The conservation of wildlife species plays a profound part in development issues in northern areas. In recent years, northern wildlife management has become a complicated process of cross-cultural communication. This thesis begins with an outline of the relations between First Nations and Euro-Americans in the context of the dynamics between wildlife scientists and aboriginal subsistence-based communities. The current economic, social and political characteristics of subsistence systems are discussed. The emergence of co-management systems is described in a review of wildlife management institutions existing in northern Canada and Alaska. An analysis of the activities of the Beverly-Qamanirjuaq Caribou Management Board (B-Q CMB) and the relative participation of traditional users and government wildlife scientists forms the core of an exploration of the nature of wildlife co-management. In order to understand some of the perspectives of local caribou-using communities within the co-management framework, interviews were held with members of the Inuit community of Arviat, Nunavut and the Sayisi-Dene community of Tadoule Lake, Manitoba. Finally, the general role of co-management institutions in securing the viability of communal property regimes is discussed with specific reference to the case of the B-Q CMB.

Thesis (D. Min.)--Northern Baptist Theological Seminary, Lombard, Ill., 1999. / Abstract. Includes bibliographical references (leaves 161-169).

Thesis (D. Min.)--Northern Baptist Theological Seminary, Lombard, Ill., 1999. / Abstract. Includes bibliographical references (leaves 161-169).

No description available.

Denna studie undersöker hur klass konstrueras utifrån tillgång till kulturellt och symboliskt kapital i den sjunde säsongen av det svenska reality-programmet Gift vid första ögonkastet. Studien fokuserar på hur klassdistinktioner skapas utifrån moral och värderingar, där arbetarklassen görs till moralisk underklass i reality-tv. Studien argumenterar för att reality-tv genomsyras av en medelklassblick. Studiens teoretiska utgångspunkter är Pierre Bourdieus teorier om klass och kapital samt vidareutvecklingar av hans teorier, främst kopplade till Beverly Skeggs. Studien använder en diskursanalytisk metodansats baserad på Ernesto Laclau och Chantal Mouffes diskursteori, för att förstå hur den mediala diskursen ger mening åt arbetarklassen och medelklassen genom ekvivalenskedjor. I den mediala diskursen om arbetarklassen kopplas två av de manliga deltagarna i programmet Gift vid första ögonkastet till en arbetarklassidentitet. Detta görs genom deras språk, som upplevs vara sexistiskt, och deras smak. Analysen visar hur arbetarklassdeltagarna är medvetna om sin klassidentitet och disidentifierar sig med den. Analysen tar även upp hur arbetarklassdeltagarna förväntas lära sig medelklassens värderingar för att godkännas i medelklassens ögon. Studiens slutsats visar att klass, trots att det inte nämns explicit, spelar en högst central roll i seriens narrativ. Slutsatsen visar vidare att arbetarklassen främst porträtteras utifrån sin brist på rätt kulturellt och symboliskt kapital. Resultaten bekräftar tidigare forskning om reality-tv, men bidrar även med ny förståelse genom att visa hur jämställdhetsvärderingar görs till det mest värdefulla symboliska kapitalet i programmet, och i förlängningen kan bidra med insikter om den samhälleliga diskursen om arbetarklassen.

Reality TV is a growing form of entertainment, with streaming giants like Netflix and Hulu offering an extensive array of programs catering for different audiences. Currently one of the most popular franchises is “The Real Housewives”, within the franchise itself “The Real Housewives of Beverly Hills” is ranking at the top. Despite it`s high entertainment value, much of Reality TV has been critiqued for perpetuating harmful stereotypes.  This study therefore aimed to uncover the underlying messages regarding femininity, power, and social roles that are communicated to the viewers of the popular reality show “The Real Housewives of Beverly Hills”. The following research question was formulated; How does "The Real Housewives of Beverly Hills" portray women in ways that either challenge or reinforce (gender) stereotypes? The study has employed a multimodal critical discourse analysis to the last three episodes of “The Real Housewives of Beverly Hills” latest season (season 13). The episodes were watched and discussed multiple times, leading to the identification of four overarching themes; romantic relationships, career, conflict and physical appearance. Scenes from the show regarding these themes were analyzed, using theoretical frameworks concerning stereotypes, hegemony and gender.  The results showed some gender stereotypes being reinforced while others were challenged. The reinforcement of stereotypes through “The Real Housewives of Beverly Hills” lies in stereotypes being used as a weapon by the women against each other, portrayed by the network. The challenge of stereotypes lies in the way the program portrays the women as they contradict these narratives.

Kinetic typographic experiment in curated Tweets from Beverly Hills. All Tweets geotagged 90210. Watch the live feed at pageeasy.com/realtweetsofbeverlyhills

This essay analyzes the character of Beverly Marsh in Andrés Muschietti’s It and It Chapter 2. By using previous research on women in horror, Beverly’s character is dissected with regards to sexualization and agency. Both the films contrast the common trope of the weak sexualized woman in horror movies by staying away from over-sexualization and making Beverly an equal to her male counterparts.

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American mezzo-soprano, Beverly Wolff has not received the credit or respect that she deserves in operatic history. Her career began in 1952 and flourished until her retirement from the stage in 1981. Her intense characterizations, innate musicianship, and intelligence made her one of the most sought-after performers from the 1950s to the 1970s. For thirty years, she worked with some of the operatic world’s finest musicians, including Leonard Bernstein, Gian-Carlo Menotti, Samuel Barber, Ned Rorem, Beverly Sills, Norman Triegle, Placido Domingo, among others. She was represented by Columbia Artists Management Inc (CAMI), one of New York’s oldest and most prestigious management companies, and maintained an active performance schedule that often included operatic, concert, and recital performances in the same week. She trained at the American Vocal Academy in Philadelphia and was inducted into its Hall of Fame. She performed in New York, Boston, Washington, D.C., San Francisco, New Orleans, and Atlanta and was an active member of the New York City Opera, Handel Society, Tanglewood, and the Handel Society of Washington, D.C. Wolff is credited with over sixty recordings. She also appeared on several of NBC’s live operatic programs, which brought opera to the masses. Perhaps most importantly, she created and debuted several important roles in American opera. Few have heard of her; the purpose of this document is to fill in this gap in operatic history, and to clarify and correct misinformation about her. In this document, I will answer the following questions: What determines a performer’s worth? What secures a performer’s place in history? Finally, and more specifically, what imprints did Beverly Wolff leave for posterity?