2,267 research outputs found
Johnny and Jean James
No full textJohnny James lived in Enderby for 20 years and married Jean when he moved to Salmon Arm to be a policeman
ADVOCACY LITERATURE SANS FRONTIÉRES: AFRICAN WARSCAPES, INTERNATIONAL COMMUNITY, AND POPULAR NARRATIVES FOR EMERGING HUMAN RIGHTS NORMS
No full textThis dissertation analyzes a set of contemporary works that have all been conceived, produced, and circulated in frameworks of international concern as advocates work to popularize narratives representing grave injustices, thereby strengthening the basis for international response to African conflicts characterized by massive human rights violations. All of the feature advocacy literature examined here—Kony 2012 (documentary), Johnny Mad Dog (a film), Johnny Chien Méchant (a novel), What is the What (a novel), and Ruined (a play)—intersect with a variety of institutional and organizational efforts seeking recognition for victims—ones that can be translated into means of support, protection, and redress. This study traces the life of these particular works, their relationships to such organizational efforts, and the ways they contribute to advancing a social project central to human rights culture: developing in the audience or readers a sense of civic duty attached to common membership in the “international community.” These representations support the central project of human rights, but also highlight the political complexity of undertaking such a project in the face of radical inequalities and the history of interventionism sanctioned by empire in the name of humanitarianism and aid of African subjects. A central argument in this study is that one must understand these works in the context of emerging patterns in “international civil society.” The popularity of these works, and the interpretations of conflict they promote, can be read as an important index of emerging norms in human rights, particularly the 2005 United Nations initiative, the Responsibility to Protect, which has sought to redefine state sovereignty with greater emphasis on its responsibilities toward citizens. Drawing from the insights of philosophy, reception theory, cultural anthropology, and postcolonial critique, this study highlights a series of salient ethical and political complexities involved in these projects of gaining recognition for victims, including the possibilities and limits tied to the concept of an international community—a group with trans-national solidarities faithful to human rights principles—envisioned as a limitation on state power
Johnny Zee / Songs for Our Daughters / The Feelgood Factor
No full textBand, audience, dancers, photographs, cityscape, etc. John Mostyn, Music Publisher, talking about meeting Johnny and Kendall, and being excited by their mixture of bhangra and reggae music. Intercut with shots of band in changing rooms, Johnny in recording studio, all VO. Johnny Zee talking about his career, and how he composes; his collaboration with Kendall; the fusion of Punjabi and English in the lyrics. Intercut with shots of him playing with his dog, playing keyboards, Kendall, Johnny and Kendall in studio, all VO. Kendall talks about his own patois contribution, and taking his own sound to audiences, maintaining his identity. His VO street scenes, builder’s yard. Band playing in builder’s warehouse. Johnny about his background and the difficulty this caused with his family. Intercut with photos of his parents, the family builder’s yard, Johnny in studio, with his girlfriend, all VO. Mostyn says Johnny will have to get away from his family in order to find his audience. Johnny says he can’t abandon his music. The band in performance. Women talking. Pregnant woman in rocking chair. Lisa Crook says people always ask where she’s from – half Guyanese and half English. Mavis Crook-Massey says she’s much lighter-skinned than her other children. Woman and daughter playing hand-clapping game. Carolyn Ebanks talking about mixed-race children, how she wants to give hers a balance of both cultures, and how she points out to them that images in Africa will be of black people while those in Britain will be of whites. Woman reading in dialect to her daughter. Ebanks talking about the need to find books with black characters, black dolls, etc. Woman and daughter. Crook-Massey talking about the difficulties of replacing her hsuband’s potato diet with rice back in the 1950s. Ebanks on making Grenadan gungo pea soup. Woman and daughter shopping for fruit, confronted by black and white people who all complain about the mixed race child. Crook on being light skinned. Her mother tells a story about two women talking about the pair of them. Crook talking about going to Mexico with a Jamaican friend who was ignored by the local people. Ebanks on not wanting her children to believe they were better because they were lighter skinned. Crook doesn’t want to be categorised. Ebanks’s children; she says whatever choices they make, she’ll be there to support them. Woman and daughter. VO says there is a debate about the cultural value of crime thriller by black writers. Steve Pope, Publisher, the X Press, talks about a new style of crime writing Victor Headley’s Yardie, Donald Gorgon’s Cop Killer, Moss Side Massive. Dramatised sequence from Cop Killer. David Upshal, Critic, suggests these books are pulp fiction. Peter Kalu, Author of Lick Shot, also critical of the literary value of some of the books. Upshal: these books represent a very narrow part of black experience. Lee Pinkerton, Journalist, says no book can represent the whole of the black community, and people want to read about this small portion. Discussion continues with Upshall, Pinkerton and Kalu intercut giving opinions of on the undesirability of repeating stereotypes about black people as gangsters, the books being mainly about criminal activity, and there not being enough other books to balance; the universality of some of the themes in the books; one book offering the political message that black people need to organise in order to resist, having a high ranking policeman character being a good thing. Dramatised sequence from Lick Shot, in which DCI Patterson visits Frankie, a police informer. Kalu believes two major themes of his book are justice and the struggle to maintain moral integrity. Cast. Credits
Entrevista a Jean Michel Vappereau
No full textLa presente es un fragmento de la entrevista1 hecha al profesor y psicoanalista Jean Michel Vappereau que se llevó a cabo el 28 de abril de 2013 en un hotel de la ciudad de Cali. Johnny Orejuela y John Quintero dialogaron con el reconocido matemático, estudioso de Freud y Lacan, sobre temas derivados de sus intervenciones en el III Seminario Latinoamericano de Psicoanálisis: La Actualidad de la Clínica Psicoanalítica efectuado en la Universidad de San Buenaventura Cali. La conversación contó con la participación y traducción simultánea de la también psicoanalista Paula Hochman, a quien agradecemos su invaluable contribución
Entrevista a Jean Michel Vappereau
No full textLa presente es un fragmento de la entrevista hecha al profesor y psicoanalista Jean Michel Vappereau que se llevó a cabo el 28 de abril de 2013 en un hotel de la ciudad de Cali. Johnny Orejuela y John Quintero dialogaron con el reconocido matemático, estudioso de Freud y Lacan, sobre temas derivados de sus intervenciones en el III Seminario Latinoamericano de Psicoanálisis: La Actualidad de la Clínica Psicoanalítica efectuado en la Universidad de San Buenaventura Cali. La conversación contó con la participación y traducción simultánea de la también psicoanalista Paula Hochman, a quien agradecemos su invaluable contribución.Universidad de San Buenaventura - Cal
Entrevista a Jean Michel Vappereau
No full textLa presente es un fragmento de la entrevista hecha al profesor y psicoanalista Jean Michel Vappereau que se llevó a cabo el 28 de abril de 2013 en un hotel de la ciudad de Cali. Johnny Orejuela y John Quintero dialogaron con el reconocido matemático, estudioso de Freud y Lacan, sobre temas derivados de sus intervenciones en el III Seminario Latinoamericano de Psicoanálisis: La Actualidad de la Clínica Psicoanalítica efectuado en la Universidad de San Buenaventura Cali. La conversación contó con la participación y traducción simultánea de la también psicoanalista Paula Hochman, a quien agradecemos su invaluable contribución.Universidad de San Buenaventura - Cal
SALUT LES COPAINS - JOHNNY HALLYDAY / Johnny HALLYDAY, avec orchestre
No full textComprend : WAP-DOU-WAP ("Tu aimes le twist") - twist / JIL et JAN et Johnny HALLYDAY - SI TU ME TELEPHONES / G. GARVARENTZ et C. NICOLAS - RETIENS LA NUIT : de la bande originale du film "Les Parisiennes" / Ch. AZNAVOUR et G. GARVARENTZ - NOUS QUAND ON S'EMBRASSE ("High School confidential") / R. HARGRAVE - J. JEE-LEEWIS - JIL et JEAN - TWISTIN' U.S.A. / K. MANN - G. BERTRET et R. DESBOIS - TOI QUI REGRETTES / Johnny HALLYDAY et JIL et JEAN - SAM'DI SOIR : de la bande originale du film "Les Parisiennes" / Charles AZNAVOUR et GARVARENTZ - VIENS DANSER LE TWIST ("Let's twist again") - en français / K. MANN - D. APPELL et G. GOSSET - LET'S TWIST AGAIN ("Viens danser le twist") - en anglais / K. MANN - D. APPELL et G. GOSSET - DOUCE VIOLENCE : de la bande originale du film : "DOUCE VIOLENCE" / G. GARVARENTZ et C. NICOLAS - DANSE LE TWIST AVEC MOI ("Dance the mess around") / K. MANN - D. APPELL et J. DAMBROIS - TU PEUX LA PRENDRE ("You can have her") / B. COOK - A. SALVET et Lucien MORISSE - AVEC UNE POIGNEE DE TERRE ("A hundred pounds of clay") / ELGIN - DIXON ROGERS - REVIL et Manou ROBLIN - IL FAUT SAISIR SA CHANCE : de la bande originale du film "Douce violence" / GARVARENTZ et Charles AZNAVOURBnF-Partenariats, Collection sonore - BelieveContient une table des matière
" Johnny ", un lieu de mémoire ?
No full textPourquoi le rayonnement du rocker français Johnny Hallyday s'est-il poursuivi un demi-siècle durant ? En premier lieu, s'il existe un symptôme de l'effet de résilience des goûts des baby-boomers, c'est bien celui de cette étoile apparemment morte vers 1970-1975 qui continuera, en fait, à luire un demi-siècle durant. Mais, si le lieu de mémoire " Johnny " existe ainsi, en fait, ce n'est pas seulement comme caisse de résonance et comme chambre d'écho d'un segment chronologique relevant du temps court, décennal ou même semi-décennal. Le processus d'écho et de résonance doit aussi s'analyser dans le temps long des grandes mutations anthropologiques. Johnny Hallyday, à cet égard, est une butte-témoin, celle du " monde d'avant " le basculement anthropologique de la période 1965-1985
" Johnny ", un lieu de mémoire ?
No full textPourquoi le rayonnement du rocker français Johnny Hallyday s'est-il poursuivi un demi-siècle durant ? En premier lieu, s'il existe un symptôme de l'effet de résilience des goûts des baby-boomers, c'est bien celui de cette étoile apparemment morte vers 1970-1975 qui continuera, en fait, à luire un demi-siècle durant. Mais, si le lieu de mémoire " Johnny " existe ainsi, en fait, ce n'est pas seulement comme caisse de résonance et comme chambre d'écho d'un segment chronologique relevant du temps court, décennal ou même semi-décennal. Le processus d'écho et de résonance doit aussi s'analyser dans le temps long des grandes mutations anthropologiques. Johnny Hallyday, à cet égard, est une butte-témoin, celle du " monde d'avant " le basculement anthropologique de la période 1965-1985
Music-Hall parade. N °23 / Johnny Hallyday, Isabelle Aubret, Yves Montand... [et al.], chant
No full textComprend : RETIENS LA NUIT : blues du film "Les Parisiennes" / CH. AZNAVOUR, G. GARVARENTZ ; JOHNNY HALLYDAY, chant - UN PREMIER AMOUR / C.H. VIC, R. VALADE ; ISABELLE AUBRET, chant ; JEAN-MICHEL DEFAYE et son orchestre - LA CHANSONNETTE / PHILIPPE-GERARD, J. DREJAC ; YVES MONTAND, chant ; BOB CASTELLA et son orchestre - LES BRAS D'ANTOINE : tango / G. BEART ; GUY BEART, chant - LE TOURBILLON : du film "Jules et Jim" / DELERUE, BASSIAK ; JEANNE MOREAU, chant ; BASSIAK, guit - LES BOURGEOIS / J. BREL, J. CORTI ; JACQUES BREL, avec FRANCOIS RAUBER, G. JOUANNEST, pianos [acc. orch.] ; DANIEL JANIN, dir. - MON TRUC EN PLUMES / J. CONSTANTIN, B. DIMEY ; ZIZI JEANMAIRE, chant ; J.M. DEFAYE et son orchestre - YA YA TWIST / LEE DORSEY, C. LEWIS, M. ROBONSON, G. ABER ; JOHNNY HALLIDAY, chant - LA MARMITE (Ze marmita) / BRASINHA, L. ANTONIO, J. BROUSSOLLE ; DARIO MORENO, chant ; C. MONTEIRO de SOUZA et son orchestre - LA JOCONDE / M. MICHEYL ; PATACHOU, chant ; JOSS BASELLI et son orchestreBnF-Partenariats, Collection sonore - BelieveContient une table des matière
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