141 |
Social Change Initiatives for African-American and Latino Males in Los Angeles CountyRamsey, Kay 01 January 2017 (has links)
In the 21st Century, many Americans continue to fight battles for men of color who are at the forefront of criminal injustice, unemployment, and low matriculation. With great dominion and urgency, our Nation must ensure all men, regardless of the adversity can succeed and build legacies in their families, communities, and the economy. In this action research study, an ecological system theory was used to analyze the stakeholders who have implemented the following public polices under the Obama Administration: 21st Century Policing, My Brother's Keeper, and Race to the Top. This research answers the question how stakeholders are able to impact positive social change through implementing polices that focus on academia, criminal justice, and employment for African-American and Latino males living in Los Angeles County. Data was retrieved from 16 non-profit organizations; a target population was then sampled resulting in 25 participants that have expertise in working with men of color. Participant's answered 10 interview questions and their short answers were inductively coded, which revealed significant themes. Daily mentorship was identified as the leading tool to garner success in working with men color, while ecological influences, limited funding, policy misalignment, and stereotypical threats have been recurring barriers. Key findings recommended: mixed-method data, stakeholder collaborations, training programs, and creative marketing. Furthermore, this study closes the gap towards aligning with public polices that will create supportive services for men of color and offering stakeholders -'the what, and the how' towards implementing social change.
|
142 |
From Rivers to Gardens: The Ambivalent Role of Nature in My Ántonia, O Pioneers!, and Death Comes to the ArchbishopKirkland, Graham 15 May 2010 (has links)
Though her early writing owes much to nineteenth-century American Realism, Willa Cather experiments with male and female literary traditions while finding her own modern literary voice. In the process Cather gives nature an ambivalent role in My Ántonia, O Pioneers!, and Death Comes to the Archbishop. She produces a tension between rivers and gardens, places where nature and culture converge. Like Mary Austin and Sarah Orne Jewett, Willa Cather confronts the boundaries between humans and nature.
|
143 |
Postcolonial unions: the queer national romance in film and literatureBarron, Alexandra Lynn 28 August 2008 (has links)
Not available / text
|
144 |
Fugitive rhythms : re-imagining diasporic Caribbean-Canadian communities in Ramabai Espinet's The Swinging Bridge, Tessa McWatt's Out of My Skin, and Dionne Brand's What We All Long ForWaisvisz, Sarah Gabriella. January 2006 (has links)
How do immigrants to Canada experience exile and diaspora? What happens when a person does not identify with a nostalgic past "there" or a present "here," but rather with "nowhere"? I am interested in the development of a diasporic critical consciousness in three recent novels by Caribbean-Canadian women writers. This paper uses theories of diaspora, cosmopolitanism, hybridity, kala pani discourse, and anti-racist feminist analysis to discuss Ramabai Espinet's The Swinging Bridge (2003), Tessa McWatt's Out of My Skin (1998), and Dionne Brand's What We All Long For (2005). Overall the novels explore the potential of art and artistic strategies to express the complex condition of diaspora, to form alliances between different cultural and ethnic communities, and to enable social and political change. While acknowledging the violent and traumatic historical factors that have contributed to diaspora, the novels look to art and hybridity as sites of resistance and hope.
|
145 |
The immanent voice : an aspect of unreliable homodiegetic narration.De Reuck, Jennifer Anne. January 1988 (has links)
Unreliable homodiegetic narration presents a unique mode
of narrative transmission which demands the encoding within
the text of 'translational indices', that is, signifiers of
several kinds which justify the reader/receiver in
over-riding the sincere first person avowals of the apparent
mediator of the discourse. The argument establishes the
presence of an epistemologically primary 'immanent'
narrative situation within an ostensibly unitary narrative
situation. Such a stereoscopic perspective upon the
presented world of the literary 'work provides the
reader/receiver with a warrant for a rejection of the
epistemological validity of the homodiegetic narrator's
discourse. Moreover, the thesis advances a typology of such
translational indices as they occur in the dense ontology of
the literary work of art. The narratological theory of
unreliable homodiegetic narration developed in the first
half of the dissertation is applied in the second half to
selected exemplars of such narrative transmissions,
demonstrating thereby the theoretical fecundity of the model
for the discipline of narratology. / Thesis (Ph.D.)-University of Natal, Durban, 1988.
|
146 |
Attribution and interpretive content analyses of college students' anecdotal online faculty ratings: students' perceptions of effective teaching characteristicsReagan, Janet 04 August 2009 (has links)
This dissertation documents a mixed methods doctoral study that accessed a popular online faculty rating system situated in the public domain, to reveal adult students’ perceptions of effective teaching characteristics in three community colleges located in British Columbia, Canada. The study is informed by two phases including a quantitative analysis of attributions and a qualitative interpretive content analysis of 300 randomly selected student anecdotal evaluations of their classroom experiences that were cross-referenced to the empirical research that formally defines effective teaching characteristics. Six attribution themes emerged from the students’ online perceptions: Articulate, Competent, Content-expert, Empowering, Perceptive, and Trustworthy that in their complexity were re-articulated for latent symbolism and problematised through an adult education lens. These findings subsequently led to development of the ACCEPT Model of Student Discernment of Effective Teaching Characteristics.
The research findings contribute to a further understanding of students’ ability to discern and report effective teaching characteristics through an online faculty rating system that is informal and less traditional, for the purpose of improving teaching and learning practices in college settings in British Columbia. There are six recommendations provided that will be of interest to administrators, faculty, students, and institutional researchers regarding student evaluation of effective teaching characteristics and adult learning needs.
|
147 |
Modes of engagement in theatrical documentaryFergusson, Annie January 2006 (has links)
This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are: 'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode'; 'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode'; 'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode'; 'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.
|
148 |
Islands under threat : heterotopia and the disintegration of the ideal in Joseph Conrad's Heart of darkness, Antjie Krog's Country of my skull and Irvan Welsh's Marabou stork nightmaresPieterse, Annel 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2005. / ENGLISH ABSTRACT: The stories and histories of the human race are littered with the remnants of
utopia. These utopias always exist in some "far away" place, whether this place
be removed in terms of time (either as a nostalgically remembered past, or an
idealistically projected future), or in terms of space (as a place that one must
arrive at). In our attempts to attain these utopias, we construct our worlddefinitions
in accordance with our projections of these ideal places and ways of
"being". Our discourses come to embody and perpetuate these ideals, which are
maintained by excluding any definitions of the world that run counter to these
ideals. The continued existence of utopia relies on the subjects of that utopia
continuing their belief in its ideals, and not questioning its construction.
Counter-discourse to utopia manifests in the same space as the original utopia
and gives rise to questions that threaten the stability of the ideal. Questions
challenge belief, and therefore the discourse of the ideal must neutralise those
who question and challenge it. This process of neutralisation requires that more
definitions be constructed within utopian discourse - definitions that allow the
subjects of the discourse to objectify the questioner. However, as these new
definitions arise, they create yet more counter-definitions, thereby increasing the
fragmentation of the aforementioned space. A subject of any "dominant" discourse, removed from that discourse, is exposed
to the questions inherent in counter-discourse. In such circumstances, the
definitions of the questioner - the "other" - that have previously enabled the
subject to disregard the questioner's existence and/or point of view are no longer
reinforced, and the subject begins to question those definitions. Once this
questioning process starts, the utopia of the subject is re-defined as dystopia, for
the questioning highlights the (often violent) methods of exclusion needed to
maintain that utopia.
Foucault's theory of heterotopia, used as the basis for the analysis of the three
texts in question, suggests a space in which several conflicting and contradictory
discourses which seemingly bear no relation to each other are found grouped
together. Whereas utopia sustains myth in discourse, running with the grain of
language, heterotopias run against the grain, undermining the order that we
create through language, because they destroy the syntax that holds words and
things together.
The narrators in the three texts dealt with are all subjects of dominant discourses
sustained by exclusive definitions and informed by ideals that require this
exclusion in order to exist. Displaced into spaces that subvert the definitions
within their discourses, the narrators experience a sense of "madness", resulting
from the disintegration of their perception of "order". However, through embracing
and perpetuating that which challenged their established sense of identity, the narrators can regain their sense of agency, and so their narratives become
vehicles for the reconstitution of the subject-status of the narrators, as well as a
means of perpetuating the counter-discourse. / AFRIKAANSE OPSOMMING: Utopias spikkel die landskap van menseheugenis as plekke in "lank lank gelede"
of "eendag", in "n land baie ver van hier", en is dus altyd verwyderd van die
huidige, óf in ruimte, óf in tyd. In ons strewe na die ideale, skep ons definisies
van die wêreld wat in voeling is met hierdie idealistiese plekke en
bestaanswyses. Sulke definisies sypel deur die diskoers, of taal, waarmee ons
ons omgewing beskryf. Die ideale wat dan in die diskoers omvat word, word
onderhou deur die uitsluiting van enige definisie wat teenstrydig is met dié in die
idealistiese diskoers. Die volgehoue bestaan van utopie berus daarop dat die
subjekte van daardie utopie voortdurend glo in die ideale voorgehou in en
onderhou deur die diskoers, en dus nie die diskoers se konstruksie bevraagteken
nie.
Die manifestering van teen-diskoers in dieselfde ruimte as die utopie, gee
aanleiding tot vrae wat die bestaan van die ideaal bedreig omdat geloof in die
ideaal noodsaaklik is vir die ideaal se voortbestaan. Aangesien bevraagtekening
dikwels geloof uitdaag en ontwrig, lei dit daartoe dat die diskoers wat die ideaal
onderhou, diegene wat dit bevraagteken, neutraliseer. Hierdie
neutraliseringsproses behels die vorming van nog definisies binne die diskoers
wat die vraagsteller objektiveer. Die vorming van nuwe definisies loop op sy
beurt uit op die vorming van teen-definisies wat bloot verdere verbrokkeling van
die voorgenoemde ruimte veroorsaak. "n Subjek van die "dominante" diskoers van die utopie wat hom- /haarself buite
die spergebiede van sy/haar diskoers bevind, word blootgestel aan vrae wat in
teen-diskoers omvat word. In sulke omstandighede is die subjek verwyder van
die versterking van daardie definisies wat die vraagsteller - die "ander" - se
opinies of bestaan as nietig voorgestel het, en die subjek mag dan hierdie
definisies bevraagteken. Sodra hierdie proses begin, vind "n herdefinisie van
ruimte plaas, en utopie word distopie soos die vrae (soms geweldadige)
uitsluitingsmetodes wat die onderhoud van die ideaal behels, aan die lig bring en,
in sommige gevalle, aan die kaak stel.
Hierdie tesis gebruik Foucault se teorie van "heterotopia" om die drie tekste te
analiseer. Dié teorie veronderstel "n ruimte waarin die oorvleueling van verskeie
teenstrydighede (diskoerse) plaasvind. Waar utopie die bestaan van fabels en
diskoerse akkommodeer, ondermyn heterotopia die orde wat ons deur taal en
definisie skep omdat dit die sintaks vernietig wat woorde aan konsepte koppel.
Die drie vertellers is elkeen "n subjek van "n "dominante diskoers" wat onderhou
word deur uitsluitende definisies in "n utopia waar die voortgesette bestaan van
die ideale wat in die diskoers omvat word op eksklusiwiteit staatmaak. Omdat die
vertellers verplaas is na ruimtes wat hulle eksklusiewe definisies omverwerp,
vind hulle dat hulle aan "n soort waansin grens wat veroorsaak is deur die
verbrokkeling van hul sin van "orde". Deur die teen-diskoers in hul stories in te bou as verteltaal, of te implementeer as die meganisme van oordrag, kan die
vertellers hul "selfsin" herwin. Deur vertelling hervestig die vertellers dus hul
status as subjek, en verseker hulle hul plek in die opkomende diskoers deur
middel van hulle voortsetting daarvan.
|
149 |
Literary non-fiction and the unstable fault line of the imaginative and the reportorial : Antjie Krog’s, Country of my skull, Pumla Gobodo-Madikizela’s, A human being died that night and Sindiwe Magona’s, Mother to motherFransman, Jolene 12 1900 (has links)
Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis explores the representation of personal narrative and nationhood within the genre of literary non-fiction written around the theme of the Truth and Reconciliation Commission. The texts to be examined are Antjie Krog‟s, Country of My Skull, Pumla Gobodo-Madikizela‟s A Human Being Died That Night and Sindiwe Magona‟s Mother to Mother.
The texts by Krog and Gobodo-Madikizela tell the story of apartheid‟s legacy from two different viewpoints. Their texts are filled with spatial patches of personal narrative which emphasize the impact apartheid had on two different South African cultures, thereby linking the personal to the national by exploring a subjective truth in their narratives. Both these authors were involved with the Truth and Reconciliation Commission (TRC) in a professional capacity and through their respective ideologies the psyche of the apartheid perpetrator is examined, interrogated and analysed. Within the genre of literary non-fiction these two writers grapple with capturing the real, the objective, but simultaneously insist on doing so from a subjective vantage point.
Sindiwe Magona‟s, Mother to Mother also centres on the theme of the Truth and Reconciliation Commission and on the psyche of the perpetrator. This time, however, the perpetrator‟s psyche is explored through the lens of a narrator-mother in an address to the victim‟s mother. The most significant difference between this text and the other two is that the Magona text provides a fictional account of the TRC case in question. The ethical implications of a literary text with documentary subject matter, of a text that explores the intersections between fiction and non-fiction, surfaces again, and to a larger extent than in the other two texts, thereby further unsettling the line between the reportorial and the imaginative. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die verteenwoordiging van persoonlike vertelling en nasieskap in die genre van die literêre nie-fiksie wat geskryf is om die tema van die Waarheids-en Versoeningskommissie (WVK). Die tekste wat ondersoek word is Antjie Krog se Country of My Skull, Pumla Gobodo-Madikizela se A Human Being Died That Night en Sindiwe Magona se Mother to Mother.
Die tekste van Krog en Gobodo-Madikizela vertel die storie van apartheid-nalatenskap uit twee verskillende standpunte. Hul tekste bestaan uit gereelde ruimtelike kolle van persoonlike verhaal wat die impak van apartheid op twee verskillende kulture van die land beklemtoon om sodoende die persoonlike aan die nasionale te koppel en „n subjektiewe waarheid van hul narratiewe na vore te bring. Albei hierdie skrywers was in 'n professionele hoedanigheid betrokke by die WVK en deur hulle onderskeie ideologieë word die psige van die apartheid oortreder ondersoek, ondervra en ontleed. Dit is binne literêre nie-fiksie waar hierdie twee skrywers swoeg om die werklike en objektiewe ten toon te stel terwyl hulle dit terseldertyd vanuit „n subjektiewe oogpunt wil benader.
Sindiwe Magona se Mother to Mother draai ook om die tema van die Waarheids-en Versoeningskommissie en die psige van die oortreder. Hierdie keer, egter, is die oortreder-psige ondersoek deur die lens van 'n verteller-ma in 'n toespraak aan die slagoffer se ma. Die belangrikste verskil tussen hierdie teks en die ander twee is dat die Magona teks 'n fiktiewe vertelling bied van die WVK saak betrokke in hierdie geval. Die etiese implikasies van 'n literêre teks met 'n dokumentêre onderwerp kom weer na vore en tot 'n groter mate as die ander twee tekste, en daardeur word die fyn lyn van die literêre genres met 'n dokumentêre onderwerp omver gegooi.
|
150 |
Aesthetics of Defiance : Queer Subjectivity in the Films of Xavier DolanMalmquist, Sebastian January 2017 (has links)
This master's thesis is an investigation into Xavier Dolan's depictions of queer and non-normative characters. Through close analyses of the director's first five films, this study identifies Dolan's recurring stylistics and narrative techniques, and how they relate to his cinematic representation of individuals who do not conform to society's norms. The question of how queer subjectivity is presented to the spectator of the films guides the study, which outlines different kinds of subjective images and ways of expressing the inner worlds of the protagonists. As one of the first extensive academic studies of Dolan in English, the thesis carries out a dialogue with the few existing scholarly sources on the filmmaker, while also employing theories put forward by Deleuze, Pasolini, Bonitzer and Foucault, among others. Whereas previous writings on Dolan have focused almost entirely on national aspects of his work – interpreting the films as typically Québécois – this study considers the filmmaker from an international perspective. Although being an auteur study, the thesis highlights current issues of queer self-representation and the voices of the marginalized, proposing that Dolan's work offers non-normative alternatives to heteronormative narrative structures, patriarchal storytelling conventions and traditional family constellations.
|
Page generated in 0.0213 seconds