This study examines the origin, the manifestation and impact of the direct taxation of Africans in Kenya. While the state had several reasons for imposing taxation on Africans, the basic factor weighed on the need for a definitive source of revenue. For most of the colonial period, this aggregated to about 37½ percent of the total revenues. The thesis shows how taxes were collected from Africans, how this led to participation in the cash economy and how they continually resisted and evaded such taxation. Tax collection was synonymous with colonialism and this was manifested through the central role of chiefs, who used taxes and force to coerce Africans into migrant wage labour. Through taxation policies, legislation and African resourcefulness, migrant wage labour served the needs of a colonial capitalist settler economy. In this way, the colonial state revealed its capacity for dominance, power and exploitation. Evidence has been adduced to show that African taxation was an important factor in Kenya’s administrative, political and economic development. The policy of African taxation, land loss and poor working conditions are remembered as having interfered with African mechanisms for accumulating wealth. One of the main objections of the payment of taxes was the manner of its collection. Those unable to pay were imprisoned or detained while many took to instant flight at the sight of the tax collector. The thesis shows that in spite of all these harsh tax collection methods, peasants remained largely resilient and industrious. The Mau Mau movement was the culmination of various peasant grievances in which the colonial state used steep taxation as a counter-insurgency measure. Kenya’s independence in 1963, however, never altered the predatory nature of the state. Subtle, opportunistic and overt ways continued to be used to extract taxes from the peasants and the working class. It was not until 1973 that the much-hated colonial poll tax that had been renamed as graduated poll tax was abolished and replaced by indirect taxation. Finally, taxation like other colonial legacies has endured and has become one of the most important sources of revenue for the government to manage its fiscal policies.

Orientador: Mario Alberto de Santana / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T18:42:54Z (GMT). No. of bitstreams: 1 Nunes_Aline_M.pdf: 7800220 bytes, checksum: 1060c0c513828e6e0a06e16da0104e2a (MD5) Previous issue date: 2015 / Resumo: Esta investigação quer refletir a respeito da discursividade do ator em cena partindo do conceito de Dialogismo. Consideramos discurso como o resultado da interação dialógica de "vozes" e, para compreender tal interação, pedimos o auxílio dos filósofos do chamado "Círculo de Bakhtin". Além desta diretriz filosófica, há, aqui, também, o desejo de procurar, no pensamento produzido pelo próprio teatro, lastro para o aprofundamento em tal matéria. Segundo a óptica empregada neste estudo, toda palavra enunciada em cena assume três componentes distintas e concomitantes: a componente gestual, entonacional e verbal. Da interação destas componentes é que nasce o sentido do enunciado e o que chamaremos de palavra- corpo. Na visão desta investigação, um enunciado é algo que vai muito além do logos da mensagem; ele se faz presente e manifesta-se por meio do corpo do enunciador, transformando o próprio corpo em enunciado concreto. Aqui as principais vozes que constituem a palavra-corpo são chamadas de voz da "materialidade", voz do "imaginário", voz da "ideologia" e voz da "intuição". Segundo Bakhtin, as vozes de um discurso dialógico podem interagir de forma Heteroglóssica (ou Plurilinguista), e, nesta forma, as potências vocais são diferentes, estabelecem hierarquias; ou Polifônica, em que as mesmas vozes dialogam em equipotência. Para analisar o processo de composição de tais "palavras" escolhi como objeto os discursos empreendidos pelos intérpretes de "Primus", da "Boa Companhia" de Campinas (SP), e "Prometheus ¿ a tragédia do fogo", da paulistana "Cia. Teatro Balagan". Busco, assim, compreender o processo de composição discursiva do ator a partir de suas técnicas corporais, do jogo e da imaginação, de suas influências culturais, éticas e teóricas e, por fim, por meio de sua relação com a intuição, com o instintivo e o saber que não passa pela racionalidade / Abstract: The present investigation aims to reflect upon the discursiveness of the actor on the scene based upon the concept of Dialogue. The term discourse is herein understood as the upshot of the dialogic interaction of voices. In order to comprehend this interaction we call upon the philosophers of the Bakhtinian Circle. Besides the mentioned philosophical guidelines, there is also the desire to search within the knowledge produced inside the realm of theatre itself, for foundations that enable further delving into the matter. Conforming to the standpoint adopted in the present study, every word uttered on the scene assumes three distinct and concomitant components: gestural, intonational and verbal. It is from this interaction that arises the meaning of the enunciation and what we shall call body-word. In the perspective of the present investigation, enunciation is something that goes far beyond the Logos of the message; it is present and unfolds itself through the body of the enunciator, transforming the body itself in a concrete enunciation. The preeminent voices that constitute the Body-word are herein defined as: voice of "materiality"; voice of the "imaginary"; voice of "ideology", voice of "intuition". According to Bakhtin, the voices of a dialogic discourse may interact Heteroglossically (or Plurilinguistically) ¿ whereby the power of the voices is unequal and hierarchies are established ¿ and Polyphonically through which voices are put into dialogue in equipotent manner. In order to analyse the compositional process of the mentioned words I chose as object, the discourses put forth by the interpreters in "Primus" by a theatrical company established in Campinas (SP), and "Prometheus ¿ a tragédia do fogo" by "Cia. Teatro Balagan" a company based in São Paulo. I therefore aim to comprehend the actors¿ process of discursive composition stemming from their corporal techniques, the play of imagination, cultural, ethical and theoretical influences and lastly by virtue of their relationship with intuition, with what is instinctive and what is not rationally known / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Despite being recognized as one of the most important compositions in the twentieth¬ century wind band repertoire, the William Byrd Suite presents many obstacles for the conductor and ensemble members. Since its initial publication in 1924, the piece has contained many discrepancies of pitch, articulation, rhythm, dynamics, and phrase completion that appear in the score as well as the parts. Although the work was reissued by Boosey & Hawkes in 1960 and 1991, many of the original errors remained intact. The sheer amount of inconsistencies causes great difficulties for the musicians involved in the rehearsal process, slowing efficiency and resulting in a frustrating impediment to a quality performance. The primary purpose of this study was the creation of a critical edition of Jacob's William Byrd Suite that eliminates errors of extant editions, incorporates modern instrumentation, and considers the source material. To accomplish this, the present project looks at all sources, including the autograph manuscript, orchestral version, published editions, and errata. The editorial process examines the governing philosophy, subsequent editorial decisions and indications, and the final organization of the parts. The study concludes with the inclusion of the full score of the new critical edition.

As early as 1954, families of children who had been segregated into separate spaces fought and succeeded in having their concerns heard in the landmark Supreme Court case, Brown v. Board of Education. In 1975, P.L. 94-142, Education for the Handicapped Children Act (EAHCA) was important because it exposed the history of family-school relations, addressing the multiple forms of inequity, particularly the exclusion of children with dis/abilities from U.S. public schools (Valle & Connor, 2011). Although EAHCA legislation was created to provide solutions to the problems of special education, it appeared to have provided an unequal environment in which the families with the most economic resources could advocate for their children and obtain access to better educational opportunities (Ong-Dean, 2009). Goodwin, Cheruvu, and Genishi (2008) described these policies as based on the “culturally deprived paradigm that compares racially, culturally, linguistically, and socioeconomically diverse peoples to a White, middle-class standard” (p. 4). In this manner, these educational legislative policies are problematic as they have defined parent involvement as meaning families of culturally and linguistically different backgrounds are expected to act or interact with school professionals in particular ways. Moreover, these conceptualizations of parent involvement continue to privilege and perpetuate professional viewpoints based on a Eurocentric middle-class standard (Sleeter, 2001). Bakhtinian theories of language are used to understand how families describe their experiences as they encounter the deficit discourse of parent involvement used by school professionals. This is important because professional jargon or “stratified language” presents a danger in that it is replete with value judgments and beliefs (Bakhtin, 1981, p. 293), assuming power that then comes to inform the ways families understand their experiences and their selves in school contexts. This tells us that it is imperative to know how families of children with dis/abilities experience their communication with school professionals as there is a danger that the discourse of parent involvement will continue to perpetuate particular definitions of family participation that disqualify family knowledge by silencing the potential strengths and contributions of minoritized families (Lareau & Munoz, 2012). Moreover, the way minoritized families experience school professionals and how this is connected to how they come to be involved in their child’s education is not clear. This study, conducted just before and during the coronavirus pandemic, drew from Disability Studies (DS), disability critical race studies (DisCrit), and Intersectionality theories. It examined family-school communication being fully inclusive of all the ways families engage in the education of their children with dis/abilities at the crossroads of race, ethnicity, dis/ability, class, language, and culture (Hernández-Saca et al., 2018; Annamma et al., 2013). To rethink traditional notions of what counts as knowledge, pláticas (personal exchanges) revealed critical raced-gendered epistemologies that allowed the experiential knowledge of Latinx mothers of children with dis/abilities to be viewed as a strength (Delgado Bernal, 2002).

No description available.

Niels Viggo Bentzon (1919-2000) is the most significant composer in the post-Nielsen period of Danish piano music. Bentzon's Third Piano Sonata, Op.44 was composed in 1946 and is considered by Mark L. Lehmann to be one of the great piano sonatas of the twentieth century. Not only does this sonata reflect Hindemith's ideas, but it also reveals Bentzon's unique style that successively empowers his innovative features. By applying Hindemith's theory, this study offers a way of understanding this piece and demonstrates the relevance of Hindemith's theory as a tool for analyzing the sonata. Chapter 1 presents the significance of the study, the state of research, the purpose of the study, and method. Chapter 2 provides a theoretical analysis of Bentzon's Third Piano Sonata, Op. 44. With a discussion of each movement, this analytical chapter traces Hindemith's influences: Bentzon organizes the four movements with a clear formal structure, a mediant relationship between the first movement and the rest of the movements, and a motivic coherence of each movement. Also, this chapter demonstrates how Bentzon follows Hindemith's way of chord construction and harmonic progression. This chapter provides insight into Bentzon's original style that facilitates an understanding of the tonal organization of each movement and illuminates Bentzon's intensity of expression through the use of quasi-improvisational passages, texture, dynamic fluctuations, and treatment of the full range of the piano. The last chapter concludes with a summary of Bentzon's compositional style based on observations from previous chapters.

In this thesis an attempt is made to show the impression World War I made on the mind of a young German author. I have tried to interpret his outlook on war and to show how he could arrive at such a seemingly sordid statement as "living is killing". In 1920 a relatively unknown member of the Reichswehr published an account of World War I that soon became a bestseller. The book was In Stahlgewittern, its author Ernst Jünger. It was followed two years later by Der Kampf als inneres Erlebnis. Their common subject was war. The success of the two novels served to catapult Ernst Jünger from being a highly decorated officer of the war, but otherwise widely unknown, into the limelight of fame. It opened the doors for him to the intellectual and literary circles of Germany and later on of Europe. Although the subject of both works specifically pertains to World War I, almost the whole length of which the author had seen on the western front, their scope is much wider. Jünger attempts to show how he sees war in general. To make this clear he deals lengthily with the word of Heraklit of war as the father of all things. At the time that Jünger published these books which show war as a positive experience, the general literary feeling in Europe was still strongly anti-war. Nevertheless he managed not only to voice his opinion, but also to use these works especially as the starting point of an immensely successful and prolific literary career. Even though Ernst Jünger does not deny the horrors and atrocities of war, his books are an apotheosis of the subject. Paradoxically, war to him is the one thing that will serve to perpetuate the human race. This is achieved in a way that is vaguely reminiscent of Darwin's theory of the survival of the fittest. In war a new elite or new "race" is born. Just as war has fathered it, it in turn will be responsible for the following generations. Race, in Jünger's sense, is not a biological term, rather a philosophical experience. To survive, and to create the new man, the soldier has again to be made aware of his past. Only by linking his prehistoric existence with modern man and modern man's accomplishments, will he be able to form this new race. Blood, i.e. instinct rather than reasoning, originality rather than the stifling process of learning, is modern man's only means for survival. Especially with this theory Jünger came dangerously close to the world of ideas of National-Socialism. Even though Jünger was opposed to the crude ideology of the Nazis, he did little to defend his works against their use and exploitation. This, as well as his own ideas about war, has made him one of the most controversial German writers of the twentieth century.

Indiana University-Purdue University Indianapolis (IUPUI)

No description available.

My dissertation asserts that folklore under the Iberian fascist regimes portrayed a distorted mirror of the peoples of the Iberian Peninsula. In this operation, social deviance was a key category for political folklore in order to address wider audiences. Staging Deviant Traditions argues that the Spanish Francoist regime (1936/39-1975) and the Portuguese Estado Novo (1933-1974) utilized folklorists and folk performers who deviated from the social identities privileged by fascism. These folk ensembles reified traditional dance and music while deliberately ignoring the popular communities that produced and circulated vernacular repertoires. This dissertation not only places the Iberian politics of folklore within the broader frame of interwar fascist cultural policies but also follows the evolution of these politics during the Cold War by focusing on three cases: the Coros y Danzas of Sección Femenina, the Bailados Portugueses Verde Gaio, and the Ballet Gallego Rey de Viana. Staging Deviant Traditions begins by studying, in its Introduction, the politics of folklore under the Rome-Berlin Axis. Nazi Germany and fascist Italy massively institutionalized folklore through technology to control the narrative about the essence of the people and used tradition to construct a new fascist art through reactionary modernism. These experiences shaped the folklore of the time and inflected processes of traditional culture appropriation in the Iberian regimes, as explored in the three chapters that follow. In Chapter 1, “Coros y Danzas and the Political-Affective Reinvention of the Folklorist Role,” I study how Sección Femenina, the female elite of the Spanish fascist party, and its work in the Coros y Danzas women’s troupes intervened in the folklore transmission circuit to make themselves indispensable to the fascist government by recreating folklore, notwithstanding a regime that disavowed women’s political agency. Establishing its members as folklore agents who researched and collected autochthonous music and dance, Coros y Danzas managed to appropriate that traditional repertoire according to a gendered vision of women as vessels of vernacular culture. Coros y Danzas transformed folklore into fetishized sentimental spectacle drawing on affects and emotions as social practice so that their reified productions became associated with them affectively and politically. These reified productions, performed outside Spanish borders, used folk music and dance to create a sentimental Spanish community that sought to overcome dissidence and generate acceptance of the dictatorship; this movement enabled the organization to further secure its own position within Francoism. Chapter 2, “Verde Gaio: Queering Folk Dances for the Elite,” centers on the Estado Novo’s use of the Grupo de Bailados Portugueses Verde Gaio (1940-1983) as a cosmopolitan tool to promote a deceptive modernist image of the regime before select audiences. The head of the SPN/SNI (Secretariado de Propaganda Nacional, Secretariado Nacional da Informação), modernist intellectual António Ferro, aimed to create a state-owned ballet company following Ballets Russes’ homoerotic art. He chose queer dancer Francis Graça, trained at the revue, as Verde Gaio’s principal and choreographer. In preceding decades, the Orpheu intellectuals paved the way for queer modernism, and select artists were active in establishing the Verde Gaio. Despite the repression of sexual deviance under the Estado Novo, the Verde Gaio deployed queer aesthetic sensibilities and homoerotic images as a glamorous tool for diplomatic and domestic political affairs. At the same time, the Secretariado obliterated more vulgar sexual references in the vernacular repertoire, from which Verde Gaio took inspiration, while appearing to move with the times of cosmopolitan arts. Finally, in Chapter 3, “Negotiating Subalternity: The Ballet Gallego Rey de Viana against Flamenco,” I trace how the folklore troupe Ballet Gallego Rey de Viana (1949-2006) instrumentalized the Celtic and the Galician matriarchal myths to guarantee Galician privileged position within Francoist cultural diplomacy. However, these topoi, promoted by Spanish centralist circles, contributed to deactivating Galician ambitions of political autonomy and fostering Spanish internal colonialism in Galiza. By inserting Galician vernacular culture within the Celtic community, Rey de Viana pursued securing a more European image of the regime abroad than the exoticized picture provided by flamenco as the Spanish national dance. Through this operation, Rey de Viana aspired to oust flamenco by portraying a desirable gendered image of Spain abroad while cementing the Galician subaltern position within Francoism. Relying on diverse archival sources, such as correspondence, administrative documents, video footage, and newsclippings, Staging Deviant Traditions shows how Iberian fascist regimes depended on deviant social identities performing in folk ensembles so that reified music and dance traditions would become aesthetically and affectively associated with the dictatorships.