector 69 17.3 Development of the Tertiary Sector 70 17.3.1 Trade 70 17.3.2 Monetary and Financial Sector 70 17.4 Stimulating Private Sector Development 71 17.4.1 The Government Action Plan 71 17.4.2 Elements of the Action Program 72 18. Developing Revenue-Generating Activities 73 18.1 Strategic Components 73 18.2 Priority Actions 73 19. Costs and Financing of the PRSP 75 19.1 Financing of the PRSP 75 19.2 Proposed Allocation of FflPC Funds 79 19.3 Medium-Term Expenditure Framework 79 19.4 Distribution of Funds between the Priority Pillars 81 20. The Monitoring and Evaluation Mechanisms 82 20.1 Institutional Framework and Role of the Actors 82 20.2 Monitoring Indicators 84 20.3 Anticipated Evolution of the Monitoring and Evaluation Process 85 ©International Monetary Fund. Not for Redistribution - IV - Boxes 1. The Participatory Approach of the PRSP 15 2. The Solidairy Pact for Growth and Development 27 3. Review/Reform of the Framework for International Aid to Mali: An Original Experience 22 Tables 1. Incidence and Depth of Poverty by Region in 1998 12 2. External Financing and Internal Financing of the PRSP 75 3. Sectoral Distribution of the Government Budget Financed by Domestic Resources 2002-05, in Billions of CFA francs 77 4. Sectoral Distribution of Budgetary Expenditures 2002-05, in Millions of CFA francs 78 5. Priority Distribution of Funds within the Three Pillars 81 Annexes: 1. Poverty Reduction Targets 97 2 Note on the Is Methodology 99 3. Objective Identified Within the World and Reginal Context 100 4. Macroeconomic Framework 101 5. The Medium-Term Expenditure Framework (MTEF) 102 6. Distribution of fflPC Funds over the Period 2002-04 102 7. Action Matrix 103 8. Table of the Macroeconomic Framework 104 Annex Tables A-l List of indicators in the education and health sectors 97 A-2 Indicative list of indicators for each PRSP pillar 98 A-3 Partial scores by types of infrastructure 99 A-4 Results of Alternative Scenarios Relative to the Base Case A-5 Proposed Distribution of HIPC Resources (in Millions of CFA francs) A-6 Real Sector Data and (Volumes and Growth) A-7 Population Data and Projections A-8 Sources and Uses of Funds of GDP (in volume- 1987 price) A-9 Sources and Uses of Funds of GDP (current price) A-10 Hypotheses for the TOEF Forecast A-11 Table of Government Financial Operations A-12 Balance of Payments Hypotheses A-13 Balance of Payments A-14 Main economic and financial indicators Annex Figues A-1 Map of Incidence of Poverty A-2 Map of Severity of Poverty A-3 Evolution and Projection of Principal Crops 1991-2006 102 A-4 Evolution of Public Finance Indicators A-14 Main economic and financial indicators ©International Monetary Fund.
Recommended publications
  • Drowned in Sound Kort.Indd 1 19-06-2008 21:28:17 Zoppo & Avec-A Together with My School Friend Cees I Started a Band Called Zoppo
    30-05-2008, Primavera Sound Festival, Barcelona 3rd Bridge Helix From Experimental Punk to Ancient Chinese Music & Universal Physical Laws of Consonance This article is a written excerpt of my lecture I gave at the Primavera Sound Festival in Barcelona about my self built musical instruments. I explained what kind of instruments I make, why I make them and for which bands. I showed the audience my own copies and played a little on those instruments. Additionally I gave a deeper explanation about one particular instrument I have created, the Moodswinger. After finishing this instrument I rediscovered this instrument is not only a musical instrument, but also a educational measurement instrument which shows a universal system of consonant values based on simple physical laws. I discovered all musical scaling systems all over the world are derived from this basical system, inclusive the worst inharmonic deviated tuning system of all these variations, our Western 12-tone logaritmic equal tempered scale. - Yuri Landman The Beginning I bought my first guitar and bass guitar when I was 18. I always had a fascination for direct and simple punk rock structures instead of highly practised virtuose guitar playing used in symphonic rock and hard rock. In line of this estethical rule I refused to take traditional guitar lessons from a jazz or blues guitar teacher. I took notice of some chords and know where to put my fingers for a C7 or minor D-chord, but I have never practised long enough to play them well. I cannot even play Nirvana’s Polly properly for instance.
    [Show full text]
  • Musical Acoustics - Wikipedia, the Free Encyclopedia 11/07/13 17:28 Musical Acoustics from Wikipedia, the Free Encyclopedia
    Musical acoustics - Wikipedia, the free encyclopedia 11/07/13 17:28 Musical acoustics From Wikipedia, the free encyclopedia Musical acoustics or music acoustics is the branch of acoustics concerned with researching and describing the physics of music – how sounds employed as music work. Examples of areas of study are the function of musical instruments, the human voice (the physics of speech and singing), computer analysis of melody, and in the clinical use of music in music therapy. Contents 1 Methods and fields of study 2 Physical aspects 3 Subjective aspects 4 Pitch ranges of musical instruments 5 Harmonics, partials, and overtones 6 Harmonics and non-linearities 7 Harmony 8 Scales 9 See also 10 External links Methods and fields of study Frequency range of music Frequency analysis Computer analysis of musical structure Synthesis of musical sounds Music cognition, based on physics (also known as psychoacoustics) Physical aspects Whenever two different pitches are played at the same time, their sound waves interact with each other – the highs and lows in the air pressure reinforce each other to produce a different sound wave. As a result, any given sound wave which is more complicated than a sine wave can be modelled by many different sine waves of the appropriate frequencies and amplitudes (a frequency spectrum). In humans the hearing apparatus (composed of the ears and brain) can usually isolate these tones and hear them distinctly. When two or more tones are played at once, a variation of air pressure at the ear "contains" the pitches of each, and the ear and/or brain isolate and decode them into distinct tones.
    [Show full text]
  • Guitar Harmonics - Wikipedia, the Free Encyclopedia Guitar Harmonics from Wikipedia, the Free Encyclopedia
    3/14/2016 Guitar harmonics - Wikipedia, the free encyclopedia Guitar harmonics From Wikipedia, the free encyclopedia A guitar harmonic is a musical note played by preventing or amplifying vibration of certain overtones of a guitar string. Music using harmonics can contain very high pitch notes difficult or impossible to reach by fretting. Guitar harmonics also produce a different sound quality than fretted notes, and are one of many techniques used to create musical variety. Contents Basic and harmonic oscillations of a 1 Technique string 2 Overtones 3 Nodes 4 Intervals 5 Advanced techniques 5.1 Pinch harmonics 5.2 Tapped harmonics 5.3 String harmonics driven by a magnetic field 6 See also 7 References Technique Harmonics are primarily generated manually, using a variety of techniques such as the pinch harmonic. Another method utilizes sound wave feedback from a guitar amplifier at high volume, which allows for indefinite vibration of certain string harmonics. Magnetic string drivers, such as the EBow, also use string harmonics to create sounds that are generally not playable via traditional picking or fretting techniques. Harmonics are most often played by lightly placing a finger on a string at a nodal point of one of the overtones at the moment when the string is driven. The finger immediately damps all overtones that do not have a node near the location touched. The lowest-pitch overtone dominates the resulting sound. https://en.wikipedia.org/wiki/Guitar_harmonics 1/6 3/14/2016 Guitar harmonics - Wikipedia, the free encyclopedia Overtones When a guitar string is plucked normally, the ear tends to hear the fundamental frequency most prominently, but the overall sound is also 0:00 MENU colored by the presence of various overtones (integer multiples of the Tuning a guitar using overtones fundamental frequency).
    [Show full text]
  • Forms of Intertextuality: Keith Emerson’S Development As a “Crossover” Musician
    FORMS OF INTERTEXTUALITY: KEITH EMERSON’S DEVELOPMENT AS A “CROSSOVER” MUSICIAN Akitsugu Kawamoto A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Department of Music. Chapel Hill 2006 Approved by Advisor: John Covach Reader: John Nádas Reader: Severine Neff Reader: Allen Anderson Reader: David Garcia © 2006 Akitsugu Kawamoto ALL RIGHTS RESERVED ii ABSTRACT AKITSUGU KAWAMOTO: Forms of Intertextuality: Keith Emerson’s Development as a “Crossover” Musician (Under the direction of John Covach) Despite the broad range of attempts to mix “rock” and “classical” music by “progressive (“prog”) rock” musicians from the late 1960s, many writers on prog rock have interpreted the music in a relatively monolithic manner; they often have interpreted the resulting intertextuality simplistically as an elitist experiment that opposes rock’s populist origin. This could certainly be one interpretation of prog, but it is only one of many; there are additional kinds of possible narratives, according to the specific ways in which the materials are combined and fused. Yet the variety of intertextual approaches has rarely been recognized explicitly, and little analytical or musicological attention has been paid to the distinctly different intertextual styles. Generalized approaches to intertextuality have been common not only within popular music studies, however, but also within many humanistic fields. Since Julia Kristeva’s coinage of the term intertextuality in the late 1960s, theorists of the arts (literature, music, painting, architecture, etc.), sociology, politics, economics, and many other fields, have almost always treated intertextuality in a singular manner, presuming that all intertextual practices are more or less of the same kind.
    [Show full text]
  • Bezig Met Muziek Gratis Epub, Ebook
    BEZIG MET MUZIEK GRATIS Auteur: Walter Verbeecke Aantal pagina's: 28 pagina's Verschijningsdatum: none Uitgever: Reba Producties||9789069113821 EAN: nl Taal: Link: Download hier Bezig Met Muziek Tom Stone Maar met muziek kun je ook mensen helpen. Kasper en Elise praten hierover met Laurine Jansen Zij is muziekterapeut bij www. Ik ben inderdaad muziektherapeut voor volwassenen met een verstandelijke beperking. Daarnaast geef ik ook gitaarlessen speciaal gericht op het begeleiden van liederen. Als muziektherapeut begeleidt ik verstandelijk beperkten en volwassenen. Ik richt me op de sociale en emotionele ontwikkeling van cliënten. Samen muziek maken helpt om nieuw gedrag te ontwikkelen of om woorden te vinden bij gevoelens die ze uit zichzelf niet kunnen vinden. Ik heb groepen en individuele cliënten. Bij bijvoorbeeld rouwverwerking begin ik vaak individueel, maar als dat verwerkt is stel ik vaak voor dat die persoon in een groep terecht komt. Dat stimuleer ik heel erg. Ik probeer er voor te zorgen dat kinderen niet verkrampen. Lach samen om fouten. Ik lach ook enorm veel in de therapieën. Dan is de spanning gebroken. Het is belangrijk om op de laag van de emotie te komen. Daar kun je kinderen mee helpen. Dat helpt ze om gevoelens te uiten. Of je kunt nieuw gedrag aanleren met muziektherapie. Ik creëer situaties waarin kinderen dan nieuwe dingen tegen komen. Dan kunnen ze kiezen tussen een oude situatie en een nieuwe. Dan kiezen ze vaak voor de oude. De volgende keer doe ik dan twee nieuwe situaties. Dan moeten ze wel iets nieuws kiezen. Maar voor laat ik ze genieten van de muziek! Hersenen worden beïnvloed door muziek.
    [Show full text]
  • Numbers 1 to 100
    Numbers 1 to 100 PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 30 Nov 2010 02:36:24 UTC Contents Articles −1 (number) 1 0 (number) 3 1 (number) 12 2 (number) 17 3 (number) 23 4 (number) 32 5 (number) 42 6 (number) 50 7 (number) 58 8 (number) 73 9 (number) 77 10 (number) 82 11 (number) 88 12 (number) 94 13 (number) 102 14 (number) 107 15 (number) 111 16 (number) 114 17 (number) 118 18 (number) 124 19 (number) 127 20 (number) 132 21 (number) 136 22 (number) 140 23 (number) 144 24 (number) 148 25 (number) 152 26 (number) 155 27 (number) 158 28 (number) 162 29 (number) 165 30 (number) 168 31 (number) 172 32 (number) 175 33 (number) 179 34 (number) 182 35 (number) 185 36 (number) 188 37 (number) 191 38 (number) 193 39 (number) 196 40 (number) 199 41 (number) 204 42 (number) 207 43 (number) 214 44 (number) 217 45 (number) 220 46 (number) 222 47 (number) 225 48 (number) 229 49 (number) 232 50 (number) 235 51 (number) 238 52 (number) 241 53 (number) 243 54 (number) 246 55 (number) 248 56 (number) 251 57 (number) 255 58 (number) 258 59 (number) 260 60 (number) 263 61 (number) 267 62 (number) 270 63 (number) 272 64 (number) 274 66 (number) 277 67 (number) 280 68 (number) 282 69 (number) 284 70 (number) 286 71 (number) 289 72 (number) 292 73 (number) 296 74 (number) 298 75 (number) 301 77 (number) 302 78 (number) 305 79 (number) 307 80 (number) 309 81 (number) 311 82 (number) 313 83 (number) 315 84 (number) 318 85 (number) 320 86 (number) 323 87 (number) 326 88 (number)
    [Show full text]
  • Music Theory Contents
    Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................
    [Show full text]
  • Geospatial Data and Geovisualization: Environment, Security, and Society
    Geospatial Data and Geovisualization: Environment, Security, and Society Special Joint Symposium of ISPRS Technical Commission IV and AutoCarto 2010 in conjunction with ASPRS/CaGIS Specialty Conference Orlando, Florida, USA November 15-19, 2010 Final Program Sponsored by Maximize the Value of Your Imagery Quickly get imagery to people who need it with the ArcGIS ® Server Image extension. “When we tested ArcGIS Server The ArcGIS® Server Image extension helps organizations manage Image extension, we found designers, large catalogs of rasters and imagery to make imagery available to technicians, and digitizers were all very more people in less time. Dynamic mosaicking and on-the- y image pleased with the processing processing allow users to quickly serve multiple imagery products time. It was twice as fast, in some cases even faster, from one set of source imagery, reducing data redundancy and than previous systems.” storage requirements. Cindi Salas GIS Manager CenterPoint Energy For more information, visit www.esri.com/image or call 1-888-373-1353. For ESRI locations worldwide, visit www.esri.com/distributors. Copyright © 2010 ESRI. All rights reserved. ESRI, The ESRI globe logo, ArcGIS, ESRI—The GIS Company, www.esri.com, and @esri.com are trademarks, registered trademarks, or service marks of ESRI in the United States, the European Community, or certain other jurisdictions. Other companies and products mentioned herein may be trademarks or registered trademarks of their respective trademark owners. G42958_ASPRS-Program_7-10.indd 1 7/2/10
    [Show full text]
  • String Vibration a Vibration in a String Is a Wave
    String vibration A vibration in a string is a wave. Resonance causes a vibrating string to produce a sound with constant frequency, i.e. constant pitch. If the length or tension of the string is correctly adjusted, the sound produced is a musical tone. Vibrating strings are the basis of string instruments such as guitars, cellos, and pianos. Contents Wave Derivation Frequency of the wave Vibration, standing waves in a string. The Observing string vibrations fundamental and the first 5 overtones in the harmonic series. See also References External links Wave The velocity of propagation of a wave in a string ( ) is proportional to the square root of the force of tension of the string ( ) and inversely proportional to the square root of the linear density ( ) of the string: This relationship was discovered by Vincenzo Galilei in the late 1500s. Derivation Source:[1] Let be the length of a piece of string, its mass, and its linear density. If the horizontal component of tension in the string is a constant, , then the tension acting on each side of the string segment is given by 1 4 If both angles are small, then the tensions on either side are equal and the net horizontal force is zero. From Newton's second law for the vertical component, the mass of this piece times its acceleration, , will be equal to the net force on the piece: Dividing this expression by and substituting the first and second equations obtains The tangents of the angles at the ends of the string piece are equal to the slopes at the ends, with an additional minus sign due to the definition of alpha and beta.
    [Show full text]
  • Authentic Connectivity: a Pedagogue's Loving Responsibility
    Authentic Connectivity: A Pedagogue’s Loving Responsibility by Madeleine Azzola A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Curriculum, Learning and Teaching Ontario Institute for Studies in Education, University of Toronto © Copyright by Madeleine Azzola, 2014 Authentic Connectivity: A Pedagogue’s Loving Responsibility Madeleine Azzola Doctor of Philosophy Department of Curriculum, Learning and Teaching Ontario Institute for Studies in Education, University of Toronto 2014 Abstract I learned to authentically connect by observing the pedagogues who mentored me. My lived experience with them inspired me to base my pedagogical approach on the constructs of community and engagement that youth dismantled by displaying increasing disengagement, which transferred into disaffected relationships. This reflexive/narrative autoethnography investigates the problematic phenomenon affecting youth: the loss of authentic connectivity. I critically examine my professional journey with pre- digital, digital, and post-digital university students by analysing our common, cultural context, thereby interpreting my behaviour, thoughts, and experiences in relation to them. Hermeneutic phenomenology’s framework deepens the inquiry, as it involves a broader cultural, political, and social understanding to uncover deeper meaning in changing behaviours by reflecting on what is the lived experience of authentic connectivity for youth. My comprehensive research evidences that youth’s technological addiction has influenced rapid brain evolution, and exploded their visual and multimodal skills. Neuroscience has broadly concluded that the new forms of learning technology offers are changing the way the brain processes information. I suggest that youth are experiencing a biological conflict, the brain’s ii rapid evolution overwhelming more slowly evolving physical responses, effectively interfering with the flow of affective information that requires hemispheric transfer.
    [Show full text]
  • An Ethnographic Study of the Kansas Historical Society's
    FACE, SPACE, AND ANXIETY: AN ETHNOGRAPHIC STUDY OF THE KANSAS HISTORICAL SOCIETY’S SOCIAL MEDIA USAGE by SJOBOR HAMMER Submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Cognitive Linguistics CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis of Sjobor Hammer candidate for the degree of Master of Arts *. Committee Chair Todd Oakley Committee Member William Deal Committee Member Mark Turner Date of Defense March 17, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. To Mom, Dad, and Nathan TABLE OF CONTENTS LIST OF TABLES ......................................................................................................................... 5 ABSTRACT .................................................................................................................................... 7 INTRODUCTION .......................................................................................................................... 1 LITERATURE REVIEW ............................................................................................................. 1 AN INTRODUCTION TO THE KANSAS HISTORICAL SOCIETY .................................. 14 METHODOLOGY ...................................................................................................................... 19 ANALYSIS ..................................................................................................................................
    [Show full text]
  • Tele Instructions
    Tele Guitar Kit Assembly Instructions WWW.byoguitar.com Assembling Your Guitar California requires the following notice: WARNING Some dust created by power sanding, sawing, grinding, drilling, and other construction activities contains chemicals known to the State of California to cause cancer, birth defects or other reproductive harm. Some examples of these chemicals are: Lead from lead-based paints. Crystalline silica from bricks, cement, and other masonry products. Arsenic and chromium from chemically treated lumber. Your risk from these exposures varies, depending on how often you do this type of work. To reduce your exposure to these chemicals: work in a well ventilated area, and work with approved safety equipment, such as those dust masks that are specially designed to filter out microscopic particles. - 1 - Assembling Your Guitar Warning Always wear safety glasses or goggles when operating equipment. Everyday glasses or reading glasses are not safety glasses. Be certain the safety glasses you wear meet the appropriate standards of the American National Standards Institute (ANSI). Because there are various ways to cut and join wood, you can make substitutions for the methods stated in this manual. We try to suggest the easiest methods possible. However, only you know your skills with each piece of machinery. Never compromise your safety by using a cutting method with which you are not comfortable. Instead, find an alternative approach that will yield the same result. Warning These instructions assume that you are familiar with the safe operation and use of woodworking machinery and woodworking tools, and understand the techniques used to assemble this project. If you do not qualify for both of these criteria, STOP building this project for your own safety.
    [Show full text]