BOYZ OUT THE HOOD? GEOGRAPHICAL, LINGUISTIC AND SOCIAL
MOBILITY IN JOHN SINGLETON’S BOYZ N THE HOOD1
ANDRÉS BARTOLOMÉ LEAL
University of Zaragoza
ABSTRACT. In contrast with many of the films said to belong to the ‘hood
films’ cycle of the nineties, John Singleton’s Boyz N the Hood (1991) sober
and realistically portrays the hardships of blacks’ existence in the Los
Angeles’ neighbourhood of South Central. For the film, as this paper aims to
demonstrate, the inability of the ‘hood residents to escape the geographical
and social constrains of their environment is a direct outcome of the long-
distance control that the mainly white dominant elites exert over their
existence. Through the confronting lifestyles that the characters embody, the
film exemplifies the different possible attitudes towards the place/race-biased
identities that the life in the ‘hood motivates. In order to contest the social
determinism that seems to dominate the life of the residents of the ‘hood,
Tre’s character stands out as epitome of the film’s ideology in favour of
education and respect, and not violence, as the way to survive this social-
political scheme.
Keywords: Identity, film, mobility, race, representation, Socio-Pragmatics.
JOURNAL OF ENGLISH STUDIES - VOLUME 11 (2013), 27-39
1 Special thanks to Profs. Beatriz Penas Ibáñez and Celestino Deleyto Alcalá for their guidance
and support on the present research.
Journal of English Studies,
vol. 11 (2013) 27-39
27
¿CHICOS FUERA DEL BARRIO? MOVILIDAD GEOGRÁFICA, LINGÜÍS-
TICA Y SOCIAL EN LOS CHICOS DEL BARRIO DE JOHN SINGLETON
RESUMEN. A diferencia de muchas de las películas norteamericanas
pertenecientes a lo que hoy es conocido como el ciclo de “películas de barrio”
de los noventa, Los Chicos del Barrio (1991) de John Singleton representa de
una manera sobria y realista las dificultades y conflictos resultantes de la
convivencia diaria de la comunidad negra en el barrio angelino de South
Central. Para dicha película, como intenta demostrar este trabajo, la
incapacidad de los habitantes negros del barrio a la hora de escapar de las
limitaciones geográficas y sociales de su entorno, no es sino un resultado
directo del control ejercido sobre su existencia por las distantes, y
mayoritariamente blancas, élites en el poder. A través de los antagónicos
estilos de vida que los diferentes personajes representan, la película ejemplifica
las diferentes posibles actitudes hacia las identidades predefinidas en
términos de raza y residencia, y mayoritariamente abocadas al desastre, que
la vida en el barrio favorece. Con el objetivo de combatir el determinismo
social que parece dominar la vida de los residentes en el barrio, el personaje
de Tre se erige como epítome de la ideología de la película, a favor de la
educación, el respeto mutuo y el rechazo a la violencia como vehículos para
trascender, y sobrevivir, este esquema social.
Palabras clave: Identidad, cine, movilidad, raza, representación, Socio-
Pragmática.
R ...
The document discusses several films that portray urban stories dealing with issues of power, poverty, and conflict. It provides background context on the settings and time periods of City of God, La Haine, Chungking Express, and Princesses. It examines how these films represent masculinity and femininity, as well as themes of poverty, crime, and the struggle to escape difficult social environments. Key cinematic techniques used and the impact of representing urban issues through film are also addressed.
The Blind Side tells the true story of Michael Oher, an homeless and impoverished young man who was taken in and adopted by the Tuohy family. Through the love and support of his new family, Oher was able to realize his potential and go on to become a star football player, first at Briarcrest Christian School and later at the University of Mississippi. The film highlights Oher's journey from poverty to becoming a first round NFL draft pick for the Baltimore Ravens.
[Hi 366] Smoke Signals: Counternarratives of Indigenous IdentityIbironkeTychus
Smoke Signals counters mainstream American ideas about indigenous identity in several ways:
1) It adopts stereotypes commonly portrayed in media like mysticism, alcoholism, and stoicism but then refutes them, showing their inaccuracy.
2) It utilizes conventions from indigenous oral traditions like emerging twins, sacred clowns, and circular time in the storytelling.
3) By not including a mediating white narrator, it presents an indigenous perspective without filtering it for non-indigenous audiences.
Horror films capture humanity's collective fears and provide communal catharsis by reflecting the ideas and fears of the society in which they were created. While the formula of horror films remains largely the same, the specific monsters and threats change over time to symbolize a culture's dominant anxieties, such as conformity during the McCarthy era as seen in Invasion of the Body Snatchers. Horror has its roots in ancient myths and provides a safe way to confront real fears through symbolic fantasy threats. The genre comments on issues like racism, war, and technology by addressing what troubles a whole society's unconscious.
This document provides an overview of crime and gangster films. It discusses the emergence of the genre in the early 20th century with films depicting organized crime and bank robbers. The 1930s saw the rise of iconic gangster films in the era of "talkies" due to their ability to showcase violence and crime through sound. Three classic films from this era that helped establish the genre included Little Caesar, The Public Enemy, and Scarface. The document provides historical context on influential crime films and establishes that Warner Bros. was particularly known for producing gangster films starring Edward G. Robinson, James Cagney, and Humphrey Bogart.
Here are some ways the social, historical, and political contexts are relevant to La Haine:
- The banlieues where the film is set represent the urban poverty and marginalization experienced by many immigrants and descendants of former French colonies. The multicultural population of the banlieue reflects France's colonial history and the influx of immigrants from former colonies.
- The tensions between police and youths in the film stem in part from longstanding racial inequalities and discrimination faced by non-white citizens. As former colonies gained independence, many immigrants came to France but faced social exclusion and racism.
- The film was made during a time of social unrest, as the banlieues experienced regular riots and clashes between minority youths and
How do horror films reflect the fears of society AdamLepard
The document discusses how horror films have reflected the fears of society over time. It provides examples of how early 20th century horror films represented fears of war, monsters, and segregation. In the 1950s, films reflected a fear of nuclear weapons. The 1970s saw an increase in serial killer-focused films like Halloween that tapped into real crimes. More modern films like Get Out explicitly address contemporary social issues like racism to try and influence viewers. Overall, the document argues that horror films both draw from and impact societal fears and attitudes.
This document discusses issues with demanding that films represent gay characters and themes according to certain aesthetic ideals, which are often rooted in heterosexual values that marginalize homosexuality. It argues that the notion of a distinct "gay sensibility" is problematic, as oppression alone does not produce subcultural identities. Even films with sympathetic intentions, like The Detective, tend to reproduce dominant negative images of gayness due to the power of established cinematic conventions. The document also examines how James Dean's possible gay identity was necessarily suppressed in his film roles due to narrative and character constraints, limiting his ability to truly express gayness on screen.
The document discusses several films that portray urban stories dealing with issues of power, poverty, and conflict. It provides background context on the settings and time periods of City of God, La Haine, Chungking Express, and Princesses. It examines how these films represent masculinity and femininity, as well as themes of poverty, crime, and the struggle to escape difficult social environments. Key cinematic techniques used and the impact of representing urban issues through film are also addressed.
The Blind Side tells the true story of Michael Oher, an homeless and impoverished young man who was taken in and adopted by the Tuohy family. Through the love and support of his new family, Oher was able to realize his potential and go on to become a star football player, first at Briarcrest Christian School and later at the University of Mississippi. The film highlights Oher's journey from poverty to becoming a first round NFL draft pick for the Baltimore Ravens.
[Hi 366] Smoke Signals: Counternarratives of Indigenous IdentityIbironkeTychus
Smoke Signals counters mainstream American ideas about indigenous identity in several ways:
1) It adopts stereotypes commonly portrayed in media like mysticism, alcoholism, and stoicism but then refutes them, showing their inaccuracy.
2) It utilizes conventions from indigenous oral traditions like emerging twins, sacred clowns, and circular time in the storytelling.
3) By not including a mediating white narrator, it presents an indigenous perspective without filtering it for non-indigenous audiences.
Horror films capture humanity's collective fears and provide communal catharsis by reflecting the ideas and fears of the society in which they were created. While the formula of horror films remains largely the same, the specific monsters and threats change over time to symbolize a culture's dominant anxieties, such as conformity during the McCarthy era as seen in Invasion of the Body Snatchers. Horror has its roots in ancient myths and provides a safe way to confront real fears through symbolic fantasy threats. The genre comments on issues like racism, war, and technology by addressing what troubles a whole society's unconscious.
This document provides an overview of crime and gangster films. It discusses the emergence of the genre in the early 20th century with films depicting organized crime and bank robbers. The 1930s saw the rise of iconic gangster films in the era of "talkies" due to their ability to showcase violence and crime through sound. Three classic films from this era that helped establish the genre included Little Caesar, The Public Enemy, and Scarface. The document provides historical context on influential crime films and establishes that Warner Bros. was particularly known for producing gangster films starring Edward G. Robinson, James Cagney, and Humphrey Bogart.
Here are some ways the social, historical, and political contexts are relevant to La Haine:
- The banlieues where the film is set represent the urban poverty and marginalization experienced by many immigrants and descendants of former French colonies. The multicultural population of the banlieue reflects France's colonial history and the influx of immigrants from former colonies.
- The tensions between police and youths in the film stem in part from longstanding racial inequalities and discrimination faced by non-white citizens. As former colonies gained independence, many immigrants came to France but faced social exclusion and racism.
- The film was made during a time of social unrest, as the banlieues experienced regular riots and clashes between minority youths and
How do horror films reflect the fears of society AdamLepard
The document discusses how horror films have reflected the fears of society over time. It provides examples of how early 20th century horror films represented fears of war, monsters, and segregation. In the 1950s, films reflected a fear of nuclear weapons. The 1970s saw an increase in serial killer-focused films like Halloween that tapped into real crimes. More modern films like Get Out explicitly address contemporary social issues like racism to try and influence viewers. Overall, the document argues that horror films both draw from and impact societal fears and attitudes.
This document discusses issues with demanding that films represent gay characters and themes according to certain aesthetic ideals, which are often rooted in heterosexual values that marginalize homosexuality. It argues that the notion of a distinct "gay sensibility" is problematic, as oppression alone does not produce subcultural identities. Even films with sympathetic intentions, like The Detective, tend to reproduce dominant negative images of gayness due to the power of established cinematic conventions. The document also examines how James Dean's possible gay identity was necessarily suppressed in his film roles due to narrative and character constraints, limiting his ability to truly express gayness on screen.
The roots of working class representation in britishHeworthMedia1
This document discusses the representation of the working class in British popular film and television from the 1960s onward. It notes that films from this era, like Room at the Top and Saturday Night and Sunday Morning, drew on existing tropes and stereotypes of northern working class life involving cobbled streets, terraced houses near factories. While the working class was previously marginalized, these "angry young man" films provided more realistic depictions that challenged norms. However, female and working class characters were often depicted negatively or stereotypically. Television shows like Coronation Street also drew from these film conventions but provided a more sympathetic portrayal of working class life.
This document provides context and analysis of the films La Haine and City of God. For both films, it examines themes of power, poverty, and conflict within urban environments. It summarizes key plot points, characters, and scenes. It also analyzes how the films portray issues of ethnicity, gender, class, and violence within the contexts of France and Brazil. The document uses examples and details from the films to illustrate its points about the social, political, and historical contexts portrayed.
This document provides an overview of key concepts in queer film and television representation. It discusses how the Hays Code from the 1930s restricted LGBTQ representation in films. It also summarizes depictions of queer characters in films before and after the Code, as well as important court cases and genres like underground films, New Queer Cinema, and examples of influential films that furthered LGBTQ representation like Paris Is Burning and Disclosure. The document also defines concepts like homonormativity, bi-erasure, and cis-washing that relate to issues of diversity and inclusion in LGBTQ media representation.
This music video uses cinematography and imagery to portray New York City as a dystopian and threatening place, especially for African Americans. Various shots establish this, such as low angles of the twin towers implying their power over others, and shots of a police car that make the audience feel menaced. Scenes depict the struggles of a black veteran, showing him reaching out for help while a white man ignores him. Locations like an underground parking garage isolate and alienate the main character. Intertextual references to films like "The Third Man" and "Blade Runner" further the dystopian and alienated atmosphere through techniques like a noir visual style.
This document provides context about the 1995 French film La Haine and compares it to the 2002 Brazilian film City of God. Both films depict urban gang cultures and the lives of young men from ethnic minorities. La Haine is set in the Paris suburbs and focuses on tensions between Arab, Jewish, and African youth after a police brutality incident. City of God shows the rise of gang violence in the Rio favelas from the 1960s-1980s. While depicting some negative stereotypes, the films also feature protagonists trying to escape the criminal lifestyle. Through their realistic styles and representations of social issues like poverty, racism, and police corruption, the films provide a compelling look at urban ghetto cultures.
This document analyzes representations of race in films starring Denzel Washington, using textual analysis of films like Man on Fire and Training Day. It discusses how early films confined black actors to stereotypical roles but that Washington helped expand opportunities through complex roles. While some roles still embodied stereotypes, Washington's work with directors like Spike Lee has portrayed more fully realized black characters. The document examines scenes from Washington's films to analyze how representations have both broadened from early limitations but still relate to historical stereotypes.
ENG 239 Review for Exam 3The exam will cover the following.docxYASHU40
ENG 239
Review for Exam 3
The exam will cover the following:
Scorsese, Martin. Goodfellas (1990)
“The Gangster Movie” (PDF)
Information about the Gangster Genre:
Source/History:
The 1930s is when gangster films became popular, mostly due to the Prohibition Era (which lasted through the 1920s until 1933) and the emergence of real-life gangsters and organized crime.
Conventions/characteristics of classic gangster films:
Setting: gangster/crime films are like noir films, usually set in the “bad” areas of cities, to provide a view of the secret world of the criminal.
Plot: the gangster or crime film is developed around the sinister actions of criminals or
gangsters, particularly bankrobbers, underworld figures, or ruthless hoodlums who operate outside the law, stealing and murdering their way through life. There is some overlap between criminal and gangster films and film noir, especially in their cynical views of the world.
Gangster movies often highlight or glorify the rise and fall of a particular criminal(s), gang, bank robber, murderer or lawbreaker in personal power struggles or conflict with law and order figures, an underling or competitive colleague, or a rival gang.
Protagonist: film gangsters are usually materialistic, street-smart, immoral, power-hungry, ambitious, and self-destructive. Rivalry with other criminals in gangster warfare is often a significant plot characteristic. They rise to power with a tough cruel exterior while showing an ambitious desire for success and recognition, but underneath they can occasionally express sensitivity and gentleness.
Women: almost always secondary or minor characters, whose roles are defined by their relation to the men in the film: wives, mistresses, mothers, etc.
Themes of the genre:
Gangster films are morality tales: while gangsters can be sympathetic figures,
they are ultimately bad guys and are inevitably arrested or killed by the end. Pre-1960s films, like noir films, reinforce conventional notions of authority, such as depicting the police as incorruptible “good guys” who get the job done. Post-1960s films make the gangsters more heroic, or show the traditional “good guys” to be as corrupt, if not more so, than their underworld counterparts.
Gangster films are often the inverse of American Dream narratives, also known as “rags-to-riches stories”: American Dream success stories turned upside down in which criminals live in an inverted dream world of success and wealth.
The gangster functions as the doppelganger of “respectable” men in power, such as politicians and corporate presidents,” parodying the American drive to succeed. Gangsters are promoted just like people in “regular” jobs; but the standards they must meet (murdering, stealing, etc.) are vastly different.
Limits of the American Dream and American excess: the American Dream is sometimes depicted as false or accessible to only the “right” kinds of people. Often from poor immigrant families, ...
The document discusses how horror films reflect and are shaped by societal fears and culture over time. It explores how different countries portray horror differently and how the themes in horror films have changed from reflecting fears of "the other" to more personal fears closer to home. Some key points made include:
- Early horror films featured threats from vampires and monsters but now focus more on real-life threats like serial killers.
- Films from different decades mirrored the societal fears of that time period, like nuclear threat films in the 1950s.
- Tropes like home invasions may reflect a country's fear of immigrants or foreigners.
- Horror films have also been used to discuss issues like racism, trauma,
The document discusses how horror films can act as a reflection of societal fears and issues. It addresses several topics including how the threats portrayed in horror films have evolved over time to better represent the fears of the era. For example, films after World War 2 featured more werewolf movies likely reflecting the violence of Nazis. The document also examines how horror films have addressed topics like racism, treatment of women, immigration fears and more. Many examples of specific films are provided that illustrate how the films incorporated themes relating to the societal issues of their time period and location.
6The movie-made Movementcivil rites of passageSharon .docxrobert345678
This document provides a summary and analysis of how films have portrayed and represented the American Civil Rights Movement of the 1950s and 1960s. It argues that most films depict the Movement through the lens of individual, personal stories and relationships rather than as a large communal struggle. This reduces the historical events and ignores the larger political and social issues. As an example, it analyzes the 1994 film The Long Walk Home, which depicts the Montgomery Bus Boycott through the relationship between a black domestic worker and her white employer, sidelining the broader significance and black solidarity of the Movement.
The Nature of Surrealism and True Reality” in Qu.docxjoyjonna282
The Nature of Surrealism and “True Reality” in Quentin Tarantino’s Films
In one of the most penetrating scenes of Reservoir Dogs (1992), Mr. Blonde, played by
Michael Madsen, turns on his favorite radio station and begins dancing around a warehouse
room to the song Stuck in the Middle with You. With a clean suit on and a knife in hand, he
approaches Marvin, a cop who has been bound and gagged, with a face already bloodied
from a previous beating. The camera pans left to an empty doorway, and the sound of rustling
can be heard between the song and the sound of Marvin’s muffled screams. Suddenly, Mr.
Blonde enters the frame holding a bloody dismembered ear and a bloody knife. He holds the
ear up to his mouth and jokingly says something into it. He laughs, and Marvin screams; he
dances around, and Marvin writhes in pain. The juxtaposition of Mr. Blonde’s psychopathic
cheerfulness and Marvin’s severe agony is a classic example of surrealism, which is a form
of artistic expression in which the workings of the subconscious mind are privileged, and the
emphasis is on a blending of fantasy and reality. Surrealism juxtaposes images and situations
that are somewhere in between a sort of dream-like, subconscious state and reality. Surrealism
– especially the kind we see in Quentin Tarantino’s films -- also reflects a postmodernist
perspective on reality and the subconscious.
Reservoir Dogs and Pulp Fiction (1994) are perhaps the most revealing films of
Tarantino’s filmmaking style and postmodern philosophy. The outlandish and bizarre
storylines, the witty dialogue, and the cartoonish aspects of his characters create a surreal
effect. The intertwining of a fantasttic and cerebral experience with a hyperbolic visceral
experience introduces us to a dreamlike, subconscious realm. A good example of this
surrealism is the use of wardrobe homogeneity in both films. In Reservoir Dogs, the heist
team members wear matching uniforms (black suits with white buttoned-up shirts and black
ties); they are each stripped of their “Christian” names and given color-coded names, and they
are forbidden to speak about their personal lives or to associate with one another in any way
beyond the heist.
In Pulp Fiction, there is a similar use of homogeneity amongst the gangsters, as they also
wear matching black suit uniforms. This particular use of uniforms and sameness strips each
character of his individuality, and, in effect, they merge together to become a separate entity
in itself. There is no longer a sense of “real” people, rather a sense of separate surreal forces.
In one scene of Reservoir Dogs, for example, Mr. Pink (played by Steve Buscemi) and Mr.
White (Harvey Keitel) talk about the robbery that went sour. When Mr. Pink asks Mr. White if
he has killed anyone, Mr. White responds, “A few cops,” to which Mr. Pink responds with the
question, “No real people?” The dialogue illustrates that not only have the heist members
...
City of God tells the story of Rocket, a young man growing up in the violent slums of Rio de Janeiro in the 1960s-1980s. As crime escalates in brutality under the leadership of the psychopathic gang leader Lil' Ze, Rocket pursues a career in photography to escape the criminal world of the favelas. The film chronicles the changing gang culture over the decades as weapons become more powerful and gang members younger. Rocket acts as an observer of the intertwining narratives unfolding around him as he witnesses the short and brutal lives of those in the slums.
This document provides information about genres and films to create a promotion package for a new film. It includes requirements to create a teaser trailer, website homepage, film magazine cover, or poster. It then discusses postmodernism and various postmodern theorists. It also covers narrative theory concepts from Propp, Todorov, and Levi-Strauss. Next, it defines genre and provides details on the crime and dystopian genres, including their origins and conventions. It includes timelines of influential crime and dystopian films. It concludes with short analyses of the trailers for Lock Stock and Two Smoking Barrels, Kill Bill Volume 1, and Get Carter.
This document discusses how horror films reflect societal anxieties and taboos. It argues that slasher films in particular depict the punishment of youth, sexuality, and vice to satisfy audiences' desires and alleviate guilt. While B-movies focus more on gore and spectacle, psychological horror films like Black Swan depict more personal anxieties like mental illness in a way that audiences can relate to on a deeper level. The relationship between horror audiences and what they watch is complex, with audiences deriving satisfaction from witnessing the punishment of characters who indulge in taboos.
(APA 6th Edition Formatting and Style Guide)
Office of Graduate Studies
Alcorn State University
Engaging Possibilities, Pursuing Excellence
REVISED May 23, 2018
THESIS MANUAL
Graduates
2
COPYRIGHT PRIVILEGES
BELONG TO
OFFICE OF GRADUATE STUDIES
ALCORN STATE UNIVERSITY, LORMAN, MS
Reproduction for distribution of this THESIS MANUAL requires the written permission of the
Provost and Executive Vice President for Academic Affairs or Graduate Studies Administrator.
FOREWORD
Alcorn State University Office of Graduate Studies requires that all students comply with the
specifications given in this document in the publication of a thesis or non-thesis research project.
Graduate students, under faculty guidance, are expected to produce scholarly work either in the
form of a thesis or a scholarly research project.
The thesis (master or specialist) should document the student's research study and maintain a
degree of intensity.
The purpose of this manual is to assist the graduate student and the graduate thesis advisory
committee in each department with the instructions contained herein. This is the official
approved manual by the Graduate Division.
Formatting questions not addressed in these guidelines should be directed to the Graduate School
staff in the Walter Washington Administration Building, Suite 519 or by phone at
601.877.6122 or via email: [email protected] or in person.
The Graduate Studies
Thesis Advisory Committee
(Revised Spring 2018)
mailto:[email protected]
TABLE OF CONTENTS
Page
INTRODUCTION ............................................................................................................................ 3
SELECTION AND APPOINTMENT OF THESIS ADVISORY COMMITTEE ......................... 4
1. Early Topic Selection ......................................................................................................... 4
2. Selection of Thesis Chair ......................................................................................................... 4
3. Selection of Thesis Committee Members .......................................................................... 4
4. Appointment of Thesis Advisory Committee Form .......................................................... 4
5. Invitation to Prospective Committee Members ................................................................. 5
6. TAC Committee Selection ................................................................................................. 5
CHOICE OF SUBJECT .................................................................................................................... 5
PROPOSAL DEFENSE AND SUBMISSION OF PROPOSAL TO IRB ..................................... 5
PARTS OF THE MANUSCRIPT: PRELIMINARY PAGES ..................................................... 8
1. Title Page .
(a) Thrasymachus’ (the sophist’s) definition of Justice or Right o.docxAASTHA76
(a) Thrasymachus’ (the sophist’s) definition of Justice or Right or Right Doing/Living is “The Interest of the Stronger (Might makes Right).” How does Socrates refute this definition? (cite just
one
of his arguments) [cf:
The Republic
, 30-40, Unit 1 Lecture Video]
(b) According to Socrates, what is the true definition of Justice or Right? [cf:
The Republic
, 141-42, Unit 2 Lecture Video]
(c) And why therefore is the Just life far preferable to the Unjust life (142-43)?
(a) The Allegory of the CAVE (the main metaphor of western philosophy) is an illustration of the Divided LINE.
Characterize
the Two Worlds, and the move/ascent from one to the other (exiting the CAVE, crossing the Divided LINE)—which is alone the true meaning of Education and the only way to become Just, Right, and Immortal. [cf:
The Republic
, 227-232, Unit 3 Lecture Video]
(b) How do the philosophical Studies of
Arithmetic
(number) and
Dialectic
take you above the Divided Line and out of the changing sense-world of illusion (the CAVE) into Reality and make you use your Reason (pure thought) instead of your senses? [cf:
The Republic
, 235-37, 240-42, 250-55. Unit 4 Lecture Video (transcript)]
Give a summary of the
Proof of the Force
(Why there is the “Universe,” “Man,” “God,” “History,” etc)? Start with, “Can there be
nothing
?” [cf: TJH 78-95, Unit 2 Lecture Video]
NIETZSCHE is the crucial Jedi philosopher who provides the “bridge” between negative and positive Postmodernity by focusing on a certain “Problem” and the “
Solution
” to it.
(a) Discuss
2
of the following items (
1
pertaining to the Problem,
1
pertaining to the
.
(Glossary of Telemedicine and eHealth)· Teleconsultation Cons.docxAASTHA76
(Glossary of Telemedicine and eHealth)
· Teleconsultation: Consultation between a provider and specialist at distance using either store and forward telemedicine or real time videoconferencing.
· Telehealth and Telemedicine: Telemedicine is the use of medical information exchanged from one site to another via electronic communications to improve patients' health status. Closely associated with telemedicine is the term "telehealth," which is often used to encompass a broader definition of remote healthcare that does not always involve clinical services. Videoconferencing, transmission of still images, e-health including patient portals, remote monitoring of vital signs, continuing medical education and nursing call centers are all considered part of telemedicine and telehealth. Telemedicine is not a separate medical specialty. Products and services related to telemedicine are often part of a larger investment by health care institutions in either information technology or the delivery of clinical care. Even in the reimbursement fee structure, there is usually no distinction made between services provided on site and those provided through telemedicine and often no separate coding required for billing of remote services. Telemedicine encompasses different types of programs and services provided for the patient. Each component involves different providers and consumers.
· TeleICU: TeleICU is a collaborative, interprofessional model focusing on the care of critically ill patients using telehealth technologies.
· Telemonitoring: The process of using audio, video, and other telecommunications and electronic information processing technologies to monitor the health status of a patient from a distance.
· Telemonitoring: The process of using audio, video, and other telecommunications and electronic information processing technologies to monitor the health status of a patient from a distance.
· Clinical Decision Support System (CCDS): Systems (usually electronically based and interactive) that provide clinicians, staff, patients, and other individuals with knowledge and person-specific information, intelligently filtered and presented at appropriate times, to enhance health and health care. (http://healthit.ahrq.gov/images/jun09cdsreview/09_0069_ef.html)
· e-Prescribing: The electronic generation, transmission and filling of a medical prescription, as opposed to traditional paper and faxed prescriptions. E-prescribing allows for qualified healthcare personnel to transmit a new prescription or renewal authorization to a community or mail-order pharmacy.
· Home Health Care and Remote Monitoring Systems: Care provided to individuals and families in their place of residence for promoting, maintaining, or restoring health or for minimizing the effects of disability and illness, including terminal illness. In the Medicare Current Beneficiary Survey and Medicare claims and enrollment data, home health care refers to home visits by professionals including nu.
(Assmt 1; Week 3 paper) Using ecree Doing the paper and s.docxAASTHA76
The document provides instructions for students on completing Assignment 1 for an online history course. It explains how to access and submit the assignment through the ecree online platform. Students are instructed to write a 2-page paper in 4 parts addressing how diversity was dealt with in America from 1865 to the 1920s. The document provides a sample paper format and emphasizes including an introduction with thesis, 3 examples supporting the thesis, consideration of an opposing view, and conclusion relating the topic to modern times. Sources must be cited within the paper and listed at the end using the SWS format.
(Image retrieved at httpswww.google.comsearchhl=en&biw=122.docxAASTHA76
(Image retrieved at https://www.google.com/search?hl=en&biw=1229&bih=568&tbm=isch&sa=1&ei=fmYIW9W3G6jH5gLn7IHYAQ&q=analysis&oq=analysis&gs_l=img.3..0i67k1l2j0l5j0i67k1l2j0.967865.968569.0.969181.7.4.0.0.0.0.457.682.1j1j4-1.3.0....0...1c.1.64.img..5.2.622...0i7i30k1.0.rL9KcsvXM1U#imgrc=LU1vXlB6e2doDM: / )
ESOL 052 (Essay #__)
Steps:
1. Discuss the readings, videos, and photographs in the Truth and Lies module on Bb.
2. Select a significant/controversial photograph to analyze. (The photograph does not have to be from Bb.)
3. Choose one of the following essay questions:
a. What truth does this photograph reveal?
b. What lie does this photograph promote?
c. Why/How did people deliberately misuse this photograph and distort its true meaning?
d. Why was this photograph misinterpreted by so many people?
e. Why do so many people have different reactions to this photograph?
f. ___________________________________________________________________________?
(Students may create their own visual analysis essay question as long as it is pre-approved by the instructor.)
4. Use the OPTIC chart to brainstorm and take notes on your photograph.
5. Use a pre-writing strategy (outline, graphic organizer, etc.) to organize your ideas.
6. Using correct MLA format, write a 3-5 page essay.
7. Type a Works Cited page. (Use citationmachine.net, easybib.com, etc. to format your info.)
8. Peer and self-edit during the writing process (Bb Wiki, in/outside class).
9. Get feedback from your peers and an instructor during the writing process.
(Note: Students who visit the Writing Center and show me proof get 2 additional days to work on the assignment.)
10. Proofread/edit/revise during the writing process.
11. Put your pre-writing, essay, and Works Cited page in 1 Word document and upload it on Bb by midnight on ______. (If a student submits an essay without pre-writing or without a Works Cited page, he/she will receive a zero. If a student submits an assignment late, he/she will receive a zero. If a student plagiarizes, he/she will receive a zero.)
Purpose: Students will be able to use their reading, writing, critical thinking, and research skills to conduct a visual analysis that explores the theme of Truth and Lies.
Tone: The tone of this assignment should be formal and academic.
Language: The diction and syntax of this assignment should be formal and academic. Students should not use second person pronouns (you/your), contractions, abbreviations, slang, or any type of casual language. Students should refer to the diction and syntax guidelines in the writing packet.
Audience: The audience of this assignment is the student’s peers and instructor.
Format: MLA style (double spaced, 1 in. margins, Times New Roman 12 font, pagination, heading, title, tab for each paragraph, in-text citations, Works Cited page, hanging indents, etc.)
Requirements:
In order for a student to earn a minimum passing grade of 70% on this assignment, h.
(Dis) Placing Culture and Cultural Space Chapter 4.docxAASTHA76
(Dis) Placing Culture and Cultural Space
Chapter 4
+
Chapter Objectives
Describe the relationships among culture, place, cultural space, and identity in the context of globalization.
Explain how people use communicative practices to construct, maintain, negotiate, and hybridize cultural spaces.
Explain how cultures are simultaneously placed and displaced in the global context leading to segregated, contested and hybrid cultural spaces.
Describe the practice of bifocal vision to highlight the linkages between “here” and “there” as well as the connections between present and past.
+
Introduction
Explore the cultural and intercultural communication dimensions of place, space and location. We will examine:
The dynamic process of placing and displacing cultural space in the context of globalization.
How people use communicative practices to construct, maintain, negotiate, and hybridize cultural spaces
How segregated, contested, and hybrid cultural spaces are both shaped by the legacy of colonialism and the context of globalization.
How Hip hop culture illustrates the cultural and intercultural dimensions of place, space, and location in the context of globalization
+
Placing Culture and Cultural Space
Culture, by definition, is rooted in place with a reciprocal relationship between people and place
Culture:
“Place tilled” in Middle English
Colere : “to inhabit, care for, till, worship” in Latin
In the context of globalization, what is the relationship between culture and place?
Culture is both placed and displaced
+
Cultural Space
The communicative practices that construct meanings in, through and about particular places
Cultural space shapes verbal and nonverbal communicative practices
i.e. Classrooms, dance club, library.
Cultural spaces are constructed through the communicative practices developed and lived by people in particular places
Communicative practices include:
The languages, accents, slang, dress, artifacts, architectural design, the behaviors and patterns of interaction, the stories, the discourses and histories
How is the cultural space of your home, neighborhood, city, and state constructed through communicative practices?
+
Place, Cultural Space and Identity
Place, Culture, Identity and Difference
What’s the relationship between place and identity?
Avowed identity:
The way we see, label and make meaning about ourselves and
Ascribed identity:
The way others view, name and describe us and our group
Examples of how avowed and ascribed identities may conflict?
How is place related to standpoint and power?
Locations of enunciation:
Sites or positions from which to speak.
A platform from which to voice a perspective and be heard and/or silenced.
+
Displacing Culture and Cultural Space
(Dis) placed culture and cultural space:
A notion that captures the complex, contradictory and contested nature of cultural space and the relationship between culture and place that has emerged in the context o.
(1) Define the time value of money. Do you believe that the ave.docxAASTHA76
(1) Define the time value of money. Do you believe that the average person considers the time value of money when they make investment decisions? Please explain.
(2) Distinguish between ordinary annuities and annuities due. Also, distinguish between the future value of an annuity and the present value of an annuity.
.
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(APA 6th Edition Formatting and Style Guide)
Office of Graduate Studies
Alcorn State University
Engaging Possibilities, Pursuing Excellence
REVISED May 23, 2018
THESIS MANUAL
Graduates
2
COPYRIGHT PRIVILEGES
BELONG TO
OFFICE OF GRADUATE STUDIES
ALCORN STATE UNIVERSITY, LORMAN, MS
Reproduction for distribution of this THESIS MANUAL requires the written permission of the
Provost and Executive Vice President for Academic Affairs or Graduate Studies Administrator.
FOREWORD
Alcorn State University Office of Graduate Studies requires that all students comply with the
specifications given in this document in the publication of a thesis or non-thesis research project.
Graduate students, under faculty guidance, are expected to produce scholarly work either in the
form of a thesis or a scholarly research project.
The thesis (master or specialist) should document the student's research study and maintain a
degree of intensity.
The purpose of this manual is to assist the graduate student and the graduate thesis advisory
committee in each department with the instructions contained herein. This is the official
approved manual by the Graduate Division.
Formatting questions not addressed in these guidelines should be directed to the Graduate School
staff in the Walter Washington Administration Building, Suite 519 or by phone at
601.877.6122 or via email: [email protected] or in person.
The Graduate Studies
Thesis Advisory Committee
(Revised Spring 2018)
mailto:[email protected]
TABLE OF CONTENTS
Page
INTRODUCTION ............................................................................................................................ 3
SELECTION AND APPOINTMENT OF THESIS ADVISORY COMMITTEE ......................... 4
1. Early Topic Selection ......................................................................................................... 4
2. Selection of Thesis Chair ......................................................................................................... 4
3. Selection of Thesis Committee Members .......................................................................... 4
4. Appointment of Thesis Advisory Committee Form .......................................................... 4
5. Invitation to Prospective Committee Members ................................................................. 5
6. TAC Committee Selection ................................................................................................. 5
CHOICE OF SUBJECT .................................................................................................................... 5
PROPOSAL DEFENSE AND SUBMISSION OF PROPOSAL TO IRB ..................................... 5
PARTS OF THE MANUSCRIPT: PRELIMINARY PAGES ..................................................... 8
1. Title Page .
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The Republic
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(b) According to Socrates, what is the true definition of Justice or Right? [cf:
The Republic
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(c) And why therefore is the Just life far preferable to the Unjust life (142-43)?
(a) The Allegory of the CAVE (the main metaphor of western philosophy) is an illustration of the Divided LINE.
Characterize
the Two Worlds, and the move/ascent from one to the other (exiting the CAVE, crossing the Divided LINE)—which is alone the true meaning of Education and the only way to become Just, Right, and Immortal. [cf:
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Arithmetic
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Dialectic
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Give a summary of the
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NIETZSCHE is the crucial Jedi philosopher who provides the “bridge” between negative and positive Postmodernity by focusing on a certain “Problem” and the “
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(Glossary of Telemedicine and eHealth)
· Teleconsultation: Consultation between a provider and specialist at distance using either store and forward telemedicine or real time videoconferencing.
· Telehealth and Telemedicine: Telemedicine is the use of medical information exchanged from one site to another via electronic communications to improve patients' health status. Closely associated with telemedicine is the term "telehealth," which is often used to encompass a broader definition of remote healthcare that does not always involve clinical services. Videoconferencing, transmission of still images, e-health including patient portals, remote monitoring of vital signs, continuing medical education and nursing call centers are all considered part of telemedicine and telehealth. Telemedicine is not a separate medical specialty. Products and services related to telemedicine are often part of a larger investment by health care institutions in either information technology or the delivery of clinical care. Even in the reimbursement fee structure, there is usually no distinction made between services provided on site and those provided through telemedicine and often no separate coding required for billing of remote services. Telemedicine encompasses different types of programs and services provided for the patient. Each component involves different providers and consumers.
· TeleICU: TeleICU is a collaborative, interprofessional model focusing on the care of critically ill patients using telehealth technologies.
· Telemonitoring: The process of using audio, video, and other telecommunications and electronic information processing technologies to monitor the health status of a patient from a distance.
· Telemonitoring: The process of using audio, video, and other telecommunications and electronic information processing technologies to monitor the health status of a patient from a distance.
· Clinical Decision Support System (CCDS): Systems (usually electronically based and interactive) that provide clinicians, staff, patients, and other individuals with knowledge and person-specific information, intelligently filtered and presented at appropriate times, to enhance health and health care. (http://healthit.ahrq.gov/images/jun09cdsreview/09_0069_ef.html)
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ESOL 052 (Essay #__)
Steps:
1. Discuss the readings, videos, and photographs in the Truth and Lies module on Bb.
2. Select a significant/controversial photograph to analyze. (The photograph does not have to be from Bb.)
3. Choose one of the following essay questions:
a. What truth does this photograph reveal?
b. What lie does this photograph promote?
c. Why/How did people deliberately misuse this photograph and distort its true meaning?
d. Why was this photograph misinterpreted by so many people?
e. Why do so many people have different reactions to this photograph?
f. ___________________________________________________________________________?
(Students may create their own visual analysis essay question as long as it is pre-approved by the instructor.)
4. Use the OPTIC chart to brainstorm and take notes on your photograph.
5. Use a pre-writing strategy (outline, graphic organizer, etc.) to organize your ideas.
6. Using correct MLA format, write a 3-5 page essay.
7. Type a Works Cited page. (Use citationmachine.net, easybib.com, etc. to format your info.)
8. Peer and self-edit during the writing process (Bb Wiki, in/outside class).
9. Get feedback from your peers and an instructor during the writing process.
(Note: Students who visit the Writing Center and show me proof get 2 additional days to work on the assignment.)
10. Proofread/edit/revise during the writing process.
11. Put your pre-writing, essay, and Works Cited page in 1 Word document and upload it on Bb by midnight on ______. (If a student submits an essay without pre-writing or without a Works Cited page, he/she will receive a zero. If a student submits an assignment late, he/she will receive a zero. If a student plagiarizes, he/she will receive a zero.)
Purpose: Students will be able to use their reading, writing, critical thinking, and research skills to conduct a visual analysis that explores the theme of Truth and Lies.
Tone: The tone of this assignment should be formal and academic.
Language: The diction and syntax of this assignment should be formal and academic. Students should not use second person pronouns (you/your), contractions, abbreviations, slang, or any type of casual language. Students should refer to the diction and syntax guidelines in the writing packet.
Audience: The audience of this assignment is the student’s peers and instructor.
Format: MLA style (double spaced, 1 in. margins, Times New Roman 12 font, pagination, heading, title, tab for each paragraph, in-text citations, Works Cited page, hanging indents, etc.)
Requirements:
In order for a student to earn a minimum passing grade of 70% on this assignment, h.
(Dis) Placing Culture and Cultural Space Chapter 4.docxAASTHA76
(Dis) Placing Culture and Cultural Space
Chapter 4
+
Chapter Objectives
Describe the relationships among culture, place, cultural space, and identity in the context of globalization.
Explain how people use communicative practices to construct, maintain, negotiate, and hybridize cultural spaces.
Explain how cultures are simultaneously placed and displaced in the global context leading to segregated, contested and hybrid cultural spaces.
Describe the practice of bifocal vision to highlight the linkages between “here” and “there” as well as the connections between present and past.
+
Introduction
Explore the cultural and intercultural communication dimensions of place, space and location. We will examine:
The dynamic process of placing and displacing cultural space in the context of globalization.
How people use communicative practices to construct, maintain, negotiate, and hybridize cultural spaces
How segregated, contested, and hybrid cultural spaces are both shaped by the legacy of colonialism and the context of globalization.
How Hip hop culture illustrates the cultural and intercultural dimensions of place, space, and location in the context of globalization
+
Placing Culture and Cultural Space
Culture, by definition, is rooted in place with a reciprocal relationship between people and place
Culture:
“Place tilled” in Middle English
Colere : “to inhabit, care for, till, worship” in Latin
In the context of globalization, what is the relationship between culture and place?
Culture is both placed and displaced
+
Cultural Space
The communicative practices that construct meanings in, through and about particular places
Cultural space shapes verbal and nonverbal communicative practices
i.e. Classrooms, dance club, library.
Cultural spaces are constructed through the communicative practices developed and lived by people in particular places
Communicative practices include:
The languages, accents, slang, dress, artifacts, architectural design, the behaviors and patterns of interaction, the stories, the discourses and histories
How is the cultural space of your home, neighborhood, city, and state constructed through communicative practices?
+
Place, Cultural Space and Identity
Place, Culture, Identity and Difference
What’s the relationship between place and identity?
Avowed identity:
The way we see, label and make meaning about ourselves and
Ascribed identity:
The way others view, name and describe us and our group
Examples of how avowed and ascribed identities may conflict?
How is place related to standpoint and power?
Locations of enunciation:
Sites or positions from which to speak.
A platform from which to voice a perspective and be heard and/or silenced.
+
Displacing Culture and Cultural Space
(Dis) placed culture and cultural space:
A notion that captures the complex, contradictory and contested nature of cultural space and the relationship between culture and place that has emerged in the context o.
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(1) Define the time value of money. Do you believe that the average person considers the time value of money when they make investment decisions? Please explain.
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(Accessible at https://www.hatchforgood.org/explore/102/nonprofit-photography-ethics-and-approaches)
Nonprofit Photography: Ethics
and Approaches
Best practices and tips on ethics and approaches in
humanitarian photography for social impact.
The first moon landing. The Vietnamese ‘napalm girl’, running naked and in agony. The World
Trade Centers falling.
As we know, photography carries the power to inspire, educate, horrify and compel its viewers to
take action. Images evoke strong and often public emotions, as people frequently formulate their
opinions, judgments and behaviors in response to visual stimuli. Because of this, photography
can wield substantial control over public perception and discourse.
Moreover, photography in our digital age permits us to deliver complex information about
remote conditions which can be rapidly distributed and effortlessly processed by the viewer.
Recently, we’ve witnessed the profound impact of photography coupled with social media:
together, they have fueled political movements and brought down a corrupt government.
Photography can - and has - changed the course of history.
Ethical Considerations
Those who commission and create photography of marginalized populations to further an
organizations’ mission possess a tremendous responsibility. Careful ethical consideration should
be given to all aspects of the photography supply chain: its planning, creation, and distribution.
When planning a photography campaign, it is important to examine the motives for creating
particular images and their potential impact. Not only must a faithful, comprehensive visual
depiction of the subjects be created to avoid causing misconception, but more importantly, the
subjects’ dignity must be preserved. Words and images that elicit an emotional response by their
sheer shock value (e.g. starving, skeletal children covered in flies) are harmful because they
exploit the subjects’ condition in order to generate sympathy for increasing charitable donations
or support for a given cause. In addition to violating privacy and human rights, this so-called
'poverty porn’ is harmful to those it is trying to aid because it evokes the idea that the
marginalized are helpless and incapable of helping themselves, thereby cultivating a culture of
paternalism. Poverty porn is also detrimental because it is degrading, dishonoring and robs
people of their dignity. While it is important to illustrate the challenges of a population, one must
always strive to tell stories in a way that honors the subjects’ circumstances, and (ideally)
illustrates hope for their plight.
Legal issues
Legal issues are more clear cut when images are created or used in stable countries where legal
precedent for photography use has been established. Image use and creation becomes far more
murky and problematic in countries in which law and order is vague or even nonexistent.
Even though images created for no.
(a) The current ratio of a company is 61 and its acid-test ratio .docxAASTHA76
(a) The current ratio of a company is 6:1 and its acid-test ratio is 1:1. If the inventories and prepaid items amount to $445,500, what is the amount of current liabilities?
Current Liabilities
$
89100
(b) A company had an average inventory last year of $113,000 and its inventory turnover was 6. If sales volume and unit cost remain the same this year as last and inventory turnover is 7 this year, what will average inventory have to be during the current year? (Round answer to 0 decimal places, e.g. 125.)
Average Inventory
$
96857
(c) A company has current assets of $88,800 (of which $35,960 is inventory and prepaid items) and current liabilities of $35,960. What is the current ratio? What is the acid-test ratio? If the company borrows $12,970 cash from a bank on a 120-day loan, what will its current ratio be? What will the acid-test ratio be? (Round answers to 2 decimal places, e.g. 2.50.)
Current Ratio
2.47
:1
Acid Test Ratio
:1
New Current Ratio
:1
New Acid Test Ratio
:1
(d) A company has current assets of $586,700 and current liabilities of $200,100. The board of directors declares a cash dividend of $173,700. What is the current ratio after the declaration but before payment? What is the current ratio after the payment of the dividend? (Round answers to 2 decimal places, e.g. 2.50.)
Current ratio after the declaration but before payment
:1
Current ratio after the payment of the dividend
:1
The following data is given:
December 31,
2015
2014
Cash
$66,000
$52,000
Accounts receivable (net)
90,000
60,000
Inventories
90,000
105,000
Plant assets (net)
380,500
320,000
Accounts payable
54,500
41,500
Salaries and wages payable
11,500
5,000
Bonds payable
70,500
70,000
8% Preferred stock, $40 par
100,000
100,000
Common stock, $10 par
120,000
90,000
Paid-in capital in excess of par
80,000
70,000
Retained earnings
190,000
160,500
Net credit sales
930,000
Cost of goods sold
735,000
Net income
81,000
Compute the following ratios: (Round answers to 2 decimal places e.g. 15.25.)
(a)
Acid-test ratio at 12/31/15
: 1
(b)
Accounts receivable turnover in 2015
times
(c)
Inventory turnover in 2015
times
(d)
Profit margin on sales in 2015
%
(e)
Return on common stock equity in 2015
%
(f)
Book value per share of common stock at 12/31/15
$
Exercise 24-4
As loan analyst for Utrillo Bank, you have been presented the following information.
Toulouse Co.
Lautrec Co.
Assets
Cash
$113,900
$311,200
Receivables
227,200
302,700
Inventories
571,200
510,700
Total current assets
912,300
1,124,600
Other assets
506,000
619,800
Total assets
$1,418,300
$1,744,400
Liabilities and Stockholders’ Equity
Current liabilities
$291,300
$350,400
Long-term liabilities
390,800
506,000
Capital stock and retained earnings
736,200
888,000
Total liabilities and stockholders’ equity
$1.
(1) How does quantum cryptography eliminate the problem of eaves.docxAASTHA76
Quantum cryptography eliminates eavesdropping by using the principles of quantum mechanics, where any interception of encrypted information can be detected. However, quantum cryptography has limitations in the distance over which it can be effectively implemented and requires specialized equipment. Developments in both theoretical and applied cryptography will be influenced by advances in computing power, communication technologies, user needs for security and privacy, and socioeconomic or geopolitical factors.
#transformation
10
Event
Trends
for 2019
10 Event Trends for 2019
C O P Y R I G H T
All rights reserved. No part of this report may be
reproduced or transmitted in any form or by any
means whatsoever (including presentations, short
summaries, blog posts, printed magazines, use
of images in social media posts) without express
written permission from the author, except in the
case of brief quotations (50 words maximum and
for a maximum of 2 quotations) embodied in critical
articles and reviews, and with clear reference to
the original source, including a link to the original
source at https://www.eventmanagerblog.com/10-
event-trends/. Please refer all pertinent questions
to the publisher.
page 2
https://www.eventmanagerblog.com/10-event-trends/
https://www.eventmanagerblog.com/10-event-trends/
10 Event Trends for 2019
CONTENTS
INTRODUCTION page 5
TRANSFORMATION 8
10. PASSIVE ENGAGEMENT 10
9. CONTENT DESIGN 13
8. SEATING MATTERS 16
7. JOMO - THE JOY OF MISSING OUT 19
6. BETTER SAFE THAN SORRY 21
5. CAT SPONSORSHIP 23
4. SLOW TICKETING 25
3. READY TO BLOCKCHAIN 27
2. MARKETING BUDGETS SHIFTING MORE TO EVENTS 28
1. MORE THAN PLANNERS 30
ABOUT THE AUTHOR 31
CMP CREDITS 32
CREDITS AND THANKS 32
DISCLAIMER 32
page 3
INTERACTIVITY
AT THE HEART OF YOUR MEETINGS
Liven up your presentations!
EVENIUM
ConnexMe
San Francisco/Paris [email protected]
AD
https://eventmb.com/2PvIw1f
10 Event Trends for 2019
I am very glad to welcome you to the 8th edition of our annual
event trends. This is going to be a different one.
One element that made our event trends stand out from
the thousands of reports and articles on the topic is that we
don’t care about pleasing companies, pundits, suppliers, star
planners and the likes. Our only focus is you, the reader, to
help you navigate through very uncertain times.
This is why I decided to bring back this report, by far the most
popular in the industry, to its roots. 10 trends that will actually
materialize between now and November 2019, when we will
publish edition number nine.
I feel you have a lot going on, with your events I mean.
F&B, room blocks, sponsorship, marketing security, technology.
I think I failed you in previous editions. I think I gave you too
much. This report will be the most concise and strategic piece
of content you will need for next year.
If you don’t read anything else this year, it’s fine. As long as you
read the next few words.
INTRODUCTION
INTRODUCTION -
Julius Solaris
EventMB Editor
page 5
https://www.eventmanagerblog.com
10 Event Trends for 2019
How did I come up with these trends?
~ As part of this report, we reviewed 350 events. Some of the most successful
worldwide.
~ Last year we started a community with a year-long trend watch. That helped
us to constantly research new things happening in the industry.
~ We have reviewed north of 300 event technology solutions for our repor.
$10 now and $10 when complete Use resources from the required .docxAASTHA76
$10 now and $10 when complete
Use resources from the required readings or the GCU Library to create a 10‐15 slide digital presentation to be shown to your colleagues informing them of specific cultural norms and sociocultural influences affecting student learning at your school.
Choose a culture to research. State the country or countries of origin of your chosen culture and your reason for selecting it.
Include sociocultural influences on learning such as:
Religion
Dress
Cultural Norms
Food
Socialization
Gender Differences
Home Discipline
Education
Native Language
Include presenter’s notes, a title slide, in‐text citations, and a reference slide that contains three to five sources from the required readings or the GCU Library.
.
#include <string.h>
#include <stdlib.h>
#include <sys/types.h>
#include <sys/wait.h>
#include <stdio.h>
#include <unistd.h>
#include <string.h>
// Function: void parse(char *line, char **argv)
// Purpose : This function takes in a null terminated string pointed to by
// <line>. It also takes in an array of pointers to char <argv>.
// When the function returns, the string pointed to by the
// pointer <line> has ALL of its whitespace characters (space,
// tab, and newline) turned into null characters ('\0'). The
// array of pointers to chars will be modified so that the zeroth
// slot will point to the first non-null character in the string
// pointed to by <line>, the oneth slot will point to the second
// non-null character in the string pointed to by <line>, and so
// on. In other words, each subsequent pointer in argv will point
// to each subsequent "token" (characters separated by white space)
// IN the block of memory stored at the pointer <line>. Since all
// the white space is replaced by '\0', every one of these "tokens"
// pointed to by subsequent entires of argv will be a valid string
// The "last" entry in the argv array will be set to NULL. This
// will mark the end of the tokens in the string.
//
void parse(char *line, char **argv)
{
// We will assume that the input string is NULL terminated. If it
// is not, this code WILL break. The rewriting of whitespace characters
// and the updating of pointers in argv are interleaved. Basically
// we do a while loop that will go until we run out of characters in
// the string (the outer while loop that goes until '\0'). Inside
// that loop, we interleave between rewriting white space (space, tab,
// and newline) with nulls ('\0') AND just skipping over non-whitespace.
// Note that whenever we encounter a non-whitespace character, we record
// that address in the array of address at argv and increment it. When
// we run out of tokens in the string, we make the last entry in the array
// at argv NULL. This marks the end of pointers to tokens. Easy, right?
while (*line != '\0') // outer loop. keep going until the whole string is read
{ // keep moving forward the pointer into the input string until
// we encounter a non-whitespace character. While we're at it,
// turn all those whitespace characters we're seeing into null chars.
while (*line == ' ' || *line == '\t' || *line == '\n' || *line == '\r')
{ *line = '\0';
line++;
}
// If I got this far, I MUST be looking at a non-whitespace character,
// or, the beginning of a token. So, let's record the address of this
// beginning of token to the address I'm pointing at now. (Put it in *argv)
.
$ stated in thousands)Net Assets, Controlling Interest.docxAASTHA76
$ stated in thousands)
Net Assets, Controlling Interest
–
–
Net Assets, Noncontrolling Interest
AUDIT COMMITTEE
of the
Executive Board of the Boy Scouts of America
Francis R. McAllister, Chairman
David Biegler Ronald K. Migita
Dennis H. Chookaszian David Moody
Report of Independent Auditors
To the Executive Board of the National Council of the Boy Scouts of America
We have audited the accompanying consolidated financial statements of the National Council of the Boy Scouts
of America and its affiliates (the National Council), which comprise the consolidated statement of financial position
as of December 31, 2016, and the related consolidated statements of revenues, expenses, and other changes in net
assets, of functional expenses and of cash flows for the year then ended.
Management’s Responsibility for the Consolidated Financial Statements
Management is responsible for the preparation and fair presentation of the consolidated financial statements
in accordance with accounting principles generally accepted in the United States of America; this includes the
design, implementation and maintenance of internal control relevant to the preparation and fair presentation of
consolidated financial statements that are free from material misstatement, whether due to fraud or error.
Auditors’ Responsibility
Our responsibility is to express an opinion on the consolidated financial statements based on our audit. We
conducted our audit in accordance with auditing standards generally accepted in the United States of America.
Those standards require that we plan and perform the audit to obtain reasonable assurance about whether the
consolidated financial statements are free from material misstatement.
An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the
consolidated financial statements. The procedures selected depend on our judgment, including the assessment of
the risks of material misstatement of the consolidated financial statements, whether due to fraud or error. In making
those risk assessments, we consider internal control relevant to the National Council’s preparation and fair
presentation of the consolidated financial statements in order to design audit procedures that are appropriate in the
circumstances, but not for the purpose of expressing an opinion on the effectiveness of the National Council’s
internal control. Accordingly, we express no such opinion. An audit also includes evaluating the appropriateness of
accounting policies used and the reasonableness of significant accounting estimates made by management, as well as
evaluating the overall presentation of the consolidated financial sta.
#include <stdio.h>
#include <stdlib.h>
#include <pthread.h>
#include <time.h>
#include <unistd.h>
// Change the constant below to change the number of philosophers
// coming to lunch...
// This is a known GOOD solution based on the Arbitrator
// solution
#define PHILOSOPHER_COUNT 20
// Each philosopher is represented by one thread. Each thread independenly
// runs the same "think/start eating/finish eating" program.
pthread_t philosopher[PHILOSOPHER_COUNT];
// Each chopstick gets one mutex. If there are N philosophers, there are
// N chopsticks. That's the whole problem. There's not enough chopsticks
// for all of them to be eating at the same time. If they all cooperate,
// everyone can eat. If they don't... or don't know how.... well....
// philosophers are going to starve.
pthread_mutex_t chopstick[PHILOSOPHER_COUNT];
// The arbitrator solution adds a "waiter" that ensures that only pairs of
// chopsticks are grabbed. Here is the mutex for the waiter ;)
pthread_mutex_t waiter;
void *philosopher_program(int philosopher_number)
{ // In this version of the "philosopher program", the philosopher
// will think and eat forever.
while (1)
{ // Philosophers always think before they eat. They need to
// build up a bit of hunger....
//printf ("Philosopher %d is thinking\n", philosopher_number);
usleep(1);
// That was a lot of thinking.... now hungry... this
// philosopher (who knows his own number) grabs the chopsticks
// to her/his right and left. The chopstick to the left of
// philosopher N is chopstick N. The chopstick to the right
// of philosopher N is chopstick N+1
//printf ("Philosopher %d wants chopsticks\n",philosopher_number);
pthread_mutex_lock(&waiter);
pthread_mutex_lock(&chopstick[philosopher_number]);
pthread_mutex_lock(&chopstick[(philosopher_number+1)%PHILOSOPHER_COUNT]);
pthread_mutex_unlock(&waiter);
// Hurray, if I got this far I'm eating
printf ("Philosopher %d is eating\n",philosopher_number);
//usleep(1); // I spend twice as much time eating as thinking...
// typical....
// I'm done eating. Now put the chopsticks back on the table
//printf ("Philosopher %d finished eating\n",philosopher_number);
pthread_mutex_unlock(&chopstick[philosopher_number]);
pthread_mutex_unlock(&chopstick[(philosopher_number+1)%PHILOSOPHER_COUNT]);
//printf("Philosopher %d has placed chopsticks on the table\n", philosopher_number);
}
return(NULL);
}
int main()
{ int i;
srand(time(NULL));
for(i=0;i<PHILOSOPHER_COUNT;i++)
pthread_mutex_init(&chopstick[i],NULL);
pthread_mutex_init(&waiter,NULL);
for(i=0;i<PH.
#Assessment BriefDiploma of Business Eco.docxAASTHA76
#
Assessment BriefDiploma of Business Economics for Business
Credit points : 6 Prerequisites : None Co-requisites :
Subject Coordinator : Harriet Scott
Deadline : Sunday at the end of week 10 (Turnitin via CANVAS submission). Reflection due week 11 in tutorials.
ASSESSMENT TASK #3: FINAL CASE STUDY REPORT 25%
TASK DESCRIPTION
This assessment is a formal business report on a case study. Case studies will be assigned to students in the Academic and Business Communication subject. Readings on the case study are available on Canvas, in the Economics for Business subject. Students will also write a reflection on learning in tutorial classes in week 11.
LEARNING OUTCOMES
· Demonstrates understanding of microeconomic and macroeconomic concepts
· Applies economic concepts to contemporary issues and events
· Evaluates possible solutions for contemporary economic and business problems
· Communicates economic information in a business report format
INSEARCH CRICOS provider code: 00859D I UTS CRICOS provider code: 00099F INSEARCH Limited is a controlled entity of the University of Technology, Sydney (UTS), a registered non-self accrediting higher education institution and a pathway provider to UTS.
1. Refer to the case study you are working on for your presentation in Academic and Business Communication. Read the news stories for your case study, found on Canvas.
2. Individually, write a business report that includes the following information:
· Description of the main issue/problem and causes
· Description of the impact on stakeholders
· Analysis of economic concepts relevant to the case study (3-5 concepts)
· Recommendations for alternate solutions to the issue/problem
3. In your week 11 tutorial, write your responses to the reflection questions provided by your tutor, describing your learning experience in this assessment.
Other Requirements Format: Business Report
· Use the Business Report format as taught in BABC001 (refer to CANVAS Help for more information)
· Write TEEL paragraphs (refer to CANVAS Help for more information)
· All work submitted must be written in your own words, using paraphrasing techniques taught in BABC001
· Check Canvas — BECO — Assessments — Final Report page and ‘Writing a report' flyer for more information
Report Presentation: You need to include:
· Cover page as taught in BABC001
· Table of contents - list headings, subheadings and page numbers
· Reference list - all paraphrased/summarised/quoted evidence should include citations; all citations should be detailed in the Reference List
Please ensure your assignment is presented professionally. Suggested structure:
· Cover page
· Table of contents (bold, font size 18)
· Executive summary (bold, font size 18)
· 1.0 Introduction (bold, font size 16)
· 2.0 Main issue (bold, font size 16)
o 2.1 Causes (italics, font size 14)
· 3.0 Stakeholders (bold, font size 16)
o 3.1 Stakeholder 1 (italics, font size 14) o 3.2 Stakeholder 2 (italics, font size 14) o 3.3 Stakeholde.
#include <stdio.h>
#include <stdint.h>
#include <stdbool.h>
// Prototype of FOUR functions, each for a STATE.
// The func in State 1 performs addition of "unsigned numbers" x0 and x1.
int s1_add_uintN(int x0, int x1, bool *c_flg);
// The func in State 2 performs addition of "signed numbers" x0 and x1.
int s2_add_intN(int x0, int x1, bool *v_flg);
// The func in State 3 performs subtraction of "unsigned numbers" x0 and x1.
int s3_sub_uintN(int x0, int x1, bool *c_flg);
// The func in State 3 performs subtraction of "signed numbers" x0 and x1.
int s4_sub_intN(int x0, int x1, bool *v_flg);
// We define the number of bits and the related limits of unsigned and
// and signed numbers.
#define N 5 // number of bits
#define MIN_U 0 // minimum value of unsigned N-bit number
#define MAX_U ((1 << N) - 1) // maximum value of unsigned N-bit number
#define MIN_I (-(1 << (N-1)) ) // minimum value of signed N-bit number
#define MAX_I ((1 << (N-1)) - 1) // maximum value of signed N-bit number
// We use the following three pointers to access data, which can be changed
// when the program pauses. We need to make sure to have the RAM set up
// for these addresses.
int *pIn = (int *)0x20010000U; // the value of In should be -1, 0, or 1.
int *pX0 = (int *)0x20010004U; // X0 and X1 should be N-bit integers.
int *pX1 = (int *)0x20010008U;
int main(void) {
enum progState{State1 = 1, State2, State3, State4};
enum progState cState = State1; // Current State
bool dataReady = false;
bool cFlg, vFlg;
int result;
while (1) {
dataReady = false;
// Check if the data are legitimate
while (!dataReady) {
printf("Halt program here to provide correct update of data\n");
printf("In should be -1, 0, and 1 and ");
printf("X0 and X1 should be N-bit SIGNED integers\n");
if (((-1 <= *pIn) && (*pIn <= 1)) &&
((MIN_I <= *pX0) && (*pX0 <= MAX_I)) &&
((MIN_I <= *pX1) && (*pX1 <= MAX_I))) {
dataReady = true;
}
}
printf("Your input: In = %d, X0 = %d, X1 = %d \n", *pIn, *pX0, *pX1);
switch (cState) {
case State1:
result = s1_add_uintN(*pX0, *pX1, &cFlg);
printf("State = %d, rslt = %d, Cflg = %d\n", cState, result, cFlg);
cState += *pIn;
if (cState < State1) cState += State4;
break;
case State2:
result = s2_add_intN(*pX0, *pX1, &vFlg);
printf("State = %d, rslt = %d, Vflg = %d\n", cState, result, vFlg);
cState += *pIn;
break;
case State3:
case State4:
default:
printf("Error with the program state\n");
}
}
}
int s1_add_uintN(int x0, int x1, bool *c_flg) {
if (x0 < 0) x0 = x0 + MAX_U + 1;
if.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
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BOYZ OUT THE HOOD GEOGRAPHICAL, LINGUISTIC AND SOCIALMOBILI.docx
1. BOYZ OUT THE HOOD? GEOGRAPHICAL, LINGUISTIC
AND SOCIAL
MOBILITY IN JOHN SINGLETON’S BOYZ N THE HOOD1
ANDRÉS BARTOLOMÉ LEAL
University of Zaragoza
ABSTRACT. In contrast with many of the films said to belong
to the ‘hood
films’ cycle of the nineties, John Singleton’s Boyz N the Hood
(1991) sober
and realistically portrays the hardships of blacks’ existence in
the Los
Angeles’ neighbourhood of South Central. For the film, as this
paper aims to
demonstrate, the inability of the ‘hood residents to escape the
geographical
and social constrains of their environment is a direct outcome of
the long-
distance control that the mainly white dominant elites exert over
their
existence. Through the confronting lifestyles that the characters
embody, the
film exemplifies the different possible attitudes towards the
place/race-biased
identities that the life in the ‘hood motivates. In order to contest
the social
determinism that seems to dominate the life of the residents of
the ‘hood,
Tre’s character stands out as epitome of the film’s ideology in
favour of
education and respect, and not violence, as the way to survive
2. this social-
political scheme.
Keywords: Identity, film, mobility, race, representation, Socio-
Pragmatics.
JOURNAL OF ENGLISH STUDIES - VOLUME 11 (2013), 27-
39
1 Special thanks to Profs. Beatriz Penas Ibáñez and Celestino
Deleyto Alcalá for their guidance
and support on the present research.
Journal of English Studies,
vol. 11 (2013) 27-39
27
¿CHICOS FUERA DEL BARRIO? MOVILIDAD
GEOGRÁFICA, LINGÜÍS-
TICA Y SOCIAL EN LOS CHICOS DEL BARRIO DE JOHN
SINGLETON
RESUMEN. A diferencia de muchas de las películas
norteamericanas
pertenecientes a lo que hoy es conocido como el ciclo de
“películas de barrio”
de los noventa, Los Chicos del Barrio (1991) de John Singleton
representa de
una manera sobria y realista las dificultades y conflictos
resultantes de la
convivencia diaria de la comunidad negra en el barrio angelino
de South
Central. Para dicha película, como intenta demostrar este
3. trabajo, la
incapacidad de los habitantes negros del barrio a la hora de
escapar de las
limitaciones geográficas y sociales de su entorno, no es sino un
resultado
directo del control ejercido sobre su existencia por las distantes,
y
mayoritariamente blancas, élites en el poder. A través de los
antagónicos
estilos de vida que los diferentes personajes representan, la
película ejemplifica
las diferentes posibles actitudes hacia las identidades
predefinidas en
términos de raza y residencia, y mayoritariamente abocadas al
desastre, que
la vida en el barrio favorece. Con el objetivo de combatir el
determinismo
social que parece dominar la vida de los residentes en el barrio,
el personaje
de Tre se erige como epítome de la ideología de la película, a
favor de la
educación, el respeto mutuo y el rechazo a la violencia como
vehículos para
trascender, y sobrevivir, este esquema social.
Palabras clave: Identidad, cine, movilidad, raza, representación,
Socio-
Pragmática.
Received 01 February 2013
Revised version accepted 20 June 2013
At the beginning of the nineties, a cycle of films, later
described by critics as
“Hood Films”,2 brought to the surface of the mainstream North
4. American cinema
the situation and living conditions of contemporary black urban
communities.
Mainly focused on the poorest and more conflictive
neighbourhoods of big
North American metropolitan areas, especially New York and
Los Angeles, films
like New Jack City (Mario Van Peebles 1991), Menace II
Society (Albert and Allen
Hughes 1993), Juice (Ernest R. Dickinson 1993) or Fresh (Boaz
Yakin 1994)
depicted a life surrounded by incessant insecurity, drug trades,
prostitution,
crime and violence. Most of these films were in fact directed by
newcomer black
directors, obtaining a public relevance never seen before.
Fuelled by Hip-Hop
lyrics, and sometimes with rappers in the lead roles, these films
along with their
ANDRÉS BARTOLOMÉ LEAL
Journal of English Studies,
vol. 11 (2013) 27-39
2 This term is used to refer to films that portray the difficult
coming of age of their black
protagonists, placing the narrative always within the
geographical boundaries of the low-class black
neighborhood (Massood 1996: 85).
28
soundtracks gained great popularity as a whole, and their
5. representation of black
youth had an immense, but not necessarily constructive, social
and cultural
repercussion. While at first they were regarded positively as
signal of an outburst
of black relevance and creativity within the North American
society, it was not
long before they were criticized for their sometimes one-
dimensional portrayal
of black communities as poor and violent, perpetuating this way
negative
stereotypical images of blacknesss in the US.3
Of the myriad of films said to belong to the aforementioned
cycle, none got
(or still gets) the critical, spectatorial or academic response that
Boyz ‘N’ the
Hood (John Singleton 1991) did. Described as much more
“subtle and complex”
than other contemporary black-on-black representations
(Michael Eric Dyson
1993: 91), the film portrays the lives of Tre Styles (Desi Arnez
Hines II/Cuba
Gooding Jr.), a young black man, his friends and family, who
live in the
conflictive neighbourhood of South Central Los Angeles. Under
the tight
guidance and discipline of his father Furious (Lawrence
Fishbourne), Tre will be
able to get a proper education and to avoid being trapped in the
self-destructive
vicious circle of verbal and physical violence characteristic of
the ‘hood, a jungle-
like society that will not be so benevolent with many of his
friends.
6. Harsh and unsweetened at times, the film’s realistic
representation of the
black neighbourhood’s everyday life deliberately avoids both
the stylized
romantization in which many “hood films” had fallen, as well as
the degraded
stereotypification of previous white-dominated representations
of blackness.4
Although present at certain points, neither drugs nor
prostitution or guns are
dominant motifs within the picture, and when their images
appear, they are
addressed from a completely non-glorifying perspective as the
main liabilities of
the lower class black experience. Seemingly aware of the
immense ideological
power of mainstream popular representations, the film not only
avoids any kind
of possible exaltation of violence and confrontation as a basic
living condition
in the ‘hood, but also openly traces and criticizes the reasons
for the
reproduction of this existing social scheme.5
BOYZ OUT THE HOOD? GEOGRAPHICAL, LINGUISTIC
AND SOCIAL MOBILITY...
Journal of English Studies,
vol. 11 (2013) 27-39
3 As pointed out by Miles Hewstone and Howard Giles (1997),
stereotypes are not negative by
definition. Positive stereotypes may serve to highlight or bring
to the front the aspects of their
identities by which a group or a person wants to be seen and
7. differentiated from others.
4 Within the first group we can find films ranging from Sweet
Sweetback’s Baadasssss Song (Melvin
Van Peebles 1971) to more recent ones like xXx: State of the
Union (Lee Tamahori 2005). Of the
second, I reckon that there is no need for specific examples,
although one might think about The
Birth Of a Nation (D.W. Griffith 1915) or Gone With the Wind
(Victor Flemming, George Cukor,
Sam Wood 1939) as classic examples.
5 As Robyn Wiegman points out, despite the cautious approach
of the film towards violence it
could not avoid being blamed for “instigating audience
violence” (1993: 182).
29
With all this in mind, and from a socio-pragmatic perspective,
this paper will aim
to, first: deconstruct the constellation of reasons that are behind
the constant climate
of violence prevailing in this kind of neighbourhood and
second, the role the control
over the mobility of its inhabitants fulfils in the perpetuation of
the system. A system
that, as will be developed, relies on the prevailingly
hierarchical asymmetrical
relationship between whites and blacks, and the self-destructive
confrontation among
the latter. As a final statement, this paper will present the
character of Tre as a viable
departure from this conflictual scheme and as the desirable role
model that embodies
the film’s demythologising ideology around social relations
8. between blacks.
Even before the opening credits of the film appear on the
screen, we can hear
the voices of a group of black youngsters (as they repeatedly
address themselves
as “niggas”) preparing to assault and kill another group of
blacks for some
previous affront we do not get to know about. The film’s
anxiety around this
situation, apparently commonplace in the life in the ‘hood, is
clearly stated in the
words that appear right after written over a black screen which
reads “One out of
21 black American males will be murdered in their lifetime.
Most will die at the
hands of another black male”. After the sound of the gunshots
the police sirens
fade out, the first shot of the film shows the image of a stop
traffic-sign while, in
the background, a plane flies above the rooftops of the ‘hood.
By means of this simple symbol, the film not only demonstrates
its ideology
around the black-on-black violence as something to be stopped
once and for all
(Wiegman 1993: 183), but it also brings up the apparently
insurmountable distance
between their everyday lives in the ‘hood and the world outside.
Following Manthia
Diawara’s statement that “signs play an important role in
limiting the movement of
people in South Central Los Angeles” (1993: 22), I agree that
the rest of the traffic
signs in the film’s prologue can become significantly
noteworthy. The introductory
9. scene, in which a group of ten year old boys (including an
infantile version of Tre)
go to a murder scene while they talk about a past night
shooting, can be said to
reveal the film’s vision of this enclosed trapping environment as
a definitory
element in the formation of the ‘hood individuals’ present and
future identities.
While two successive “one way” traffic signs seem to direct the
children’s route
around the ‘hood towards the crime scene, a big red sign that
reads “wrong way”
warns the spectator about the undesirable likelihood that
following the ‘hood ways’
may end up with the boys’ own death.
As Zigmut Bauman states in his book Liquid Modernity,6 it is a
paramount
aspect of nowadays’ social structures that the elites in power
hold a tight
ANDRÉS BARTOLOMÉ LEAL
Journal of English Studies,
vol. 11 (2013) 27-39
6 Bauman’s theories are, in turn, based on Michel Foucault’s
works, especially Discipline and
Punish: The Birth of the Prison (1977).
30
command over the mobility of the rest of the population. While
the general
10. population is denied the possibility of evading its own
environment, these elites (in
control of the means of transportation) are able to move freely
across borders and
exert their dominance invisibly from a safe distance (2000: 14-
20). Whites
and their remarkable nonattendance in the film can easily fulfil
the role of those
elites that Bauman called “absent landlords” (10). Deliberately
omitted during
most of the film, the visual representations of significant whites
and their agency
in the state of affairs that defines blacks’ existence in the ‘hood
are foregrounded in
some selected moments. For instance, all over the wall at the
murder scene
around which the children gather, gunned electoral posters of
smiling Ronald
Reagan wearing a cowboy hat remain impassive witnesses of
black self-
destruction. At the same time, Reagan’s representation in the
guise of the United
States iconically over-reproduced glorious past relates to the
primal source of the
glorification of violence in US American culture. The
incongruous relation that
the United States maintains with its own violent past, and the
effect it bears on the
current state-of-affairs, is again textually reinforced in the
history class scene,
when the children are taught the story behind Thanksgiving
Day. Although the
teacher presents the occasion as a symbol of communion
between different
races, and even rushes to correct herself and use the politically
correct
11. expression “Native Americans” instead of “Indians” in order to
demonstrate
certain diversity awareness, her speech seems to be historically
and contextually
unsound. The children’s drawings that the camera focuses on
while the teacher
speaks are full of police officers and dead bodies, not only
reflecting the
incongruence between the black children’s experience and the
teacher’s
Eurocentric curriculum (Dyson 1993: 94), but also implicitly
associate the
violence of both, as the teacher, in an exercise of dominant
reading of History,
overlooks the eventual violent outcome of the clash between the
Anglo-Saxon
settlers and the native Americans.
Later, in one of the most judgemental scenes of the film,
Furious, fulfilling
the role of father and leader for the community7, is shown to
give a speech
about the importance for blacks to own their own houses,
businesses and land
if they are to fight the degradation of their life in the
neighbourhood. With the
objective of ‘gentrifying’ the neighbourhood, and instead of
simply raising the
standards of living and favouring in this way the upward
mobility of their
inhabitants, as Furious explains, the whites lower down the
value of the houses
through the omnipresence of guns, liquor, drugs and the lack of
real resources
BOYZ OUT THE HOOD? GEOGRAPHICAL, LINGUISTIC
12. AND SOCIAL MOBILITY...
Journal of English Studies,
vol. 11 (2013) 27-39
31
7 Furious’ role in the film in fact, and specially enhanced in
this scene, seems to resonate the figure
of Martin Luther King Jr. as spiritual and ideological leader of
the black community.
to make a living in the hood. Then, their banks and firms buy
the properties to
speculate with them, selling the houses at a higher price to the
whites when their
original underprivileged inhabitants have been evicted (Smith,
2002: 438). 8 The
degradation of the standards of living in the ‘hood is, according
to Furious’
resisting reading, just means for the whites’ superstructures to
make a profit out
of their control over the mobility and reterritorialization of
blacks and their
eventual self-destruction9. Once these “inner city communities
are cut off from
sources of moral authority and legitimate work” (Dyson 1993:
97), crime turns
to be a viable and accessible way of living that most do not
even consider
questioning, even if it means to be constantly surrounded by
delinquency and
death.
13. As Bauman (2000: 13) explains, the implemented role for non-
elite, forcedly
sedentary individuals is plain demise at the service of a power
which, clearly
stated at the beginning of the film, does not even need to get its
hands dirty.
Moreover, the white-owned means of transportation that could
fulfil the
residents’ desire for mobility are instead used to degrade even
more their
existence in the ‘hood (ships and planes bringing drugs) or to
ensure that they
never get to leave their premises (surveillance police
helicopters), reinforcing this
way the hierarchical power relation they entail. As a
postmodern version of
Foucault’s modern Panopticon,10 which Bauman also used in
his argumentation,
the constant sound of the invisible helicopters over the ‘hood
“works to keep
the community in its place through the awareness and
internalization of
surveillance and perceived criminality” (Massood 1996: 91).
The attendance to
Furious’ “sermon-on-the mount” speech (Wiegman 1993: 185)
is in fact the only
time, and already as adults, when the protagonists will be shown
leaving the
confines of their own surrounding, but only to visit the even
more dangerous
neighbourhood (of similar idiosyncrasy) of Comptom. This
“dispute over agency
ANDRÉS BARTOLOMÉ LEAL
Journal of English Studies,
14. vol. 11 (2013) 27-39
32
8 Socio-demographical researches on the development of
postmodern city-scapes, carried out by
authors like Mike Davis (2006) and Saskia Sassen (2006),
pointed out the reversal migration that took
place in LA in the second half of the 20th century, by which the
downtown became the home of the
poorer neighbourhoods of the city, while the richer strata of
society and the work moved to the
suburbs at the outskirts of the city. However, as Smith (2002)
explains, in later phases of the urban
reterritorialization of big cities all around the world,
gentrification has become the main way of
“retaking the city for the middle classes” (443), evicting any
kind of minority or under privileged
group, and transforming whole areas along with their social
character.
9 Here, the term ‘superstructure’ is used in line with Louis
Althusser’s understanding of it. According
to him, capitalist societies are structured on two levels, an
economic base, called infrastructure, and
an ideological top, called superstructure, dominated by the
economic elites in power (1971).
10 The idea of the ‘Panopticon’ that Foucault (1977) used to
define modern power consists, in short
terms, of a prison-like fortress in which the inmates are tied to
the place and barred from all
movement under the tight and constant surveillance of the
guards above them.
and control over the community” as Diawara (1993: 22)
15. describes it, is portrayed
to have an immense repercussion on the character’s mobility in
different realms.
As it will be shown throughout the second part of the film,
when the ‘hood’s
children have already become young adults, it is not a mere
issue of their
geographical mobility that is at stake when agency is concerned,
but a whole
sense of socio-identitarian self determination and upward
mobility.
The different levels of compliance with the idiosyncrasy of the
life in the
neighbourhood, and the personalities attached to it, are
represented in a gradient
and embodied by the different characters that surround the
protagonist’s life. At
the negative end of the gradient Tre’s friends, the ‘boyz’ stand.
If we could see
Doughboy (Baha Jackson/Ice Cube) being taken resignedly to
the reformatory
at the close of the first part of the film, then the first images in
the second part
depict a party in celebration for his return from jail, from where
he seems to
have been coming and going. This way, we are shown that the
boyz’ identities
as delinquents, only hypothetically latent as children, have
crystallized over the
years without any apparent measure of resistance against it
having been taken
either by society or by themselves. Not only out of sheer
carelessness, society’s
discourse seems to have done nothing but to force them into
adjusting to that
16. negative stereotypical pattern of action expected from them. All
throughout their
lives, even when not committing an offence, black males are
represented as
being violently harassed and insulted by the police; as children,
disrespected
and undermined by their own parents; as youngsters, attacked
by elder gangs;
and, as citizens, ignored completely by the media. With no other
alternatives
offered by society, delinquency becomes their only possible
self-identificatory
reality, “[their] world par excellence” (Berger and Luckman
1967: 36). Even going
to the Army, the single option that the system seems to offer
them outside of
their neighbourhood, means just leaving proper society
completely at a side and
exchanging the violence of the ‘hood for the violence of the
state.
In Foucauldian terms, black males in the film, can be said to be
“excluded”
from proper society and from the agency over the discourse that
defines it.11
Constantly seeing themselves through the eyes of others and
their discourses,
they epitomize the process that Erich Fromm defined as
“authoritarian
conformity”, by which “the individual ceases to be himself; he
adopts entirely
the kind of personality offered to him by cultural patterns; and
he therefore
becomes exactly as all others expect him to be” (as cited in
Penas Ibáñez 2006:
17. 236). Their acceptance and identification with these patterns,
attached to the
BOYZ OUT THE HOOD? GEOGRAPHICAL, LINGUISTIC
AND SOCIAL MOBILITY...
Journal of English Studies,
vol. 11 (2013) 27-39
33
11 In Foucault’s “The order of Discourse”, exclusion is one of
the main procedures, along with
limitation and appropriation, by which dominant discourses are
controlled and function (1981: 61-70).
ANDRÉS BARTOLOMÉ LEAL
Journal of English Studies,
vol. 11 (2013) 27-39
34
idiosyncrasy of their environment, means also the acceptance of
their
neighbourhood as a geographical and identitarian ghetto of
which there seems
to be no possible entrance or exit. Lies repeated often enough
become truths,
and the system’s reliance on stereotypes works no differently.
In their article
“Social Groups and Social Stereotypes”, Hewstone and Giles
point out that
stereotypes are always harder to contravene than to accept, even
18. neurologically (1997: 280), and that even if part of fallacious
representations,
commonly shared stereotypes will eventually end up becoming
real in their
social consequences (270).
In this sense, several authors have noted the disrespectful,
stereotypical
and objectifying way in which Doughboy and the boyz address
black women
as ‘bitch’, ‘ho’ or ‘hootchie’, using them as scapegoats for their
own
frustrations (Wiegman 1993: 183; Dyson 1993: 93). However,
they have
overlooked first, the fact that black females are also portrayed
using those
terms between them, and second, that black males use a similar
kind of
language to refer to other black males. It has been demonstrated
that context,
race, gender, age and class have a huge impact on the threshold
for what can
be defined as verbal aggressiveness (Jay 2000: 160-161), and
that blacks in
particular engage in much more verbal play and bantering than
whites.
However, it is difficult to interpret their sub-standard African-
American
vernacular’s preference for appellatives such as ‘nigger’,
‘punk’, ‘fool’, ‘stupid’
or ‘motherfucker’, terms by which the members of the gang
refer to each
other, as a case of in-group bonding. In fact, several instances
can be found
in the film in which these terms become what has come to be
known as
19. ‘fighting words’, that is, “personally provocative epithets
spoken face-to-face
to an individual that lead to immediate violence” (Jay 2000:
216). Verbal
aggressiveness is portrayed in the film as the origin for the fight
at the school,
for the constant arguing between girls and boys in the ‘hood, for
the shooting
at the Creenshaw Party and for Ricky’s (Morris Chestnut)
fighting his brother
Doughboy, leaving his house and being eventually killed in a
nearby alley.
Especially remarkable is in this sense the pragmatics of the
word ‘nigger’. Co-
opted from the way in which whites referred to their black
slaves in the past,
the term is used carelessly by the gang for in-group
communication, and very
pejoratively by the harassing black police officer that patrols
the ‘hood. These
different cases of linguistic “accommodation”, as Howard Giles
and Peter F.
Powesland denominate it (1997), are said to also affect all
levels of behaviour
and entail an inevitable degree of identity-change (Penas Ibáñez
2006: 232).
Language forces individuals into its patterns and presents the
subject with a
prefabricated understanding of the reality surrounding him
(Berger and
BOYZ OUT THE HOOD? GEOGRAPHICAL, LINGUISTIC
AND SOCIAL MOBILITY...
20. Journal of English Studies,
vol. 11 (2013) 27-39
35
Luckman 1967: 53). I find likeable to think then, that black
males addressing
themselves as ‘niggers’, and black females referring to
themselves as ‘ho’s’, do
nothing but accept and reproduce the autocratical and violent
ideological
standards that gave birth to them in the first place. Language,
therefore,
becomes not so much a “blueprint” of the character’s identity
(Penas Ibáñez
2006: 237), but a stigma signalling and perpetuating their role
within the
hierarchy of power.
However, language is not the only external sign of their
conformity with the
patterns that society’s discourse has ready for them, but a part
of the whole re-
enactment of their prearranged identities. Becoming what Ervin
Goffman calls
a “performative team” (1959: 79), the boyz in the ‘hood carry
out an almost
dramaturgical interaction by which they stage their identities as
gangsters
constantly, especially in the presence of other ‘teams’. As
Goffman points out,
performative interaction is always based on a “two-team
interplay” (1959: 92) by
which the other team fulfils the role of an audience, and whose
opposition as
outsiders enhances even more the first teams’ representation of
21. reality. Whether
their audience is the other gang, their more successful friends
and brothers, or
the girls of the neighbourhood, the boyz’ constant and
antagonical opposition
with other teams, becomes a direct projection of the same
disdain they suffer in
their own everyday lives. Inexorably permeated by society’s
discourse, the social
interactions that these youngsters carry out, represent,
reproduce and reinforce
the stereotypical identities that they were expected to fulfil in
the first place as
inhabitants of the ‘hood.
At the positive end of the spectrum of agency applied to
geographical, social
and linguistic mobility, we can find Tre’s mother, Reva (Angela
Basset).
Assumedly divorced from Furious, middle-high class and
educated, her apparent
success seems to be a direct outcome of her leaving the ‘hood.
However, the
nuanced representation that her ideals have in the film is far
from utterly
univocal. At the beginning of the film, right after Tre gets into a
fight in class,
she immediately sends him to live with his father in the
neighborhood with no
apparent regret. For the rest of the film, she will be another
absent figure, with
no visible interest in the development of her son’s life until he
is old enough to
go to college. This rejection of not only her son, but her whole
community and
origins stays very much in tune with what Anthony Elliot and
22. Charles Lemert
define as “The New Individualism” and the disengagement
between the
individual and the collective that sustains it. Product of today’s
postmodern
globalized and capitalistic society, this mentality is defined by
an anxious search
for self-fulfilment and a detachment from any interpersonal
obstacles that could
get in the way of the person’s egocentric designs (2006: 3).
Institutions like the
neighbourhood, the family or the nation, already defined as
“zombie institutions”
by Beck (as cited in Bauman 2000: 12), are but impediments for
the fulfilment
of personal freedom. However, Elliot and Lemert (2006: 10)
also point out, as
Bauman had done, that this supposed freedom is only available
to people of
means, while poor people are just left behind under the
stereotypical impression
that “the poor simply do not know how to behave” (ibid). Reva
not only fulfils
this late modern capitalistic pattern by distancing herself from
collective ideals
to take the route of private success, but also in feeling the
emotional hollowness
that these practices entail. As much as could be said against the
boyz, at least
they demonstrate a sense of rooted belonging and a mentality of
standing by and
defending each other if necessary.12
23. As Stuart Hall points out, the complete overturning of a
stereotype may
simply mean an implicit acceptance of the categorical
understanding of reality
that gave way to it in the first place (1997: 272). Reva, in her
complete rejection
of the black community, and her ore-like adoption of the
whites’ ways, does not
escape this way “the contradictions of the binary structure of
racial stereotyping”
(ibid) and the relation of assymentrical power and domination
that they entail.
Under this perspective, and even if his discourse may sound
contradictory at
times, Furious’ character emerges as an oasis in-between
extremes and as
embodiment of the ideological liminality that the film wants to
enhance.
Breaking with the opposing positions that Reva and the ‘boyz’
symbolize, and
through the saliency of Furious as a successful guide for the
young, the film
rejects the Kierkegaardian understanding of reality as a world of
either/or, in
favour of “an Afroncentric world of both/and” (Dyson 1993:
95). Furious works
outside the neighbourhood, but remains living in it; rejects
violence, but does
not hesitate to protect what is his by any means necessary; is
greatly educated,
but his language sometimes deviates to less polished varieties
and vocabulary.
Even as father of Tre, “he is disciplined but loving, firm but
humorous,
demanding but sympathetic” (Dyson 1993: 96). Tre, under his
father’s guidance
24. is taught to be responsible and hard-working and seems to
follow the same
path. He lives and has his friends in the neighbourhood, but
works outside at
the mall. By no means is he shown using the terms ‘bitch’ or
nigger’, but he does
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36
12 The opposition between ‘roots’ and ‘routes’ as definitory
elements of the individual’s identity is
constantly foregrounded in the film. While Reva clearly breaks
with her origins in the community,
her roots, in order to become a subject in her own terms, the
boyz openly embrace them as the core
of their identity. However, Furious and, by extension, Tre are
shown trying to maintain certain
equilibrium between both, rejecting a completely essentialist
nature of black identity, but at the
same time, respecting the relations background and traditions
within which they grew up.
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25. swear when angry. And, although he feels the necessity of
avenging Ricky’s
death, which would mean reproducing the prevailing vicious
circle of violence,
he is rational enough to reject that possibility.
The film’s epilogue, in which Doughboy and Tre converse about
their lives
after the death of Ricky while we hear a surveillance helicopter
flying above,
very suitably serves to contrast both identities and approaches
to black existence.
Doughboy, after watching the news, seems to realize for the
first time how little
value their lives have for the elites in control of the media. In
keeping with the
mentality of the privileged in power, more concerned about
global than local
issues, the media do not mention even once the death of his
brother. Violence,
for them, seems to be an international problem, but apparently
not an issue
within their own national frontiers. As Doughboy states “either
they don’t know,
don’t show or don’t care”. At this point, Doughboy not only
rejects bragging
about having killed his brother’s murderers, but he is shown
digressing from
his usual full-of-cursing variety of language, and actually
speaking from the heart
for the first time. However, his self-reflexive momentum also
reveals how much
of society’s discourse has permeated Doughboy’s identity when
he carelessly
states that “Shit just goes on and on… Next thing you know,
26. somebody might
try to smoke me. Don’t matter though, we all gota go sometime
uh?” Tre, facing
Doughboys’ resigned acceptance of his prearranged destiny,
demonstrates his
belief in the unity of the community by telling Doughboy that
he still has a
brother in him. Two weeks later, as the film tells us, Doughboy
will actually be
killed, and by fading his image out from the background, the
films reveals how
little relevance his life has had even for the overall social
scheme of the ‘hood.
On the other hand, Tre will go to the university in Atlanta with
his girlfriend.
However, this escape from the neighbourhood’s constrains, to
which it could be
arguably said that he is not coming back, also implies that, as
long as things do
not change, there is no real future for the black people
remaining in the ‘hood
for good.
As its final statement and morals, the film uses Ice Cube’s song
“How to Survive
in South Central”, especially written for the film, to dismount
violence as the
solution to the ‘hood’s problems. Full of radical remarks such
as “Rule number
one: get yourself a gun”, “you can’t find shit in a handbook” or
“Rule number two:
don’t trust nobody. Especially a bitch, with a hooker’s body”,
the lyrics
conspicuously contravene the film’s ideology. By means of this
contrast, the film
contests the stereotypical images that Ice Cube’s persona brings
27. up as epitome of
the black’s experience in the ‘hood. As we know by the end of
the film, his
profligate lifestyle, violent attitude and language, does not
represent the way to
actually survive in the ‘hood, but mostly the opposite. In
contrast, the film, through
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38
the character of Tre, enhances a “more culturally productive
black masculinity”
(Wiegman 1993: 182). In this aspect, the omniscient presence of
the father figure
of Furious, which finds no equivalence in the rest of the ‘hood’s
families, is
critical for Tre’s development. While all the other youngster’s
fathers are
conspicuously absent, as if reproducing the white dominant
patterns within the
black family, Furious’ determination to remain with his son and
in the
neighbourhood is a fundamental element of his ideology.
Defined by education,
respect for each other, community spirit, responsibility and hard
work, Tre’s
point of view is shown to be the only one capable of fighting
social determinism
and the place-biased criminal identities that every black subject
28. is expected to
fulfil within this system. In Singleton’s film, as Dyson points
out, “choice itself
is not a property of autonomous moral agents acting in an
existential vacuum,
but rather something that is created and exercised within the
interaction of social,
psychic, political and economic forces of everyday experience”
(1993: 95).
Geographical, social and linguistic mobility are this way
intermingled in the
shaping of the black subject’s identity, and only individuals
willing, and allowed,
to gain agency and control over them can overcome the
stereotypes attached to
their in-group and out-group image and achieve a certain degree
of identitarian
self-determination and freedom.
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