PODEMOS: Spain's New Political Hope PODEMOS
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Análisis Comparativo Del Discurso Entre Hugo Chávez Y Pablo Iglesias
INVESTIGACIONES Y DOCUMENTOS Estudios sobre el Mensaje Periodístico ISSN-e: 1988-2696 http://dx.doi.org/10.5209/ESMP.59973 Análisis comparativo del discurso entre Hugo Chávez y Pablo Iglesias. ¿Cómo el neolenguaje político influye en la ciudadanía? Virginia Linares Rodríguez1; Diego Garcés Claros2 Recibido: 10 de marzo de 2017 / Aceptado: 11 de septiembre de 2017 Resumen. El presente análisis pretende establecer una comparación discursiva entre Hugo Chávez (ex presidente de Venezuela) y Pablo Iglesias (secretario General de Podemos en España) y cómo el neolenguaje político promovido por ambos líderes ha influido de forma directa en la ciudadanía. Asimismo, buscar y enfatizar sobre el origen de los mensajes transmitidos y, en cada caso, estudiar porqué han logrado tener protagonismo en la vida de las personas, tanto desde el punto de vista político como social y comunicativo. Palabras clave: Discurso político; neolenguaje; ciudadanía. [en] Comparative analysis of discourse between Hugo Chávez and Pablo Iglesias. How does the new political language influences citizenship? Abstract. The following analysis pretends to establish a discursive comparison between Hugo Chávez Frías (Former President of Venezuela) and Pablo Iglesias (general secretary of Podemos in Spain), and how the new political language promoted by both leaders had affected directly in the citizens. Likewise, to seek and emphasize the origin of the transmitted messages and, in every case, study why they accomplished to have a protagonist in people’s life, from a political, social and communicative point of view. Keywords: Political speech; new language; citizenship. Sumario. 1. Introducción y objetivos. 2. Metodología. 3. Contexto histórico y sociopolítico de Venezuela y España. -
U.S. Entry Into WWII and Changes in Dissention Attitude the Basics Time Required 2-3 Class Periods Subject Areas 11Th Grade Hist
U.S. Entry into WWII and Changes in Dissention Attitude The Basics Time Required 2-3 class periods Subject Areas 11th Grade History (A.P.) The Great Depression and World War II, 1929-1945 Common Core Standards Addressed: Writing Standards for Literacy in History/Social Studies 6-12 Author Martha Graham (2004) The Lesson Introduction The songs “Ballad of October 16” and “What Are We Waitin’ On?” both sung by the folk group Almanac Singers, express opposite sentiments regarding war. “Ballad of October 16” was written in 1940 to protest FDR’s movement toward war. The passage of a conscription law in September 1940 was evidence to Communist Party members, which included many members of the Almanac Singers, that FDR was lying when he had vowed to stay out of the European war. As a result of this scathing criticism, FBI files were opened on Pete Seeger and Woody Guthrie and they were followed for decades. “What Are We Waitin’ On?” written in 1942, demonstrates an abrupt about-face that can be explained only in the context of the German invasion of the Soviet Union and the Japanese attack on Pearl Harbor. Guiding Questions Why did the United States enter World War II? How would this decision affect the lives of American citizens? Learning Objectives 1. Students will describe the causes for dissention prior to US involvement in WWII. 2. Students will explain the causes for US entry into the war. 3. Students will synthesize the change in the attitudes in some dissenters during the war. Preparation Instructions Songs used in this lesson: “What Are We Waitin’ On?” “Ballad of October 16” “Citizen CIO” Songs used in lesson: • “Ballad of October 16” (1940) performed by Almanac Singers on That’s Why We’re Marching: World War II and the American Folk Song Movement, Smithsonian Folkways, 1996. -
April, 2002 Vol 37, No.4
April, 2002 vol 37, No.4 April 3WedFolk Open Sing; 7pm in Brooklyn 5 Fri Lorraine & Bennett Hammond; Music at Metrotech, 8pm 6 Sat Lorraine & Bennett Hammond Workshops - see p.7 7 Sun Sea Music Concert: Howie Leifer's Homesick Sailor Puppet Theatre. +NY Packet, 3 pm 7 Sun Sunnyside Song Circle, 2 pm at Joel Landy’s 8 Mon NYPFMC Exec. Board Meeting, 7:15pm at the club office, 450 7th Ave, #972, info (718) 575-1906 11 Thur Riverdale Sing, 7:30-10pm, Riverdale Prsby. Church. 14 Sun Old Time String Band Get-together; 1:30pm in Bklyn 17 Wed Traditional Music Open Mike & Folk Music Jam; loca- tion tba; 7 pm. 18 Thur Finest Kind, Advent Church, 8pm ☺ 21 Sun Sacred Harp Singing at St.Bartholomew’s; 2:30 pm 27 Sat Peggy Seeger, Advent Church, 8:30pm, Note Time! ☺ 28 Sun Peggy Seeger Workshop; see page 7 May 1WedNewsletter Mailing; at Club office, 450 7 Ave, #972, 7 pm 1WedFolk Open Sing; 7pm in Brooklyn 3 Fri Triboro; Music at Metrotech, 8 pm in Brooklyn 5 Sun Gospel & sacred Harp Sing; 3 pm in Queens 5 Sun Sea Music Concert: Don Sineti + NY Packet, 3 pm at South Street Seaport 12 Sun Old Time String Band Get-together; 1:30pm in Bklyn 13 Mon NYPFMC Exec. Board Meeting, 7:15pm at the club office, 450 7th Ave, #972, info (718) 575-1906 15 Wed Traditional Music Open Mike & Folk Music Jam 16 Thur Riverdale Sing, 7:30-10pm, Riverdale Prsby. Church. 19 Sun Sacred Harp Singing at St.Bartholomew’s; 2:30 pm Details Inside - Table of Contents on page 9 The Club’s web page: http://www.folkmusicny.org FOLK OPEN SING; Wednesdays, April 3 & May 1; 7pm Join us on the first Wednesday of each month for an open sing. -
Bellows: the Matusewitch Family Story
CONCERTINA WORLD Magazine of the International Concertina Association since 1952 CW 463 supplement September 2015 Bellows The Matusewitch Family Story Eric Matusewitch CONTENTS 1. Preface 2. Concertina 3. Gregory 4. Boris and Sergei 5. Photos 6. Bibliography 7. Author Biography Photos Cover: Front: Original publicity photo (by Bruno of Hollywood) of concertina virtuoso Boris Matusewitch, New York City, 1948. Front inside: The original early 1950s publicity pamphlet for the music-dance team of Boris Gregory (Matusewitch) and Danny Daniels (first dance partner). CW 463 supplement, Matusewitch, editor Pauline de Snoo, 2015 @ Eric Matusewitch 1 CW 463 supplement, Matusewitch, editor Pauline de Snoo, 2015 @ Eric Matusewitch 2 Preface This is the story of a unique musical family. The Matusewitch name was virtually synonymous with the concertina and accordion, two bellows instruments invented in the first third of the nineteenth century, for eight decades. My grandfather Gregory (1886-1939), the family patriarch, concertized extensively in Russia and Europe before moving the family to the United States in 1923, where he had a relatively brief but lively career. He appeared in major concert halls, the vaudeville circuit, early American radio broadcasts, and Jewish variety and fund-raising events. Boris (1918-1978), the younger of Gregory’s two sons, succeeded him as America’s leading concertinist and teacher of the instrument. Over the course of a rich and varied career, he performed at west coast nightclubs, gave annual concerts at Carnegie Recital Hall, was a featured soloist with orchestras, and teamed up with dancer Rod Strong in an innovative combination of music and dance. -
1 Populism in Spain: the Role of Ideational Change in Podemos. Margarita Gómez-Reino, UNED Iván Llamazares, University Of
Populism in Spain: The Role of Ideational Change in Podemos. Margarita Gómez-Reino, UNED Iván Llamazares, University of Salamanca Ideational approaches have identified the necessary presence of three ideas in populist discourse: a morally Manichean cosmic struggle, a virtuous and homogeneous people, and a corrupt and self-serving elite (see Hawkins and Rovira Kaltwasser’s introduction to this volume). This set of ideas was conspicuously absent in Spanish party politics over the past forty years. The outburst of Podemos in 2014, however, introduced a new populist rhetoric exhibiting the key three components of the ideational definition of populism adopted in this volume. The political message of Podemos (We Can) was a cry for rupture and change directed against the economic and political establishment — la casta, in the language of the party. Populist ideas moved to center stage as Podemos attained, just two months after its official foundation, 8% of the votes in the 2014 European Parliament Elections. And in the general elections of December 2015 and June 2016, the electoral alliance built around Podemos attained 20.7 and 21.1% of the votes respectively, at very short distance from the Socialist Party. This chapter addresses the recent emergence of a populist political discourse in the Spanish context. It focuses on the factors that led some political activists to articulate a populist discourse in a country in which such a set of ideas had been missing since the transition to democracy in the 1970s. In this chapter, we seek to explain why, how and when a group of radical left activists came to adopt a populist political discourse to launch a new political party. -
The Populism of Left in the Speech of Pablo Iglesias
Revista de Comunicación de la SEECI, nº 49, 15 July 2019 - 15 November 2019, 141-158 RESEARCH http://doi.org/10.15198/seeci.2019.49.141-158 Received: 02/10/2018 --- Accepted: 22/02/2019 --- Published: 15/07/2019 THE POPULISM OF LEFT IN THE SPEECH OF PABLO IGLESIAS POPULISMO DE IZQUIERDAS EN EL DISCURSO DE PABLO IGLESIAS Rafael Barberá González1: Complutense University of Madrid. Spain. [email protected] Félix Martín del Fresno: Complutense University of Madrid. Spain. [email protected] ABSTRACT During recent years and increasingly, popular movements have originated in many countries around the world. One of the reasons may be, among many others, that society perceives that it receives poor and unethical management from its leaders. Given this boom that has had a remarkable echo in the European content, this paper seeks to find out if political leaders, such as Pablo Iglesias, in the Spanish case, have used populism as a discursive strategy to get votes. The characteristics of the so- called right-wing populism and the so-called left-wing populism will be analyzed to assess whether there are substantial differences between the two. In addition, we will mention the system in which populism best develops, democracy, although there is no consensus among authors who believe that it occurs in other environments. Finally, a reference to the evolution of populism in Spain will be made, followed by an analysis of some of Pablo Iglesias’ discourses. KEY WORDS: Democracy - Spain - populism – Pablo Iglesias - speech – votes. RESUMEN Durante los últimos años y de manera creciente, se han originado movimientos populares en numerosos países del mundo. -
DOCUMENT RESUME SO 005 429 TITLE a Teacher's Guide To
DOCUMENT RESUME ED 073 036 SO 005 429 TITLE A Teacher's Guide to Folksinging. A Curriculum Guide for a High School Elective in Music Education. INSTITUTION New York State Education Dept., Albany. Bureau of Secondary Curriculum Development. PUB DATE 172] NOTE 33p. EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS Cultural Awareness; Folk Culture; *Music; Musical Instruments; *Music Appreciation; *Music Education; Resource Guides; Secondary Grades; Singing; Teaching Guides IDENTIFIERS *Folksinging ABSTRACT The material in this teacher's guide fora high school elective course may be used in a variety of curriculum designs--from a mini elective to a full year course. The rationale section explains that folksinging can be a valuable activity in the classroom by: 1) presenting a mirror for the student's personality and by being a useful tool for individual development; 2) allowing students to "act out" their impressions insong and thus allowing them to gain important insights and an empathy with people and situations that might never be gained through direct experience; 3) making it possible for students to transverse history, feel the pain of social injustice, lessen inhibitions, fulfill emotional needs, test creative talent, be given an outlet to their idealisticenergy, and find infinite pleasure in performing good music. Sections included in the guide are: Introduction: Philosophy and Rationale, InstructionAl Guidelines, Comments Concerning Equipment (folk instruments), and, A Representative Sampling of Multimedia Resource Materials (which includes books and periodicals, films, records, filmstrips and record sets, and record collections).Another document in this series is Teaching Guitar (SO 005 614). (Author/OPH) FD 07303t'; 1. -
Folkways Records and the Ethics of Collecting: Some Personal Reflections1
Labelle: Reflections on the Passing of Allan Kelly 110 Folkways Records and the Ethics of Collecting: Some Personal Reflections1 MICHAEL ASCH Abstract: In this article, anthropologist Michael Asch recounts fascinating histories surrounding the genesis of Folkways Records, focusing on aspects of diversity, selection, and ethics. He illus- trates the discussion by invoking pertinent anthropological and folklore paradigms. olkways Records and Service Corporation, unarguably the most unique Frecording company ever to exist, was founded in 1948 by my father, Moses Asch. In the 38 years of operation, between 1948 and 1986 when my father died, Folkways produced over 2100 albums, an average of more than one per week – a feat accomplished with a labour force that never exceeded a handful of people. Furthermore, he rarely took a record out of print, and then never for commercial reasons. It was a record catalogue of staggering diversity and eclecticism. To give you a sense of the breadth of this collection, here are just a few of the familiar names found on the label: Lead Belly, Woody Guthrie, Pete Seeger, Phil Ochs, Jean Ritchie, Mary Lou Williams, Ella Jenkins, The Carter Family, Lucinda Williams, Janis Ian, Martin Luther King, Bertold Brecht, Margaret Mead, Langston Hughes, W. E. B. DuBois, and Bob Dylan (under the pseudonym Blind Boy Grunt). Significantly, Folkways also included a vast repertoire of lesser-known artists important to such genres as blues, bluegrass, old-time, and country, and contains many of the most iconic songs in the American -
UAW Stamp, and I’M UAW Too, I’M Proud to Say.”
Document 8.1 U.A.W. – C.I.O. 1942 I was hangin’ ‘round a defense town one day, one day, When I thought I overheard a soldier say, soldier say: “Every tank in my camp Has that UAW stamp, And I’m UAW too, I’m proud to say.” CHORUS: It’s that UAW-CIO makes the army roll and go Turnin’ out the jeeps and tanks, the airplanes ev’ry day It’s that UAW-CIO makes that army roll and go Puts wheels on the USA I was there when the union came to town. I was there when old Henry Ford went down. I was standing by Gate Four When I heard the people roar: They ain’t gonna kick the auto workers ‘round. CHORUS I was there on that cold December day, When we heard about Pearl Harbor far away. I was down on Cadillac Square When the union rallied there To put those plans for pleasure cars away. CHORUS There’ll be a union label in Berlin, When the union boys in uniform march in. And rolling in the ranks There’ll be UAW tanks Roll Hitler out, and roll the union in. Lyrics written by Butch Hawes and Bess Lomax Hawes in 1942. First recorded in 1944 by The Union Boys, as part of Asch Records’ issue of “Songs For Victory.” Text and audio of Lyrics at: Labor Arts website. http://www.laborarts.org/exhibits/laborsings/song.cfm?id=20 [accessed 8/3/2016] LAWCHA: Teaching Labor’s Story. Document 8.1 DOCUMENT 8.1 Document Title: U.A.W.– C.I.O. -
News from Library of Congress: 2010
NEWS FROM THE LIBRARY OF CONGRESS MOUG/MLA 2010 The News from the Library of Congress this year includes reports from the major Library units concerned with music and sound recording materials: Music Division, National Audio-Visual Conservation Center/Packard Campus, the Policy and Standards Division, and the American Folklife Center. Reports from other Library units which may contain concerns of importance to the music library community (e.g., Copyright Office, Preservation Directorate, Technology Policy Directorate) may be found in the ALA Midwinter report on the Library’s website: http://www.loc.gov/ala/mw-2010-update.html MUSIC DIVISION --Reported by Sue Vita, Joe Bartl, Mark Horowitz, Karen Lund, and Steve Yusko Since the last MLA meeting in Chicago the Music Division made significant progress in pursuing its primary goal, which is to improve access, both on site and online, to its collections. This was the first year that the two Music Bibliographic Access teams were fully integrated into the Music Division, and the success of this move can be seen both in the numbers of materials now accessible, and in the breadth of cataloging and metadata projects completed and in progress. Ninety-three entries for special collections were added to the Performing Arts Encyclopedia (PAE), bringing the total to 296. More than 33,900 master digital files were added to the PAE, including four new special presentations. More than 12,000 collection items were cataloged. Metadata was created for 13 previously “hidden” collections. The RIPM project has resulted in 89,509 pages from 225 volumes of 45 periodical titles scanned, to be made available online in the Performing Arts Reading Room, and after 3 years, available on our web sites. -
Spain After the Indignados/15M Movement Óscar Pereira-Zazo • Steven L
Spain After the Indignados/15M Movement Óscar Pereira-Zazo • Steven L. Torres Editors Spain After the Indignados/15M Movement The 99% Speaks Out Editors Óscar Pereira-Zazo Steven L. Torres Department of Modern Languages Department of Foreign Languages and Literatures & Literature University of Nebraska–Lincoln University of Nebraska Omaha Lincoln, NE, USA Omaha, NE, USA ISBN 978-3-030-19434-5 ISBN 978-3-030-19435-2 (eBook) https://doi.org/10.1007/978-3-030-19435-2 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2019 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
The Inventory of the Tom Glazer Collection #932
The Inventory of the Tom Glazer Collection #932 Howard Gotlieb Archival Research Center Glazer, Tom #932 1982-1985 Preliminary Listing I. Correspondence. Box 1 A. Files may include printed materials, photographs .. 1. "1942-1961 Plus Scrapbook I." [F. 1] 2. "1962-1966 Plus Scrapbook II." [F. 2-3] 3. "July, 1966-1969." [F. 4-5] 4. "Mid., 1969-1972." [F. 6-7] 5. "1973-1974." [F. 8] 6. "1975-July, 1976," notables include: [F. 9] a. Peck, Gregory. TLS to Robert Snyder, 2/27/75; photocopy. 7. "June, 1976 - Aug. 1977." [F. 10] 8. "Nov., 1977 - Dec., 1978." [F. 11] 9. "1979." [F. 12] 10. "1980." [F. 13] Box2 11. "1981." [F. 1] 12. "1981-1982." [F. 2-3] 13. "Letters, 1983 - Received." [F. 4-5] 14. "Personal Letters and Carbons," sub-files include: a. "1947-1968." [F. 6] b. "June, 1974 - Sept., 1980." [F. 7] c. "Jan., 1970 - Dec., 1977 (Carbon From TG)." [F. 8] d. "Mostly 1977, 1980, 1981," includes one item each from 1976,1971. [F.9] 15. "Prominent People," notables include: [F. 10-1 l] a. Kazan, Elia. 10 TLS: 11/14/56, 7/16/57, 7/24/57, 2/11/58, 10/4/67, 4/22/68, 1/27 /70, 3/2/70, 9/25/80, 5/18/81. b. McGovern, George. Telegram, 10/9/72. c. Rockwell, Norman. TLS, 1/20/76. d. Gambling, John. TLS, 12/6/78. e. Ritchie, Jean. ALS, 6/15/73. f. Cheever, Mary. 2 TLS, n.d.; 7 postcards, 1957, 8/7/70, 1/29/77, 9/8/77, 1977, n.d.