On Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America's most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians produce is a manifestation and continuation of New Orleans' cultural atmosphere. The city's historical allowance and celebration of freedom of expression permits New Orleans' current musicians to be innovative and responsive to the events surrounding the disaster. This project, designed as a qualitative research study, identifies four professional musicians who are established in the musical environment of New Orleans. To illustrate the depth of tradition and experimentation that their music evokes, the music of post- Katrina New Orleans is given historical contextualization and set in comparison to music that was inspired by a past catastrophe, the 1927 flood. Through the holistic exploration of the present circumstances of these four musicians, it becomes clear that New Orleans remains a place that is extremely open to change and that experimental music flourishes at the same time that traditional jazz lives on through new performers, who walk in the footsteps of legends. From interviews conducted with these four individuals, as well as other on-site observations, the emotional, physical, and financial effects of Hurricane Katrina are identified and recorded. / Central to this study is the author's own knowledge of music and experience in musical dialogue - it is through the interaction of the author and the subjects that important events and characteristics, which could be documented, actually emerged.This project reveals the influence that the storm has had on the individual musician and it demonstrates that while all four musicians are caught up in the whirlwind of recovery in New Orleans, their music remains rooted in the fundamental characteristic that is associated historically with New Orleans' music, improvisation. By the same token, it also shows that while each person may have had to suffer the same conditions, the musical response from each musician was unique. / by David Bethea. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

The Middle East is a culturally and historically rich region. Its' most pervasive characteristics are tied to the nomadic tribal tradition from which it emerged. A statistical analysis of development patterns highlights that nomadic ties are the most significant variable in determining the democratic tendency of states. In this case nomadism is statistically linked with authoritarianism. An examination of Middle Eastern nomadic practices shows that there are numerous cultural norms derived from nomadism that continue to permeate the political landscape of the Modern Middle East. The state of Saudi Arabia has been, and continues to be, the subject of continued academic misinterpretation as one model after another fails to understand the state. A simple reality is that the political culture of Saudi Arabia is crafted from its nomadic precursors, and the state is predisposed towards, from what has been labeled to be authoritarianism. / by Ryan R. Craig. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 200?. Mode of access: World Wide Web.

This dissertation examines how transnationalism can affect Islamists’ moderation in both Egypt and Morocco. In this dissertation, I do an in-depth comparative case study analysis to assess the prospects of moderation of two Islamists political entities, the Muslim Brotherhood as a transnational social movement and the Morocco Party of Justice and Development (JDP), which has no transnational ties. Both the Muslim Brotherhood and PJD came to power after the Arab uprising in 2011 and were key players in the democratic transitions in both countries; however, the entities are not related. Further, the dissertation will explore the moderation level of the Muslim Brotherhood and PJD. Current literature on Islamists and moderation theory focuses on political inclusion, political learning and repression as factors that would affect the moderation of an Islamist group. Looking at Islamists as a transnational social movement is a new aspect in the study of Islamism. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Through a comparative literary study of Monica Ali’s Brick Lane and Olga Grjasnova’s Der Russe ist einer, der Birken liebt, this thesis concludes that although the migrant experience is heterogeneous and that integration is a difficult process that varies through the diversity of experiences, these experiences can be unified by the common way in which migrants learn to “belong” by connecting with voices of the past and present and by building and maintaining relationships that extend beyond the limits of place. In defending this argument, the thesis draws upon themes of Bakhtinian heteroglossia, nationalism and transnationalism, space, globalism, and migration. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015 / FAU Electronic Theses and Dissertations Collection

A PhD Thesis to the Anthropology Department, Faculty of Humanities: University of the Witwatersrand. / This study will argue that; (i) that the evolution of hip-hop arises out of the need by young people to give expression and meaning to their day-to-day socio-political and economic struggles and the harsh realities of urban life, and (ii) that hip-hop has become the audible and dominant voice of reason and a platform that allows youth to address their plight, as active citizens, and (iii) that, as a music expression, the hip-hop narrative can be used as an unsolicited yet resourceful civic perception survey to gauge the temperature and the mood of society at a point in time. My research question is premised on the argument that the youth looks at society and their immediate surroundings through the lens of rap music and the hip-hop culture. It presupposes that it is this hip-hop lens that has become the projector through which the youth views and analyses society and then invites the world to peep through, to confirm and be witnesses to what they see. It is not the purpose of this research to argue how much influence hip-hop has on young people, but instead to look at how youth is using hip-hop to express their discontent and what the various sites are where their relentless desire for a better life is being crafted and articulated. In my investigation, I have argued that it is at these social sites that open or discreet creative expressions are produced/created by the hip-hop generation as the subordinate group and directed to those perceived to be the gatekeepers to their aspirations and their rites of passage. In my investigation I have explored how, out of indignation and desire, the hip-hop generation has employed creative ways to highlight and vent their frustration at a system that seems to derail their aspirations. This is the story of hip-hop where Watkins (2005) argues that the youth have crafted "a vision of their world that is insightful, optimistic and tenaciously critical of the institutions and circumstances that restrict their ability to impact on the world around them" (p. 81) With regard to hip-hop in South Africa critical questions and a central thesis to this paper begin to emerge as to whether hip-hop, as an artistic expression and a seemingly dominant youth culture, has found long-hidden voices through which young people now engage with this art form to address and reflect on their socio-economic and political conditions as active citizens in search of a meaningful social contract. By investigating the triangular relationship between commerce, politics and hip-hop, this study looks at how creative, adaptive people with unrealised potential, who find themselves trapped by illusion and exploitation (realistic or perceived), always try to find a meaning to make sense of their worlds. / AC2018

This research presents an overview of ethnic residential segregation in London, England, from 2001 to 2011 using four different methods of measurement. The purpose of the study was to both examine changes in the level of segregation among different ethnic groups between census dates and to compare various methods of measurement. Using the Index of Dissimilarity, Poulsen et al.'s (2001) typology classification and two different local statistics (Getis-Ord G* and Anselin Local Moran's I), the levels of concentration of the five main ethnic minority groups in London were measured for data from the 2001 and 2011 censuses. The five ethnic minority groups studied were: Black African, Black Caribbean, Indian, Pakistani and Bangladeshi. Of the five populations analyzed, only the Black Caribbean population showed any decrease in its overall level of segregation, while the other four all saw slight increases in segregation over the period. After comparing the four methods used, it was determined that while all offer a different perspective on the segregation of groups across space, the Anselin Local Moran's I statistic provides the most detailed result of variation in concentration across space.

His Story takes the form of a fictive but autobiographically based investigation into the child and young adult I used to be, and follows that protagonist into early adulthood. It tries to show the damage done to that character and the way in which he damaged others in turn. As Hemingway said, We are all bitched from the start and you especially have to hurt like hell before you can write seriously. More importantly, the main protagonist is somebody who became concerned with, and cognizant of the main political and social events of his day. His life is set in its social context, and reaches out to the larger issues. That is to say, the personal events of the protagonist's life are recorded alongside and set in the context of the major events taking place on the world stage. The manuscript is some sort of hybrid of novel, autobiography, and historical and social document. As Isaac Bashevis Singer said, The serious writer of our time must be deeply concerned about the problems of his generation. In order to make His Story effective in sharing my ideas and beliefs, and, of course, in order to protect the innocent and more particularly, the guilty, it is created in the colourful area that is the overlap between memory and fiction. When we tell the stories of our lives to others, and indeed, to ourselves, we prise them out of memory's fingers and transform them into fiction. To write autobiography well, as E.L. Doctorow said, you have to invent everything, even memory.

Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.

Most studies in environmental politics have traditionally examined three broad areas: the degradation of the environment; the regulatory regimes governing the environment; or environmental activism within the affluent North. This thesis provides an alternative perspective, exploring environmental activism in the less affluent South. In particular, while human rights and social justice perspectives have historically been largely absent from many environmental movements of the North, this thesis argues that, due to precarious living conditions and authoritarian governance, these issues are of primary importance for environmentalists in the South. As a result this thesis contends that most environmental movements in the South are part of a growing global justice movement and that important cultural diversities within this movement can result in novel forms of resistance and environmental governance. The focus here is on the emancipatory actors within these movements in the South who challenge existing power structures within society. Likewise, by adopting a critical perspective, this thesis argues that large business interests pursue energy projects in the South in the name of energy security and large scale industrial development that are often inappropriate for local development and security needs. To test these hypotheses, four case studies were undertaken that examine transnational gas pipeline and large dam projects at various stages of their development which originate in either Burma (Myanmar) or Thailand. Empirical research, primarily in the form of interviews, undertaken in the countries hosting the various energy projects demonstrated that although environmental activists in the South were assisted by transnational activist networks there were also important local factors that impacted on the emancipatory philosophies, strategies and tactics of many activists in this region. These strategies have achieved some success, with environmental impact assessment (EIA) processes in Thailand now providing a potential opening for the political engagement of communities. Nevertheless, this thesis finds that the power of corporate interests in the international political economy often poses insurmountable barriers for activists to achieve both their short and long term aims. The findings suggest that despite the efforts of activists, local indigenous and ethnic minority communities continue to bear the brunt of the social and environmental costs of transnational energy projects in the South while receiving few of the benefits. Rather than safeguarding these communities from deprivation, these projects often exacerbate existing social tensions and conflicts, resulting in increased community insecurity. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1474397 / Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009

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