...around the same time that we were discussing censorship through school curriculum so I felt that if my little brother understood it then other children could too. When he was talking about this it sounded a lot like the class was learning from a hegemonic device. School is where kids are being taught the “history” of how America came to be a diverse country. Through the course Culture Power and School Knowledge, one can see that the “history” being taught through the Master Narrative is one-sided. The Master Narrative focuses on “history” that comes from the people who hold power therefore excluding the actual experiences of the people of color meaning that it is a hegemonic device. Being a hegemonic device, the content that students learn matters because the information that they are being oriented around can be detrimental to them because they are seeing the world from a certain perspective that might allow them to think that way. Inducing them to see the world from a certain perspective and certain ideals. Master Narrative The history in school is what induces students to think of America as a heroic country. What induces children to begin thinking of America that way would be directly coming from the Master Narrative. In simple terms, the Master Narrative is seen as “a dominant and overarching theme or template that presents the literature, history, or culture of a society” (Aldridge, 2006). Still according to Derrick P. Aldridges (2006) observations in schools, “history textbooks...
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...centuries one of the nurturing wombs of America’s ruling class. When I was growing up in the fifties, I could never have imagined that one of Harvard’s most respected departments would be this one, the Department of Afro-American Studies and that I would teach here. I’m trying to get black history month to be every month. Most of the kids that we teach at places like this are the children of the middle class, the children of people like me. I mean, I am teaching my classmates’ children. Our experience at Harvard is just one instance of a much larger phenomenon. (Speaking in background) In the past few years, African Americans have been achieving in ways that no one, black or white, could ever had dreamed possible a generation ago. We now have African Americans at the heart of government, at the top of the world’s largest corporations, the military, education. Virtually anywhere you look, you will find black people at the highest levels in American society. Not enough black people but who can deny that progress has been made? And yet, and this is the kicker, one in three black children still live at or beneath the poverty line. Two distinct classes have emerged in America and they’re both black. MAN: We are sustaining power. (Helicopter blades spinning)...
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...segregation. In 1927, Wright moved to Chicago after the peak of the Harlem Renaissance (a pivotal time for African Americans to express themselves through music, writings, and art). In Chicago, he worked as a postal worker, but was laid off with the depression. Wright then joined the Federal Writers Project, a state sponsored guild for authors, in which Wright composed his first novel, Uncle Tom’s Children. During this time, Wright joined the Communist party, which was often carried out into his writings. By 1939, Wright had moved to New York City and kept ties with the party for only a few more years. He married in 1941, and had left the communist party by 1944. During World War II, Wright lectured around New York. With the end of the War, Wright moved to France in 1947 where he continued to write his novels, which often contained themes of racism, poverty, and political matters. His books were often partly based on his life and what he had observed in his lifetime. Wright was the first African American author to be featured in the “Book of the Month Club” for his novel Native Son. In 1995, all of Wright’s books were reissued in 1995 in their original context after being censored by publishers for the explicit nature of his novels (which contained themes of sexual, Communist, and racial content). However, Wright was unable to see the reissued books, for Wright was laid to rest in 1960. 2....
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...vehicle of our modern understanding of nihilism is through the fiction of Turgenev and Dostoevsky. Neither of these authors were particularly sympathetic to nihilism and provided nihilist characters primarily as a frame with which to drape their morality tales. The version of nihilism offered by these authors is then, primarily, a snapshot of the popular culture in which nihilism dwelt as much as it is a recollection of the trend. This time in Russian history is part of the story of nihilism and will be part of the story in bridging the gap between the mythological Bazarov, Verkhovensky, or Raskolnikov and figures like Nicholas Chernyshevsky, Dmitry Pisarev, and to some extent Sergey Nechayev. What then was nihilism? Nihilism was a youth movement, a philosophical tendency, and a revolutionary impulse. Nihilism was the valorization of the natural sciences. Nihilism was a specific fashion style. Nihilism was a new approach to aesthetics, criticism and ethics. Nihilism was the contradiction between a studied materialism and the desire to annihilate the social order. Nihilism was also a particularly Russian response to the conditions of Tsarist reform and repression. Nihilism has become much more than it originally would have been capable of because of the viral nature of its value-system, practice, and conclusions. Nihilism’s effect is traceable through the history of Anarchism, through the formation and modern practice of terrorism, and through philosophical trends from deconstruction...
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...This article is about the cultural movement. For the music genre, see Hip hop music. For other uses, see Hip hop (disambiguation). Graffiti of "hip hop" in Eugene, Oregon Hip hop is a form of musical expression and artistic subculture that originated in African-American and Hispanic-American communities during the 1970s in New York City, specifically the Bronx.[1][2][3] DJ Afrika Bambaataa outlined the four pillars of hip hop culture: MCing, DJing, B-boying and graffiti writing.[4][5][6][7] [8] Since its emergence in the South Bronx, hip hop culture has spread to both urban and suburban communities throughout the world.[9] Hip hop music first emerged with disc jockeys creating rhythmic beats by looping breaks (small portions of songs emphasizing a percussive pattern) on two turntables, more commonly referred to as sampling. This was later accompanied by "rap", a rhythmic style of chanting or poetry presented in 16 bar measures or time frames, and beatboxing, a vocal technique mainly used to imitate percussive elements of the music and various technical effects of hip hop DJ's. An original form of dancing and particular styles of dress arose among fans of this new music. These elements experienced considerable refinement and development over the course of the history of the culture. The relationship between graffiti and hip hop culture arises from the appearance of new and increasingly elaborate and pervasive forms of the practice in areas where other elements of hip hop...
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...COMM 3673 Test #2 Study Guide, Fall 2015 Media/Society, Ch. 6: Social Inequality & Media Representation · Comparing Media Content and the “Real World”: four issues raised by this comparison (pp. 188-189) o First – literature in media and cultural studies reminds us that representation are not reality, even if media readers or audiences may sometimes be tempted to judge them as such. § Representations are the result of process of selection that invariably mean that certain aspects of reality are highlighted and others neglected. § All representations re-present the social world in ways that are both incomplete and narrow. o Second – the media usually do not try to reflect the “real” world. o Creators of media products use entertainment media to comment on the real social world. Readers and audiences develop at least some sense of the social world through their exposure to both entertainment media and news media. · Third – Concerns the troublesome term real. o The concept of a “real” world may seem like a quaint artifact from the past. o Social constructionist perspective. § No representation of reality can ever be totally “true” or “real” because it must inevitably frame an issue and choose to include and exclude certain components of a multifaceted reality. o Fourth- Seems to imply that the media should reflect society. o For many people, media are an escape from the realities of daily life. o Therefore, how “real” media...
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...IS HIP HOP DEAD? Table of Contents INTRODUCTION ……………………………………………………………………………..2 1.FOOTSTEPS/ BRIEF HISTORY ……………………………………………………….3 2.THE HIP HOP GAME/ INDUSTRY ………………………………………………….7 3. UNDERGROUND ………………………………………………………………………..10 5. SAMPLING …………………………………………………………………………………11 6. CREATIVITY IN THE TWO WORLDS ……………………………………………..13 7.SALVATION …………………………………………………………………………………16 CONCLUSION …………………………………………………………………………………17 BIBLIOGRAPHY INTRODUCTION The phrase “Hip-Hop Is Dead” can be found everywhere around hip hop community discussions during the last years. Rapper “Nas” titled his eighth album in 2006 with this statement, and has caused a controversy among rap artists and listeners all over the world. But comparing today`s hip hop music with the roots of hip hop can we really claim that hip-hop is really dead? If so, what are the facts that lead in the death of hip hop? What does its demise mean for the average fan? How to bring it back? Does it mean the genre will go down in irrelevance like what happened in disco music? All these questions will be investigated during this paper, and to understand this complicate statement itself, we should figure out what the statement really means. Maybe it is the fact that most of the genre’s songs and music videos look exactly the same. Maybe it’s the mainstream hip-hop game’s emphasis in ridiculously shinning jewelry, the sexism and the focus on money and women. Better yet, according to Mickey Hess, “hip-hop’s...
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...A CRITICAL SURVEY OF CONTEMPORARY SOUTH AFRICAN POETRY A CRITICAL SURVEY OF CONTEMPORARY SOUTH AFRICAN POETRY: THE LANGUAGE OF CONFLICT AND COMMITMENT By Laura Holland, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University September 1987 MASTER OF Arts (1987) (English) McMASTER UNIVERSITY Hamilton, Ontario TITLE: A Critical Survey of Contemporary South African Poetry: The Language of Conflict and Commitment AUTHOR: Laura Linda Holland, B.A. (University of Alberta) SUPERVISOR: Dr. Alan Bishop NUMBER OF PAGES: v, 134 ii ABSTRACT The thes is concentrates on South African poetry from 1960 to the present. It closely examines a selection of poems by Breyten Breytenbach, Dennis Brutus, Pascal Gwala, Wopko Jensma, Oswald Mtshali, Arthur Nortje, Cosmo Pieterse, Sipho Sepamla, and Wally Serote, among others. The body of the thesis discusses these poets' contributions to poetry about prison, exile, and township life. The thesis focuses on the struggle between various polical, racial, and cultural groups for hegemony over South Africa's poetic development. Such issues as language, ideology, and censorship are explored insofar as they in! .luence t:ne content and structure of the poetry. This body of poems, sadly, is little studied in North America. The thesis presents an introduction to and a survey of the major tendencies in South African poetry and, in part...
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...978-1-84478-883-5 PPSLS/D35/0107/14 © Crown Copyright 2007 Produced by the Department for Education and Skills Extracts from this publication may be reproduced for non commercial education or training purposes on the condition that the source is acknowledged. For any other use please contact HMSOlicensing@cabinet-office.x.gsi.gov.uk DIVERSITY & CITIZENSHIP You can download this publication or order copies online at: www.teachernet.gov.uk/publications Diversity and Citizenship Curriculum Review Review Group members Sir Keith Ajegbo retired in July 2006 as Headteacher of Deptford Green School, a multiethnic school with a strong reputation for Citizenship education. He is currently working as a coach on the Future Leaders Project, as a School Improvement Partner, and as an education consultant for UBS. He is also a Governor of Goldsmiths College and a trustee of the Stephen Lawrence Trust. Dr Dina Kiwan is a Lecturer in Citizenship Education at Birkbeck College, University of London. Previously she was seconded to the Home Office as the Head of Secretariat to the Advisory Board for Naturalisation and Integration (ABNI), carrying forward the implementation of the recommendations of the former ‘Life in the UK’ Advisory Group chaired by Sir Bernard Crick. Seema Sharma, is an Assistant Headteacher at Deptford Green School in South East London. She has been a teacher for 11 years, including Key Stage 3 Co-ordinator, Head of English, Ethnic Minority Achievement...
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...assigned readings in advanced courses dealing with mass media and society, communication theory, or cultural studies. Students are encouraged to focus thoughtfully on the main ideas, not attempt to merely memorize details. Important concepts and names appear in boldface and are defined in italics. The abridged Subject Index lists the page with the primary discussion of each topic. Sidebars throughout the text, set off with sans serif type, provide insights that supplement the main text. The Notes section cites quoted materials and guides students to other pertinent sources. Special thanks go to colleagues Kenton Bird, Donna Rouner, Marty Traynor and James Van Leuven, all of Colorado State, for their encouragement and assistance in this project. I also want to acknowledge Dennis Davis,...
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...The Six Sigma Handbook Revised and Expanded A Complete Guide for Green Belts, Black Belts, and Managers at All Levels THOMAS PYZDEK McGraw-Hill New York Chicago San Francisco Lisbon London Madrid Mexico City Milan New Delhi San Juan Seoul Singapore Sydney Toronto Copyright © 2003 by The McGraw-HIll Companies, Inc. All rights reserved. Manufactured in the United States of America. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. 0-07-141596-3 The material in this eBook also appears in the print version of this title: 0-07-141015-5. All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill eBooks are available at special quantity discounts to use as premiums and sales promotions, or for use in corporate training programs. For more information, please contact George Hoare, Special Sales, at george_hoare@mcgraw-hill.com or (212) 904-4069. TERMS OF USE This is a copyrighted work and The McGraw-Hill Companies, Inc. (“McGraw-Hill”) and its licensors reserve all...
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...IRAQ-KUWAIT War Negotiation Style and Frameworks by Steven Roberts A case study that shows how important it is to consider whether or not to accept concessions (nhượng bộ đất đai) by taking a reasonable perspective and framework. | Bottom of Form On a scorching (nắng cháy) summer day in August, 1990, the citizens of Kuwait stared in puzzlement (tình trạng rối bời) at the encroaching (xâm phạm), dusty streams of what appeared to be a pending desert sandstorm, creeping ominously (đáng ngại) towards them from across the forbidding dessert. To their dismay (mất tinh thần) and horror filled eyes, the quaking (kinh hãi) citizenry (toàn thể công dân) had become helpless witnesses to the advancing units of Saddam Hussein’s Iraqi army, relentlessly engaged in the illegal invasion of their homeland. There had been no warning of this pending disaster. Kuwaiti resistance was swept aside much like one casually brushes away a crumb from one’s lapel. (sự kháng cự của Kuwait đã bị đánh bật như phủi sạch hạt bụi trên ve áo) After six days, Hussein declared that he had annexed (thôn tính) Kuwait. The world was stunned (sưungr sốt) by Hussein’s audacity(trơ trẽn táo bạo), and the Middle East became very anxious about what the future may hold for this unsettled region. By August 30, the Arab League, called by President Mubarak of Egypt, attempted to defuse (xoa dịu) this potentially explosive crisis through deft negotiation. (khôn khéo) The Arab League proposed to Hussein that if he would...
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...Orientalism and India Introduction ”Oh, East is East, and West is West, and never the twain shall meet.” (Rudyard Kipling, The Ballad of East and West) In his much quoted verse above Rudyard Kipling revealed something of the nucleus of the long-lived tradition of Orientalist thought. According to J. J. Clarke, the ambivalence of the West [1] towards the East is age-old. The ”rich cultures,” ”superior civilizations” and ”ancient wisdom” of the Orient have inspired many Westerners, but on the other hand, the threats of its ”monstrous mysteries” and ”absurd religions” hailing from its ”stagnant past” have abhorred at least as many. For many, the Orient has been a dominion of hordes and despots or spiritual mystics and exotic sensuality. Exaggeration and imagination together with a range of both positive and negative stereotypes connected to popular prejudices have been essential to these views. Encountering the East has been significant for the self-image of the West producing identities ranging from decadent European modernity to concepts of cultural, racial and moral superiority. (Clarke 1997, 3–4. See also Pieterse 1992 and Hottola 1999.) In his highly celebrated but also provoking book Orientalism [2], Edward Said (1935– 2003) embarks on describing a long European tradition ”of coming to terms with the Orient that is based on the Orient’s special place in European Western experience.” This tradition Said calls Orientalism [3]. Said concentrates mainly on...
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...from the original English, with respect to the conditions on distribution of modified versions above, provided that it has been approved by the Free Software Foundation. i Short Contents Editor’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 A Note on Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Topic Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Section One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 1 The GNU Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 2 The GNU Manifesto . . . . . . . . . . . . . . . . . . . . . . ....
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...The year is 1959, a pivotal moment in American cultural history, when rock and roll was giving birth to the Sexual Revolution and everything in America culture was about to be turned upside down. Record companies were releasing more than a hundred singles every week and the country was about to explode. Grease, generally considered a trivial little musical about The Fabulous Fifties, is really the story of America’s tumultuous crossing over from the 50s to the 60s, throwing over repression and tradition for freedom and adventure (and a generous helping of cultural chaos), a time when the styles and culture of the disengaged and disenfranchised became overpowering symbols of teenage power and autonomy. Originally a rowdy, dangerous, over-sexed, and insightful piece of alternative theatre, Grease was inspired by the rule-busting success of Hair and shows like it, rejecting the trappings of other Broadway musicals for a more authentic, more visceral, more radical theatre experience that revealed great cultural truths about America. An experience largely forgotten by most productions of the show today. Like Hair before it and The Rocky Horror Show which would come a year later, Grease is a show about repression versus freedom in American sexuality, about the clumsy, tentative, but clearly emerging sexual freedom of the late 1950s, seen through the lens of the middle of the Sexual Revolution in the 1970s. It’s about the near carnal passion 1950s teenagers felt for their rock...
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