486 research outputs found
Connie Flett’s Story of Lola
No full textAlzheimer’s/dementiaboarding houseCanadaimmigrantinfant deathNorth Vancouvernursingorphansecond love1900’sEurop
Story of Adeline Yen Mah
No full textProducer, Eleanor Morris ; narrator, Connie Booth.Adeline Yen Mah, the author of Falling leaves, traces her and her family's life from Shanghai of the 1930s to the Cultural Revolution, through her life as a doctor in California
[Letter to "Bo" Mildred, "Benny" Connie and "Bill"]
No full textLetter from unknown author to "Bo" Mildred, "Benny" Connie and "Bill" telling them of the new occurrences in his life and work
The fiddle music of Connie O\u27Connell
No full textThis is a study of an Irish traditional fiddle-player, Connie O\u27Connell, from Cill na
Martra, Co. Cork. Connie has been strongly influenced by the main musicians of Sliabh
Luachra, an area which encompasses the West Cork and East Kerry border. In
particular, he has been influenced by the renowned fiddle-players of the region - Denis
Murphy, Padraig O\u27Keeffe and Julia Clifford. Today, he is widely considered amongst
the traditional music community as one of the present-day exponents of this style, and is
well known for his extensive repertoire.
This thesis examines the fiddle music of Connie O\u27Connell within the context of the
Sliabh Luachra fiddle tradition. It also examines the extent to which that tradition has
changed and how this change is manifested in Connie\u27s music. The Introduction
outlines my reasons for embarking on this project. It also details the approach adopted
in examining Connie\u27s music and the manner in which his position within the Sliabh
Luachra fiddle tradition has been evaluated. Chapter One is a brief biographical study
of the musician in context. His repertoire is examined in Chapter Two and is related to
that of his predecessors. The notion that polkas and slides are the dominant tune-types
in Sliabh Luachra is challenged in this chapter. Aspects of melodic and rhythmic
variation are examined in detail in Chapter Three, while Connie\u27s bowing style is also
discussed here. In Chapter Four, opposing views on regional and individual styles are
discussed and attention is drawn to the fact that in Connie\u27s playing both the regional
and the individual find mutual expression. ..
Appendix A contains sixty-three tunes transcribed by the author from the two principal
recording sessions in October 1992 and November 1992. Seven additional
transcriptions are included for the purpose of examining Connie\u27s bowing style. These
are the result of a video session which took place in October 1993. Transcriptions of
tunes played by Padraig O\u27Keeffe, Denis Murphy and Julia Clifford are also included
for comparative purposes. The manner in which these tunes are laid out is explained in
this same Appendix.
The transcriptions are indexed in a variety of ways in Appendices B, C, D and E. In
Appendix B, the tunes are listed in the order in which they were played on the above
recording dates. In Appendix C, they are indexed according to tune-type. In Appendix
D, the tunes are indexed according to regional source. In addition, where an alternative
title has been discovered for certain tunes, a number in bold print follows the relevant
tunes in this appendix. The source of these alternative tune titles is explained in
Appendix E
Sharing worlds of knowledge: Research protocols for communities
No full textAcademic research in Indigenous and other communities moves increasingly to a collaborative or empowerment model (e.g., Cameron et al. 1993, Czaykowska-Higgins 2009, Yamada 2007). At the same time, communities are increasingly aware of issues such as access to information, intellectual property, and representation of research results. One fairly new response to these trends is the development of community research protocols, statements which specify how research is conducted in a community. This paper reports on the development of one such protocol. It is hoped that this example will be helpful to other communities and researchers.
Context: When (author 1) established initial contact with an Indigenous community in Saskatchewan, Canada, the wish for a research protocol was expressed by both (author 1) and community members: The community had recently experienced a breach of trust by visiting researchers and wished to prevent such incidents in the future. At the same time, (author 1) asked for the community's guidance in conducting research properly and respectfully. As a consequence, a protocol was developed collaboratively by community members including (author 2), and (author 1).
Content: The protocol focuses on language and culture research and sets the context by expressing the significance of the language and culture to the community. It explicitly states the community's goal to maintain and preserve its language and culture, and specifies that all research must support this goal. From there, the protocol moves to topics such as informed consent, representation of research, intellectual property, access, and process. Intellectual property, in particular, is an area where there are few legal or other precedents, and some innovative methods of safeguarding Indigenous intellectual property are used (see Thom 2006).
Outcomes: The protocol is an attempt to formalize principles of respect and mutuality in "sharing worlds of knowledge"; while these principles can never adequately be ensured by a written document, the process involved in putting them on paper does have the effect of strengthening them. The process has increased awareness about the intangible value of language and culture, and has been very satisfying for those involved. A sense of trust has emerged between community members and the researcher. It has also become obvious that protocol development is an interdisciplinary effort, drawing on the "worlds of knowledge" of the community, of linguistics and anthropology, and of law
Elkhorn Drive Scenic Byway management plan, Wallowa-Whitman National Forest : visitor services and management plan
No full textTitle from PDF cover (viewed on September 11, 2019).Includes addendum to Elkhorn Drive National Scenic Byway Plan, prepared by Connie M. Pound and Ken Koon.This archived document is maintained by the State Library of Oregon. It is for informational purposes and may not be suitable for legal purposes.Includes bibliographical references.Mode of access: Internet from the State Library of Oregon U.S. Government Publications Collection.Text in English
The Quotidian Apocalypse and the Quixotic Cause: An Interview with Author Connie Willis
No full textThe writer Connie Willis lives in Greeley, Colorado, home to the University of Northern Colorado (UNC). She is an alumna of UNC and has chosen to deposit her papers in its archives. A pre-eminent science fiction author, her clock- and calendar-defying tales of time travel have transported many fans and won numerous awards. Her stellar reputation in fandom and among librarians as a mentor, peer, and public intellectual is well-deserved and hard-earned. She gives generously of her time at conventions, conferences, and community events. We finally caught up with her in the latter days of Summer 2018, after the Locus Awards and the Westercon science fiction and fantasy convention, and interviewed her about her recent novella “I Met a Traveler in an Antique Land” (first appearing in Asimov’s Science Fiction in 2017 and later published by Subterranean Press in 2018). It concerns a disappearing Manhattan bookshop that may also be a harbor for endangered books. The story’s subject matter is of great relevance for archivists and librarians of the Anthropocene—as is the content of our conversation with Ms. Willis, which ranges from the insidious nature of censorship to the nobility of fighting for lost causes.
Pre-print first published online 11/08/201
The fiddle music of Connie O'Connell
No full textThis is a study of an Irish traditional fiddle-player, Connie O'Connell, from Cill na
Martra, Co. Cork. Connie has been strongly influenced by the main musicians of Sliabh
Luachra, an area which encompasses the West Cork and East Kerry border. In
particular, he has been influenced by the renowned fiddle-players of the region - Denis
Murphy, Padraig O'Keeffe and Julia Clifford. Today, he is widely considered amongst
the traditional music community as one of the present-day exponents of this style, and is
well known for his extensive repertoire.
This thesis examines the fiddle music of Connie O'Connell within the context of the
Sliabh Luachra fiddle tradition. It also examines the extent to which that tradition has
changed and how this change is manifested in Connie's music. The Introduction
outlines my reasons for embarking on this project. It also details the approach adopted
in examining Connie's music and the manner in which his position within the Sliabh
Luachra fiddle tradition has been evaluated. Chapter One is a brief biographical study
of the musician in context. His repertoire is examined in Chapter Two and is related to
that of his predecessors. The notion that polkas and slides are the dominant tune-types
in Sliabh Luachra is challenged in this chapter. Aspects of melodic and rhythmic
variation are examined in detail in Chapter Three, while Connie's bowing style is also
discussed here. In Chapter Four, opposing views on regional and individual styles are
discussed and attention is drawn to the fact that in Connie's playing both the regional
and the individual find mutual expression. ..
Appendix A contains sixty-three tunes transcribed by the author from the two principal
recording sessions in October 1992 and November 1992. Seven additional
transcriptions are included for the purpose of examining Connie's bowing style. These
are the result of a video session which took place in October 1993. Transcriptions of
tunes played by Padraig O'Keeffe, Denis Murphy and Julia Clifford are also included
for comparative purposes. The manner in which these tunes are laid out is explained in
this same Appendix.
The transcriptions are indexed in a variety of ways in Appendices B, C, D and E. In
Appendix B, the tunes are listed in the order in which they were played on the above
recording dates. In Appendix C, they are indexed according to tune-type. In Appendix
D, the tunes are indexed according to regional source. In addition, where an alternative
title has been discovered for certain tunes, a number in bold print follows the relevant
tunes in this appendix. The source of these alternative tune titles is explained in
Appendix E
The fiddle music of Connie O'Connell
No full textThis is a study of an Irish traditional fiddle-player, Connie O'Connell, from Cill na
Martra, Co. Cork. Connie has been strongly influenced by the main musicians of Sliabh
Luachra, an area which encompasses the West Cork and East Kerry border. In
particular, he has been influenced by the renowned fiddle-players of the region - Denis
Murphy, Padraig O'Keeffe and Julia Clifford. Today, he is widely considered amongst
the traditional music community as one of the present-day exponents of this style, and is
well known for his extensive repertoire.
This thesis examines the fiddle music of Connie O'Connell within the context of the
Sliabh Luachra fiddle tradition. It also examines the extent to which that tradition has
changed and how this change is manifested in Connie's music. The Introduction
outlines my reasons for embarking on this project. It also details the approach adopted
in examining Connie's music and the manner in which his position within the Sliabh
Luachra fiddle tradition has been evaluated. Chapter One is a brief biographical study
of the musician in context. His repertoire is examined in Chapter Two and is related to
that of his predecessors. The notion that polkas and slides are the dominant tune-types
in Sliabh Luachra is challenged in this chapter. Aspects of melodic and rhythmic
variation are examined in detail in Chapter Three, while Connie's bowing style is also
discussed here. In Chapter Four, opposing views on regional and individual styles are
discussed and attention is drawn to the fact that in Connie's playing both the regional
and the individual find mutual expression. ..
Appendix A contains sixty-three tunes transcribed by the author from the two principal
recording sessions in October 1992 and November 1992. Seven additional
transcriptions are included for the purpose of examining Connie's bowing style. These
are the result of a video session which took place in October 1993. Transcriptions of
tunes played by Padraig O'Keeffe, Denis Murphy and Julia Clifford are also included
for comparative purposes. The manner in which these tunes are laid out is explained in
this same Appendix.
The transcriptions are indexed in a variety of ways in Appendices B, C, D and E. In
Appendix B, the tunes are listed in the order in which they were played on the above
recording dates. In Appendix C, they are indexed according to tune-type. In Appendix
D, the tunes are indexed according to regional source. In addition, where an alternative
title has been discovered for certain tunes, a number in bold print follows the relevant
tunes in this appendix. The source of these alternative tune titles is explained in
Appendix E
Lessons Learned as Author and Editor
No full textWriting and editing are dynamic, creative processes. At some point both author and editor must release the finished product and submit to the production process (more copy editing, proofing and queries). To offer the best manuscript possible, some tips are presented
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