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The ideological battle fought between the United States and Cuba has been centrally located in Miami, Florida. The ninety miles of ocean separating the two nations serves as a type of no-mans land, the hypothetical battlefield separating Cuban-Americans from their homeland and families across the Florida straits. For decades, the Miami Cuban community was seen as possessing a single identity, one of vehement anti-Castro sentiment and an ever-present desire to return to the homeland of their memories and past. However, recent literature has suggested that fissures are becoming more apparent in the façade of absolute unity. The break in ideological singularity has emerged along generational lines, invoking Karl Mannheim’s pioneering work on the sociological analysis of generations. This paper attempts to decipher the extent to which a Mannheimian generation is emerging among the youth of the Cuban-American population in Miami Florida. Using discourse analysis an analysis of print news media conducted on 16 articles from the Miami Herald and 11 articles from the New York Times was undertaken to gain an understanding of the coverage of two major events seen to have an impact on young Cubans in both Miami and Cuba (Juanes’ concert for peace and the Elian Gonzalez case). This analysis shed light on the extent to which an older generation of Cuban-Americans maintains control of resources. As expected, the Miami Herald was far more likely to espouse ideology supportive of the exile ideology. It became clear that generational ruptures were recognized only when they did not conflict with the traditional rhetoric of anti-Castroism and discourse of regime change in Cuba. Without this type of space for vocalizing dissent, it is difficult for a counter-movement along generational lines to form. Overall, this thesis demonstrates that the exile ideology maintains control over what is considered permissible dialogue in traditional media outlets such as the Miami Herald, pointing to the conclusion that not all voices and opinions are recognized within the Cuban-American community in Miami. / Thesis (Master, Sociology) -- Queen's University, 2011-02-20 08:42:19.368

Texte remanié de: Thesis Ph. D., 1994. / Notes bibliogr.

This thesis presents an historical overview of the immigration/migration process that led to the institutional establishment of a vibrant Jewish community in Miami, Florida. By doing so, this thesis suggests three distinct, yet interconnected waves of immigration/migration: the first wave was from the 1920s until the 1950s and was comprised primarily of Northeastern Jewish migrants; the second wave was from the 1960s until the 1970s and was comprised of Cuban-Jewish immigrants; and the third wave began in the 1970s and continues until today, and is comprised of the Latin American Jewish immigrants. These waves are studied by considering (1) the demographics of each individual wave and the corresponding reasons for migration to Miami; (2) which institutions were established within each wave and the motivation for their establishment; and (3) the different dynamic each immigrant/migrant cohort had with the institutions in the Jewish community. It also explores institutional evolution within each wave and connects the waves together to reveal a multi-faceted construction of the Jewish community of Miami as it is today.

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Thesis (D.Min.)--South Florida Center for Theological Studies, 1998. / Includes bibliographical references.

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Six Ira Sullivan performances were analyzed from studio and live recordings spanning the years 1962 to 1998. Sullivan plays different musical instruments on five of the six selections: trumpet, flute, tenor saxophone, alto saxophone (2 selections), and soprano saxophone. Musical facets considered include phrasing (length/placement), melodic contour, lyricism, harmonic phenomenon, and concept of sound. Common musical threads within Sullivan's improvisations were expected to be found throughout all performances. A call and response dynamic across myriad musical fundamentals such as melody, harmony, and rhythm was found to be present and seems to form a basis for much of Ira Sullivan's improvisations. This and other broad traits common to Sullivan's improvisations are presented herein through analysis.