463 research outputs found
[Chachalaca Review] - Meet Myriam Gurba | Spring 2020 Special Feature
No full textMeet Myriam Gurba, a featured artist from Volume 7: Metamorphosis Issue!
Myriam Gurba is a Mexican-American writer and visual artist from Santa Maria, California. She is known for her true-crime memoir Mean named a New York editors’ choice. Her memoir also ranked as one of the best LGBTQ books of all time by O, The Oprah Magazine. She is also the author of Painting Their Portraits in Winter which explores Mexican stories and traditions from the feminist perspective. She has graduated from UC Berkley and her writings have appeared in anthologies such as The Best American Erotica (St. Martin’s) and Tough Girls (Black Books). Gurba is currently residing in Long Beach, California.https://scholarworks.utrgv.edu/utrgvmedia/1012/thumbnail.jp
Substance use behaviors among a nationally representative sample of college students with disabilities
No full textBackground: A significant number of students enrolled in postsecondary institutions have a disability. Like many young adults, college students with disabilities have an elevated risk of substance use. However, research on substance use in this population is limited. Objectives: This dissertation aims to: 1) Examine the prevalence of disability in U.S. college students by student characteristics, including disability status; 2) Present associations between disability status, sociodemographic characteristics, and substance use among college students; and 3) Explore the individual, interpersonal, institutional, and public policy factors affecting service utilization by college students with disabilities.Methods: A mixed methods design was employed in this study. Data from the 2015 National Survey on Drug Use and Health (NSDUH) public use data file was analyzed. Purposeful sampling was employed for in-depth interviews with key informants at Rutgers University who provide services to students with disabilities. Results: An estimated 2.6 million (12.6%) college students had a disability. The most common type of disability was cognitive impairment (7.3%). College students with any disability had higher odds of current tobacco use (AOR = 1.31; 95% CI 1.01-1.69) and reported more ever use, past year use, and current use of illicit drugs (p<.001) than their nondisabled peers. Personal barriers emerged as dominant themes for service utilization by students with disabilities. Conclusions: This dissertation documents the high prevalence of substance use among college students with disabilities. It also highlights the many barriers to service utilization for this population. Understanding the risk factors for substance use and strategies for prevention and treatment are important to people with disabilities, disability service providers, and public health policymakers. Hence, there is a need for the development of health improvement plans for college students that integrate inclusive policy, systems, and environmental strategies.Ph.D.Includes bibliographical referencesby Myriam Casseu
Fondale
No full textThis essay aims to investigate the meaning of the word "fondale" in Giorgio Caproni's poetic works. Starting with the analysis of two poems included in "Il Conte di Kevenhüller (1986) - in which the author uses the word with two meanings: "scenic backdrop" and "seabed" - the paper offers an overview that traces the roots of these meanings in the previous poetic work. The verses of the poem "Fondale della storia" ("L'acciaio. / Il ghiacciaio"), in particular, prompt reflections on the issues of evil, war and nothingness as developed in most of Caproni's work
The sacred choral music of Francis Poulenc: a contextual and analytical study
No full textPoulenc is perhaps best known for his instrumental works, for his adherence to the aesthetics of Neo-classicism, and his place among the Parisian intellectual circles in tJie 1920s and 1930s in which his friend, Jean Cocteau, played a central role. This essentially secular side of Poulenc's creativity was, after the composer's return to Roman Catholicism in 1936, challenged by a need to express a newly-found religious conviction in sacred music. Consequently Poulenc, who had been accustomed to the secular aesthetics of Neo-classicism of Parisian artistic life and the French capital's concert halls, found it necessary to 'rediscover' and assimilate the language of French church music and its history (notably through the filter of the Cecilian Movement, Niedermeyer and the pkinchant of Solesmes) in order to create for himself an appropriate 'sacred style’ that could also incorporate those essential elements of his characteristically playful and sensual, 'secular' language. This study aims to explore this confrontation of styles and how Poulenc successfully forged a cohesive and congruent language for his sacred works. The opening chapters have several distinct perspectives: chapter one outlines the tortuous history of the Church's relationship with the State in France dating back to the pivotal effects of the 1789 Revolution, in an attempt to provide a necessary context for the importance that Poulenc and his predecessors and contemporaries (most significantly Debussy) attached to the past; chapter two, by contrast, discusses some of the principal issues at the heart of Parisian artistic society in the early decades of the twentieth century and focuses on the lively artistic community which existed in Paris with the influx of large numbers of foreign musicians (particularly Americans and Russians) and artists, the emergence of 'Les Six' (of which Poulenc was a member) and the artistic leadership and inspiration given by figures such as Jean Cocteau, Serge Diaghilev and Igor Stravinsky. Cocteau and Stravinsky, indeed, had a huge impact on the young Poulenc. The second part of the thesis is an analytical study of Poulenc's sacred works (putting aside the Gloria, Stabat Mater and Sept Repais de Tetibres which are unmistakably concert works) and connects these analyses with the issues presented in the earlier chapters, beginning with the emotionally powerful Litanies a la vierge noire for women’s voices, composed soon after his Catholic faith returned in 1936, and ending with the decidedly hard-edged, Stravinskian Neo-classicism, yet relative placidity, of the Laudes de Saint Antoine de Padoue for men's voices, completed in Cannes in 1959. Central to the analytical discussion are the well known eclectic Mass in G (1937), the dramatic Quatre motets pour un temps de penitence (1939) and the stylistically distilled Quatre petite prieres de Saint Francois d'Assise which display the greatest variety of style and form and which combine to present significant examples of Poulenc's skilful unification of sacred and secular, ancient and modem sound worlds
Myriam Moscona and the renewal of Judeo-Spanish (Ladino)
No full textO judeu espanhol, ou ladino, idioma dos judeus sefarditas fixados no antigo Império Otomano, após a expulsão dos judeus da Espanha. O idioma, hoje popularizado pela Internet, que confere visibilidade à atuação de seus falantes e pesquisadores, com realização de eventos que contam com a presença de especialistas e herdeiros da cultura judaica provenientes da Ibéria. Ao mesmo tempo, surgem textos que retomam a tradição do ladino em prosa e verso. A poeta mexicana Myriam Moscona é uma das autoras que se destacam nesse movimento de memória e renovação cultural verificado em diversos países.The Judeu Espanhol or ladino, language of the Sephardic Jews settled in the old Ottoman Empire, after the expulsion from Spain (1492). The language, popularized today by the Internet, givers visibility to the actions of its speakers, with events held with the presence of experts and heirs of Jewish culture from Iberia. Até the same time, texts emerge that take up the tradition of the Ladino in prose and verse. The Mexican poetess Myriam Moscona is one of the author who stand out in this movement of memory and cultural renewal verified in several countries
“Vamos fazer a virilha completa e perianal?”: a força ambivalente dos espaços femininos
No full textIn this article, a chapter translated from a book by French philosopher and eco-feminist activist Myriam Bahaffou, the author explores a detailed and sensitive account of a hair removal session to address the questions and ambivalences associated with the beauty injunctions imposed by patriarchy. A dialogue between feminist, anti-racist and decolonial perspectives brings to light the power of cosmetic spaces and practices, in which the intertwining of femininity and feminism can be glimpsed, when the waxing booth is shown to be an “experimental laboratory for post-colonial dialogue” of racialized bodies and women’s stories.En este artículo, un capítulo traducido de un libro de la filósofa francesa y activista ecofeminista Myriam Bahaffou, la autora explora un relato detallado y sensible de una sesión de depilación con cera para abordar las preguntas y ambivalencias asociadas a los mandatos de belleza impuestos por el patriarcado. Un diálogo entre perspectivas feministas, antirracistas y decoloniales saca a la luz el poder de los espacios y prácticas cosméticos, en los que puede vislumbrarse el entrelazamiento de feminidad y feminismo, cuando la cabina de depilación se muestra como un “laboratorio experimental para el diálogo poscolonial” de cuerpos racializados e historias de mujeres.Neste artigo, capítulo traduzido de um livro da filósofa e ativista ecofeminista francesa Myriam Bahaffou, a autora explora um relato minucioso e sensível de uma sessão de depilação para pautar as interrogações e as ambivalências associadas às injunções de beleza impostas pelo patriarcado. Um diálogo entre as perspectivas feministas, antirracistas e decoloniais traz à tona a potência dos espaços e práticas da cosmética, nos quais se vislumbra o entrelaçamento da feminilidade e do feminismo, quando a cabine de depilação se mostra como “laboratório experimental de diálogo pós-colonial” de corpos racializados e histórias de mulheres
An oriental in Iran : Iran seen by Myriam Harry, 1869-1958
No full textDans cette thèse, nous examinons l’image de l’Iran livré par Myriam Harry à ses lecteurs. Nous tentons de l’étudier à partir de ses quatre ouvrages sur l’Iran : Les adorateurs du Satan (1937), Femmes de Perse, Jardins d’Iran (1941), L’Irak (1941) et Djelaleddine Roumi, Poète et Danseur mystique (1947). La lecture des ouvrages de Myriam Harry nous invite en premier lieu à nous intéresser à divers sujets permettant de s’arrêter sur les grandes lignes de la thèse. Ses romans reflètent son regard de la vie, de la culture et des moeurs du monde iranien. Elle s’intéresse également à étudier la vie des femmes. En seconde partie, nous analysons le regard qu’elle porte sur les diverses religions et sur les sectes. Elle parle de moralité dans ses récits de voyage. Il est donc pertinent de connaître sa vision sur ces sujets. Son voyage lui permet de connaître les cérémonies, les sectes et les religions comme le Tazié, le Christianisme, le Soufisme de Rumi, le Zoroastrisme, les Yézidisme et le Judaïsme. Dans la dernière partie, nous évaluons la conception de Myriam Harry sur la littérature classique persane. Elle choisit quatre figures de la poésie classique persane : Ferdowsi (940-1020), Rumi (1207-1273), Saâdi (1210-1292) et Hafiz (1325-1390). Elle présente la biographie de ces poètes dans ses ouvrages et insère pour chacun un ou plusieurs poèmes qu’elle traduit elle-même. Sa formation à l’LANGSO, ses lectures avant, pendant et après ses périples lui facilitent l’élaboration de ce sujet. Nous étudions la façon dont M. Harry raconte la biographie de ces poètes.Nous nous penchons sur sa manière de les présenter en traduisant plusieurs parties de leurs poèmes en français.In this thesis, author’s aim is to investigate the image of Iran through the four books written by Myriam Harry to her audience: Les adorateurs du Satan (1937), Femmes de perse, Jardins d’Iran (1941), L’Irak (1941) and Djelaleddine Roumi, Poète et Danseur mystique (1947) . In the first phase, the investigation and study around Myriam Harry’s books draws our attention to the main objectives of this thesis. The findings in her books reflect her view about Iranian lifestyle, culture, and customs, as well as indicating her interest and tendency to inspect and investigate on the lives of Iranian women. In the second phase, the author analyses Myriam Harry’s point of view in regards to different religions and sects in Iran. Moreover, in this section she mentions about ethical aspects. Her expedition of Iran allows her to learn and become familiar with various rituals, sects and religions such as Tazieh (Passion play), Rumi Sufism, Zoroastrianism, Yazidism and Judaism in thiscountry. In the final phase, the researcher evaluates Myriam Harry’s comprehension of classical Iranian literature. She elects four poets from Iranian literature who are as following: Ferdowsi (940-1020), Rumi (1207-1273), Saâdi (1210-1292) and Hafiz (1325-1390). The biographies of these poets along with translation of some their poems are mentioned and written in her books
Webster’s Law Cases: Legal and Cultural Aspects in the Jacobean Dramatist’s Major Plays
No full textThe doctoral thesis focuses on John Webster’s ‘Italian plays’: the tragedies The White Devil (1612) and The Duchess of Malfi (1614) and the tragicomedy The Devil’s Law-Case (1623). Some references are also made to the comedy A Cure For A Cuckold (1661) which, unlike the others, is set in England and is the result of a collaboration between Webster and William Rowley. The works are analysed from a multidisciplinary perspective, which aims at demonstrating how the legal culture influenced the literary production of the early modern period. In this sense, Webster’s plays are highly representative of the nexus between law and drama. Some scholars claim that the author (about whom virtually nothing is known) probably received legal training himself, and this might explain why legal discourse is so prominent in his production. The law is the axis around which the characters’ lives revolve. Its controversies, its disturbances and its internal tensions are thus critically examined in relation to their dramatic re-reading. The legal cases Webster exploits are rooted both into civil and criminal justice, and range from questions of inheritance to adultery, sedition and murder. Outshined by Shakespeare and other contemporaries, Webster’s reputation as a Jacobean playwright started to captivate critics in the nineteenth century. Through a careful analysis of legal contents, language and literary influences, the thesis ultimately attempts to draw attention to a subject which is worth exploring and still open to critical discussion
Une orientale en Iran : l'Iran vu par Myriam Harry (1869-1958)
No full textIn this thesis, author’s aim is to investigate the image of Iran through the four books written by Myriam Harry to her audience: Les adorateurs du Satan (1937), Femmes de perse, Jardins d’Iran (1941), L’Irak (1941) and Djelaleddine Roumi, Poète et Danseur mystique (1947) . In the first phase, the investigation and study around Myriam Harry’s books draws our attention to the main objectives of this thesis. The findings in her books reflect her view about Iranian lifestyle, culture, and customs, as well as indicating her interest and tendency to inspect and investigate on the lives of Iranian women. In the second phase, the author analyses Myriam Harry’s point of view in regards to different religions and sects in Iran. Moreover, in this section she mentions about ethical aspects. Her expedition of Iran allows her to learn and become familiar with various rituals, sects and religions such as Tazieh (Passion play), Rumi Sufism, Zoroastrianism, Yazidism and Judaism in thiscountry. In the final phase, the researcher evaluates Myriam Harry’s comprehension of classical Iranian literature. She elects four poets from Iranian literature who are as following: Ferdowsi (940-1020), Rumi (1207-1273), Saâdi (1210-1292) and Hafiz (1325-1390). The biographies of these poets along with translation of some their poems are mentioned and written in her books.Dans cette thèse, nous examinons l’image de l’Iran livré par Myriam Harry à ses lecteurs. Nous tentons de l’étudier à partir de ses quatre ouvrages sur l’Iran : Les adorateurs du Satan (1937), Femmes de Perse, Jardins d’Iran (1941), L’Irak (1941) et Djelaleddine Roumi, Poète et Danseur mystique (1947). La lecture des ouvrages de Myriam Harry nous invite en premier lieu à nous intéresser à divers sujets permettant de s’arrêter sur les grandes lignes de la thèse. Ses romans reflètent son regard de la vie, de la culture et des moeurs du monde iranien. Elle s’intéresse également à étudier la vie des femmes. En seconde partie, nous analysons le regard qu’elle porte sur les diverses religions et sur les sectes. Elle parle de moralité dans ses récits de voyage. Il est donc pertinent de connaître sa vision sur ces sujets. Son voyage lui permet de connaître les cérémonies, les sectes et les religions comme le Tazié, le Christianisme, le Soufisme de Rumi, le Zoroastrisme, les Yézidisme et le Judaïsme. Dans la dernière partie, nous évaluons la conception de Myriam Harry sur la littérature classique persane. Elle choisit quatre figures de la poésie classique persane : Ferdowsi (940-1020), Rumi (1207-1273), Saâdi (1210-1292) et Hafiz (1325-1390). Elle présente la biographie de ces poètes dans ses ouvrages et insère pour chacun un ou plusieurs poèmes qu’elle traduit elle-même. Sa formation à l’LANGSO, ses lectures avant, pendant et après ses périples lui facilitent l’élaboration de ce sujet. Nous étudions la façon dont M. Harry raconte la biographie de ces poètes.Nous nous penchons sur sa manière de les présenter en traduisant plusieurs parties de leurs poèmes en français
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