Els Hot Five : Louis Armstrong, l'avantguardista

Els objectius d’aquest treball són: reivindicar la faceta de Louis Armstrong com a músic al capdavant de l’avantguarda musical dels anys vint als Estats Units, analitzar les claus per entendre el seu ascens a la fama a partir dels anys trenta i valorar la seva contribució a la història de la música afroamericana. El cos del treball consta de dues parts: la primera, una biografia de l’artista per esbossar el seu context històric i el seu perfil psicològic; i la segona, que és el centre del treball, una anàlisi de les peces Savoy Blues, Cornet Chop Suey i Gully Low Blues, totes elles pertanyents al període dels Hot Five (1925-1929).

Images of imagination : an aesthetic approach to education

Visual art practice has generally been described as a lonely affair, thinking about what an artist has experienced in the outside world. This study is an inquiry into a visual art practice of another kind: the relational one. The research purpose is twofold. The first purpose is to shed light on a visual artist’s conceptions of art, education and scholarship. The second purpose is to by reasoning on imagination and a rhizomatic formation interpret the relations created between art, multimodality and literacy learning as an aesthetic approach to education. By inquiry into a specific collaborated long-term art practice, the study conveys how the meaning making elements of an arts based learning practice gradually transform an artist’s and a teacher’s concepts of art education to an aesthetic approach to education. In the art practice examined the typical Finnish rye bread and a poem have represented a cultural theme that has been elaborated through art conventions. The poem and the rye bread have in the art practice been articulated as cultural representations of as well as symbolic projections on the Swedishspeaking minority culture in Finland. The study connects art informed inquiry to a hermeneutic research rationale where the research reasoning is generated through a rhizomatic alliance between empiric data and theories. The reasoning is constructed as an interpretation pattern that expands throughout the study. The study arguments that the rhizome as an aesthetic formation can be appropriate to refer to when articulating arts based meaning making and when creating arts based educational strategies, dialogues, aesthetic learning and multimodal literacy in education. The study investigates an aesthetic approach to research in education, which means that the art practice surveyed is interpreted through articulation appropriate to poetic aspects of art, education and research.

Bandura

Soitinnus: lauluäänet, sekakuoro.

Finland framstäldt i teckningar. : Texten af Z. Topelius. Plancherna från Adler & Dietz i Dresden.

Lithographs from: Johan Knutson, Magnus v. Wright, Lennart Forstén, Pehr Adolf Kruskopf, F. J. Westerling, Adolf Wilhelm Lindeström, and J. Boström, and two lithographs without the artistʼs name.

Unca Don and Unca Scrooge’s Guide to History. Representations of the Past in the Disney Comics of Don Rosa

This thesis studies the various forms and layers of representations of the past that can be found in the Disney comics of Don Rosa. To stay true to the legacy of renowned comic book artist Carl Barks, Rosa has stopped time in the duck universe to the 1950’s: the decade when Barks created his most noted stories. There is a special feel of historicalness in Rosa’s duck stories, as his characters recall events that occurred in both Rosa’s own stories as well as Barks’. Rosa has shed new light to the past of the characters by writing and illustrating the history of Scrooge McDuck, one of the most beloved Disney characters. Rosa is also adamant that the historical facts used in his stories are always correct and based on thorough research. The methodological tools used in the analysis of the comics come from the fields of comic book studies, film theory, and history culture. Film and comics are recognized by many scholars as very similar media, which share elements that make them comparable in many ways. This thesis utilizes studies on historical film, narrative and genre, which provide valuable insight and comparisons for analysis. The thesis consists of three main chapters, the first of which deconstructs the duck universe in the stories in order to understand how the historicalness in them is created,and which outside elements might affect them, including the genre of Disney comics, publishers, and the legacy of Barks. The next chapter focuses on The Life and Times of Scrooge McDuck series, i.e. the stories which are located in the past. Such stories feature similar representations of history as for example Westerns. They also compress and alter history to meet the restrictions of the medium of comics. The last part focuses on the adventure stories which draw inspiration from for example mythology, and take the characters to strange and mystical, but yet historical worlds. Such treasure-hunting stories show similarity to the action-adventure genre in film and for example their stereotypical representations of foreign cultures. Finally, the chapter addresses the problematic of historical fiction and its capability to write history.

Animal Lovers, Bridge-Builders, and Supervising Watchdogs: Framing and Civil Society Construction by Japanese Pro-Animal Organizations in the Kansai and Tokyo Areas

Unlike their counterparts in Europe and America, the citizen organizations acting for the well-being of animals in Japan have not received scholarly attention. In this research, I explore the activities of twelve Japanese pro-animal organizations in Tokyo and Kansai area from the perspective of social movement and civil society studies. The concept of a ‘pro-animal organization’ is used to refer generally to the collectives promoting animal well-being. By using the collective action frame analysis and the three core framing tasks – diagnostic, prognostic, and motivational – as the primarily analytical tools, I explore the grievances, tactics, motivational means, constructions of agency and identity as well as framing of civil society articulated in the newsletters and the interviews of the twelve organizations I interviewed in Japan in 2010. As the frame construction is always done in relation to the social and political context, I study how the organizations construct their roles as civil society actors in relation to other actors, such as the state, and the idea of citizen activism. The deficiencies in the animal welfare law and lack of knowledge among the public are identified as the main grievances. The primary tactic to overcome these problems was to educate and inform the citizens and authorities, because most organizations lack the channels to influence politically. The audiences were mostly portrayed as either ignorant bystanders or potential adherents. In order to motivate people to join their cause and to enforce the motivation within the organization, the organizations emphasized their uniqueness, proved their efficiency, claimed credit and celebrated even small improvements. The organizations tended to create three different roles for citizen pro-organizations in civil society: reactive, apolitical and emphatic animal lovers concentrating on saving individual animals, proactive, educative bridge-builders seeking to establish equal collaborative relations with authorities, and corrective, supervising watchdogs demanding change in delinquencies offending animal rights. Based on the results of this research, I suggest that by studying how and why the different relations between civil society and the governing actors of the state are constructed, a more versatile approach to citizens’ activism in its context can be achieved.

Hyvitysmaksujärjestelmä - matka kasettimetristä megatavuun

Pro gradu-tutkielman tarkoituksena on selvittää, millaisia vaikutuksia vaihtoehtoisella yksityisen kopioinnin hyvitysmaksujärjestelmällä voisi olla Suomessa. Hyvitysmaksulla tarkoitetaan korvausta, joka maksetaan oikeudesta tehdä teoskappaleesta kopioita yksityiseen käyttöön. Maksu on Suomessa sisällytetty vuodesta 1984 alkaen kopiointilaitteiden hintoihin ja näin vyörytetty valmistajilta ja maahantuojilta kuluttajien maksettavakasi. Maksun alaisia laitteita ovat esimerkiksi C- kasetit, CD- levyt, digiboxit ja ulkoiset kovalevyt. Tutkielmassa kuvataan hyvitysmaksujärjestelmän historiallista kehitystä nykyiseen muotoonsa, sen toimivuutta eri intressiryhmien näkökulmasta sekä arvioidaan varteenotettavia vaihtoehtoja nykyiselle järjestelmälle. Aina uusiutuvan haasteen hyvitysjärjestelmän kehittämisessä muodostaa teknologian jatkuva muuntuminen ja uusien kopiointitekniikoiden yleistyminen. Siihen tekijänoikeuksia koskevat säädökset ovat vastanneet puutteellisesti tai jälkikäteen. Tutkimuskysymyksiä tarkastellaan virallistenlähteiden, kirjallisuuden ja asiasta julkaistujen, eri intressitahojen kannanottojen perusteella. Tutkimuksen toteutus on sekoitus kvalitatiivista, historiallista ja lainopillista tarkastelua sekä oikeustaloustiedettä. Tutkimuksesta selvisi, että hyvitysmaksujärjestelmä ei tällä hetkellä suoriudu sille asetetuista tehtävistä tyydyttävästi, ja vaihtoehtoisen järjestelmän etsiminen on ajankohtaista. Varteenotettavaksi vaihtoehdoksi yksityiseen käyttöön tapahtuvan kopioinnin korvaamiseksi tekijöille ja tuottajille on tässä tutkielmassa arvioitu korvauksen toteuttaminen viestintärahaston kautta. Tämä ratkaisisi monet nykyiset ongelmat, ja näyttäisi tutkimuksen pohjalta arvioituna olevan paras vaihtoehto. Tähän siirtyminen vaatii kuitenkin ratkaisua kohtuullisen hyvityksen määrittämisen ongelmaan.

Music digitalization and its effects on the Finnish music industry stakeholders

For the past two decades the music digitalization has been considered the most significant phenomenon in the music industry as the physical sales have been decreasing rapidly. The advancement of the digital technology and the internet have facilitated the digitalization in the music industry and affected all stages of the music value chain, namely music creation, distribution and consumption. The newly created consumer culture has led to the establishment of novel business models such as music subscriptions and à-la-carte downloads websites and live streaming. The dynamic digital environment has presented the music industry stakeholders with the challenge to adapt to the requirements of the constantly changing modern consumers’ needs and demands. The purpose of this study was to identify how music digitalization can influence change in the Finnish music industry value chain; i.e. how digitalization affects the music industry stakeholders, their functions and inter-relatedness and how the stakeholders are able to react to the changes in the industry. The study was conducted as a qualitative research based entirely on primary data in the form of semi-structured interviews with experts from different units of the Finnish music industry value chain. Since the study offers assessment of diverse viewpoints on the value chain, it further provides an integrated picture of the Finnish music industry current situation and its competitive environment. The results suggest that the music industry is currently in a turbulent stage of experimentation with new business models and digital innovations. However, at this point it is impossible to determine which business model will be approved by the consumers in the longer run. Nevertheless, the study confirmed the claim that consumption of music in its digital form is to become dominant over the traditional physical copies sales in the nearest future. As a result the music industry is becoming more user-oriented; that is the focus is shifting from music production towards artist branding and management and visibility to the audience. Furthermore, the music industry is undergoing the process of integration with other industries such as media, social networks, internet services providers and mobile phone manufacturers in order to better fulfill the consumers’ needs. The previously underrated live music and merchandising are also increasing their significance for the revenues in the stagnant music markets. Therefore, the music industry is developing at present towards becoming an integrated entertainment industry deeply penetrating every point of modern people’s leisure activities.

“Valley co-creation” – exploring the emergence of a cultural product in an entrepreneur-driven value network: Case study: Black Weekend festival

The interconnected domains are attracting interest from industries and academia, although this phenomenon, called ‘convergence’ is not new. Organizational research has indeed focused on uncovering co-creation for manufacturing and the industrial organization, with limited implications to entrepreneurship. Although convergence has been characterized as a process connecting seemingly disparate disciplines, it is argued that these studies tend to leave the creative industries unnoticed. With the art market boom and new forms of collaboration riding past the institution-focused arts marketing literature, this thesis takes a leap to uncover the processes of entrepreneurship in the emergence of a cultural product. As a symbolic work of synergism itself, the thesis combines organizational theory with literature in natural sciences and arts. Assuming nonlinearity, a framework is created for analysing aesthetic experience in an empirical event where network actors are connected to multiple contexts. As the focal case in study, the empirical analysis performed for a music festival organized in a skiing resort in the French Alps in March. The researcher attends the festival and models its cocreation process by enquiring from an artist, festival organisers, and a festival visitor. The findings contribute to fields of entrepreneurship, aesthetics and marketing mainly. It is found that the network actors engage in intimate and creative interaction where activity patterns are interrupted and cultural elements combined. This process is considered to both create and destruct value, through identity building, legitimisation, learning, and access to larger audiences, and it is considered particularly useful for domains where resources are too restrained for conventional marketing practices. This thesis uncovered the role of artists and informants and posits that particularly through experience design, this type of skilled individual be regarded more often as a research informant. Future research is encouraged to engage in convergence by experimenting with different fields and research designs, and it is suggested that future studies could arrive at different descriptive results.

DROIT ET DÉMOCRATIE CHEZ HANS KELSEN. LA CRITIQUE KELSÉNIENNE DE LA PERSONNALISATION DE L’ÉTAT

Cette étude analyse comment Kelsen, pour libérer le droit et la démocratie des traces de ce qu'il appelle les hypostases collectives ou la mythologie de l'âme collective, prend position face aux grandes théories de la sociologie et de la psychologie sociale de son temps (Durkheim, Simmel, Weber et Freud). D'abord, il s'agira de montrer comment Kelsen critique les métaphores de l'âme collective ; ensuite, de montrer comment la pensée kelsénienne sur le droit et la démocratie essaie d'échapper aux problèmes liés à la métaphore de l'âme collective. Cela peut laisser entrevoir quelques points communs entre la théorie de Kelsen et les théories contemporaines sur le droit et la démocratie libérées des prémisses de l'idée d'une communauté homogène.

Chinois 1332

Copies de lettres collectives adressées au Pape par les lettrés chrétiens de Xi an et de Pékin au sujet des rites (1702).

President's Portrait

On Tuesday, February 10th, 1970, Chairman of the Board, D. Whiting Lathrop presented a portrait of Dr. Gibson to the University. The plaque reads: Dr. James A. Gibson First President and Vice Chancellor of Brock University by Ian Henderson Artist in Residence 1969-1970 Presented to the University by the Board of Governors February 1970 The portrait hung in Dr. Gibson's waiting room until the end of his presidency where it was relocated to H-Block in MacKenzie Chown.

Righteous sounds and reproductive justice : the influence of Ani DiFranco's music for reproductive rights activists

In this thesis, I explore how the folk-rock music of Ani DiFranco has influenced the activist commitments, sensibilities, and activities of reproductive rights activists. My interest in the relation of popular music to social movements is informed by the work of Simon Frith (1987, 1996a, 1996b), Rob Rosenthal (2001), and Ann Savage (2003). Frith argues that popular music is an important contributor to personal identity and the ways that listeners see the world. Savage (2003) writes that fans develop a unique relationship with feminist/political music, and Rosenthal (2001) argues that popular music can be an important factor in building social movements. I use these arguments to ask what the influence of Ani DiFranco's music has been for reproductive rights activists who are her fans. I conducted in-depth interviews with ten reproductive rights activists who are fans of Ani DiFranco's music. All ten are women in their twenties and thirties living in Ontario or New York. Each has been listening to DiFranco's music for between two and fifteen years, and has considered herself a reproductive rights activist for between eighteen months and twenty years. I examine these women's narratives of their relationships with Ani DiFranco's music and their activist experience through the interconnected lenses of identity, consciousness, and practice. Listening to Ani DiFranco's music affects the fluid ways these women understand their identities as women, as feminists, and in solidarity with others. I draw on Freire's (1970) understanding of conscientization to consider the role that Ani's music has played in heightening women's awareness about reproductive rights issues. The feeling of solidarity with other (both real and perceived) activist fans gives them more confidence that they can make a difference in overcoming social injustice. They believe that Ani's music encourages productive anger, which in turn fuels their passion to take action to make change. Women use Ani's music deliberately for energy and encouragement in their continued activism, and find that it continues to resonate with their evolving identities as women, feminists, and activists. My study builds on those of Rosenthal (2001) and Savage (2003) by focusing on one artist and activists in one social movement. The characteristics of Ani DiFranco, her fan base, and the reproductive rights movement allow new understanding of the ways that female fans who are members of a female-dominated feminist movement interact with the music of a popular independent female artist.

Sinister creativity: a phenomenological exploration of some of the experiences and perceptions of six lefthanded visual artists

Six lefthanded artist-educators were interviewed to attempt to discover any patterns t6 their perceptions and experiences. Artists have their own culture and priorities. According to the literature, lefthanded people appear more likely to suffer from dyslexia, allergies, asthma and other auto-immune diseases as well as machinery and equipment injuries. Patterns emerging suggested that lefthanded people indeed suffer more from dyslexia. More startling was the distinct possibility that many artists have traumatic childhood histories. This would commonly include negative school experiences, and for a significant number sexual assault, perceived or actual abandonment by parents, and/or consistently low selfesteem. The researcher discovered possible reasons why creative people frequently have problems at school, why they tend to be rebellious and anti-establishment oriented, how many of them perceive societal rules, and why they are more likely to be lefthanded. These characteristics all have significant implications for art school administrators.