Arguments by definition : Felipe Calderón’s war on drugs and the power to persuade

Les études rhétoriques ont documenté la pertinence de la rhétorique présidentielle et le pouvoir du président de définir les enjeux publics par le discours. Cette recherche porte sur les pratiques rhétoriques par lesquelles l'ancien président mexicain Calderón a défini la lutte contre la drogue qui a caractérisé son administration. Je soutiens que Calderón a avancé une définition du problème de la drogue par des pratiques de définition telles que l'association, la dissociation et les symboles de condensation. Mon analyse 1) identifie les pratiques rhétoriques de définition qui ont caractérisé la lutte à la drogue de Calderón; 2) examine les implications de ces pratiques; et 3) aborde les limites auxquelles les politiciens font face en tentant de modifier des définitions préalablement avancées. En conclusion, j’explique comment les métaphores et les pratiques de définition de Calderón ont ouvert un espace rhétorique où les droits humains pouvaient être révoqués et la violence encouragée.

Spectacle and the one-man band : technology, performing bodies, and imaginary spaces

L’étiquette « homme-orchestre » est apposée à une grande variété de musiciens qui se distinguent en jouant seuls une performance qui est normalement interprétée par plusieurs personnes. La diversité qu’a pu prendre au cours du temps cette forme n’est pas prise en compte par la culture populaire qui propose une image relativement constante de cette figure tel que vue dans les films Mary Poppins (1964) de Walt Disney et One-man Band (2005) de Pixar. Il s’agit d’un seul performeur vêtu d’un costume coloré avec une grosse caisse sur le dos, des cymbales entre les jambes, une guitare ou un autre instrument à cordes dans les mains et un petit instrument à vent fixé assez près de sa bouche pour lui permettre d’alterner le chant et le jeu instrumental. Cette thèse propose une analyse de l’homme-orchestre qui va au-delà de sa simple production musicale en situant le phénomène comme un genre spectaculaire qui transmet un contenu symbolique à travers une relation tripartite entre performance divertissante, spectateur et image. Le contenu symbolique est lié aux idées caractéristiques du Siècle des lumières tels que la liberté, l’individu et une relation avec la technologie. Il est aussi incarné simultanément par les performeurs et par la représentation de l’homme-orchestre dans l’imaginaire collectif. En même temps, chaque performance sert à réaffirmer l’image de l’homme-orchestre, une image qui par répétitions est devenue un lieu commun de la culture, existant au-delà d’un seul performeur ou d’une seule performance. L’aspect visuel de l’homme-orchestre joue un rôle important dans ce processus par une utilisation inattendue du corps, une relation causale entre corps, technologie et production musicale ainsi que par l’utilisation de vêtements colorés et d’accessoires non musicaux tels des marionnettes, des feux d’artifice ou des animaux vivants. Ces éléments spectaculaires divertissent les spectateurs, ce qui se traduit, entre autres, par un gain financier pour le performeur. Le divertissement a une fonction phatique qui facilite la communication du contenu symbolique.

Community, commitment, and the ten 'commandments' : singing in the coro furlan

Successful ageing involves maintaining well-being and actively engaging with life through the making and sustaining of relationships within community. Membership of community music groups by older people can enhance quality of life, give a sense of fulfillment, offer the possibility for personal growth and create a platform through which they share and celebrate cultural identity and diversity. This study explores community and cultural engagement by members of the Coro Furlan, an Italian male community choir in Melbourne, Australia. This case study is part of a current wider research project, Well-being and ageing: community, diversity and the arts in Victoria (Australia), begun in 2008, which explores how the arts foster well-being in ageing communities. In this case study, members of the Coro Furlan volunteered to participate in a focus group interview in 2009. The transcript was analysed using Interpretive Phenomenological Analysis which seeks to explore the lived world of participants. Analysis of the data identified three broad themes: a sense of community, the maintenance of cultural identity and sustaining a sense of well-being through shared music making. The findings demonstrate the strength of the bonds formed by choir membership with high levels of commitment reflected in their ten ‘Commandments’ that were first documented in Italian in the 1970s. The choir members consider themselves to be the custodians of Friulian choral music in Australia, as well as performers of music from Italy and other countries. Singing in this choir has offered the predominantly older members an opportunity to value, learn, and share music in formal and informal settings. This paper identifies how music engagement can facilitate successful ageing through commitment to community, singing and following the ten ‘Commandments’ of the Coro Furlan.

Unbearable pressures on paradise? : Tourism and heritage management in Luang Prabang, a world heritage site

This article critically appraises and evaluates tourism strategies and heritage management in Luang Prabang, Lao People’s Democratic Republic, a Unesco-designated ‘world heritage’ city. Luang Prabang is widely regarded as one of the most significant heritage cities in Southeast Asia. The city is renowned for its Buddhist and royal culture and also its historic vernacular Lao, French, and Lao-French architecture. The city earned world heritage status in 1995, but since that time the boom in in-bound Asian tourism has put pressures on Luang Prabang’s authenticity and, for some, called into question the validity of its world heritage status. This article examines these substantial and wide-ranging pressures and argues that the growth in tourism and the treatment of Luang Prabang’s heritage are symptoms of broader regional processes of political and economic change, including the expansion of Chinese and Korean investments and the growth of intra-regional tourism. The authors argue that it is unreasonable to expect traditional heritage management mechanisims, including the world heritage listing, to be able to cope with the pressures on sites like Luang Prabang. The very least that is required, the authors contend, is an expanded understanding of the context in which heritage places sit, and the authors make a case that the cultural landscapes approach, combined with explicit concerns for intangible heritage and poverty alleviation, must be at the core of any strategy for long-term protection of the city’s cultural values.

Preliminary Overview of the Economies of Latin America and the Caribbean 2003

Includes bibliography

Tourism in the Mediterranean: Scenarios up to 2030. MEDPRO Report No. 1/July 2011- (updated May 2013)

From 1990 to 2010, the 11 countries of the south-eastern Mediterranean region (Algeria, Egypt, Israel, Jordan, Lebanon, Libya, Morocco, Occupied Palestinian Territory, Syria, Tunisia and Turkey, hereafter SMCs) recorded the highest growth rates in inbound world tourism. In the same period, domestic tourism in these countries also increased rapidly, which is astonishing given the security risks, natural disasters, oil prices rises and economic uncertainties in the region. Even the 2008 financial crisis had no severe impact on this growth, confirming the resilience of tourism and the huge potential of the SMCs in this sector. The Arab Spring brought this trend to an abrupt halt in early 2011, but it may resume after 2014 with the gradual democratisation process, despite the economic slowdown of the European Union – its main market. This paper looks at whether this trend will continue up to 2030, and provides four different possible scenarios for the development of the tourism sector in SMCs for 2030: i) reference scenario, ii) common (cooperation) sustainable development scenario, iii) polarised (regional) development scenario and iv) failed development – decline and conflict – scenario. In all cases, international and domestic tourist arrivals will increase. However, three main factors will strongly influence the development of the tourism sector in the SMCs: security, competitiveness linked to the efficient use of ICT, and adjustment to climate change.

Cultural tourism.

Mode of access: Internet.

A long-range plan for the arts in South Carolina, 2011-2020

This new 10-year plan includes outcomes identified by the public and objectives that will mark progress toward these priorities. The outcomes and objectives in this new plan are deliberately broad-outlining general areas where the arts have real opportunities to make progress and generate value in the next decade. This long-range plan was created based on input from the public and the arts community as a guide for the arts community as it serves the public. With collaboration, partnerships and shared purpose, much in this plan can be accomplished to ensure that the arts flourish and benefit all South Carolinians.

Strengthening the Foundations: Mutuality and the Performing Arts

Following the positive response by governments to the report of Helen Nugent's major performing arts inquiry, urgent attention needs to be given to the seedbed companies where so often audiences are introduced to the performing arts and practitioners are launched on their professional careers. Doing so calls for lateral thinking such as will enable the widest possible range of stakeholders to become involved. One solution may be to develop multi-stakeholder arts mutuals from the simpler arts mutuals such as co-operatives which are already widespread in many spheres of arts activity. Relevant models include the multi-stakeholder mutuals of the Mondragon Co-operative Corporation and the employee mutuals which are being trialled currently in Britain. Possible stakeholders in an arts mutual could include employed, unemployed and trainee practitioners, professional, quasi-professional and amateur theatre bodies, community groups, municipal councils and statutory bodies such as the ABC. Mutualist models may also be helpful to major performing arts companies facing erosion of their subscription incomes or incurring higher support services costs.

Practice-led research and the innovation agenda : beyond the postgraduate research degree in the arts, design and media

The rise of the ‘practice-led’ research approach has given us a new way of understanding what creative practice in art, design and media can do in the academy and the world— it can materialise new ideas and forms into being as a form of experimental research. Yet, to date, attention around the world, and especially in Australia, has been chiefly directed at the postgraduate research degrees, most notably the PhD or doctoral equivalents. Recent mapping projects and surveys of practice-led research in Australia reveal much about the institutional conditions of higher degree researchers, supervisors, examiners and research training (Baker et al 2009; Evans et al 2003; Dally et al 2004; Paltridge et al 2009; Phillips et al 2009). Given this focus, we might well ask: is the practice-led approach destined to be a part of the higher degree ghetto only, or does it have an afterlife? What is the place of ‘practice-led’ beyond the postgraduate degree? After all postgraduate researchers do not remain postgraduates forever, and perhaps the practice-led approach to research may have benefits in wider university, professional and communal contexts.

State of the arts and innovation : before and after the review of the national innovation system

This article examines the relationship between the arts and national innovation policy in Australia, pivoting around the Venturous Australia report released in September 2008 as part of the Review of the National Innovation System (RNIS). This came at a time of optimism that the arts sector would be included in Australia’s federal innovation policy. However, despite the report’s broad vision for innovation and specific commentary on the arts, the more ambitious hopes of arts sector advocates remained unfulfilled. This article examines the entwining discourses of creativity and innovation which emerged globally and in Australia prior to the RNIS, before analysing Venturous Australia in terms of the arts and the ongoing science-and-technology bias to innovation policy. It ends by considering why sector-led policy research and lobbying has to date proved unsuccessful and then suggests what public policy development is now needed.

Developing new alliances in higher education leadership and governance : autopoietic application of the “arts” creative capacities

This paper, underpinned by a framework of autopoietic principles of creativity/innovation and leadership/governance, argues that open forms of creativity in ‘arts’ provide opportunity for impact upon concepts of development, leadership and governance. The alliance of creativity and governance suggests that by examining various understandings of artistic experiences, readers may perceive new understandings of alliance, application and assessment of such experiences. This critical understanding would include assessing whether such experience supports people changing their aspirations as they become what they want to be. Such understanding may also suggest that different applications of the creative capacity of the ‘arts’ offers relevance in alleged ‘non-creative’ areas of academe, particularly in areas of management, leadership and governance. This alliance also offers the possibility of new staff development programs that facilitate learning and building of individual capacity, as well as facilitate congruent development process and policy, particularly within academic organisational structures.