Trust Me, I'm a Banker: Analysing the Issue of Trust between Banks, Media and Customers

N/

Master of Arts

thesisThe following thesis is an attempt to analyze current and historical patterns of violence through the lens of a species of domesticated animal--sheep. I begin by setting down some founding provisions of the economic, political, and social systems within which sheep-work emerged, briefly tracking some of the historical roles sheep have played in the displacement, alienation and domination of other humans by others, from the time of sheep-domestication to the Mormon conquest of Utah. In this trajectory, sheep, embodying cultural ideals of „property? and „work,? show themselves repeatedly as able tools of land-theft and genocide. This analysis then opens the way to explore how these same beasts, and the same attempts to set down the meanings of 'property' and 'work,' have been necessary for resistance movements to these atrocities, which clarifies the central importance of food-economies in political and racial conflict. This sets the stage for my second chapter, which explores the forces of oppression in modern sheepwork and its related industries, linking this oppression back to the historical devaluation of food-work. Finally, because I write this in the urgency of ecocide, the privatization of the last remaining peasant commons, and the disappearance of agricultural skills in a forced march to the cities, my last chapter focuses on the paths of resistance brought to light by this analysis of sheep-work. Those same concepts of 'property' and 'work' which have for millennia been tools in the abuse of both humans and ecosystems open themselves up for radical renegotiation by 'neo-pastoralists' and other food activists. This reconceptualizing work, carried out by those in active solidarity with both farmworkers and small farmers, holds out the promise of forming pragmatic, functioning communities where ecological care is born out of human egalitarianism and joined labor on the land, rather than through the urban-centered coerciveness of federal mandates which seek to 'preserve' Nature by clearing 'wilderness' of those who work there

Brigham-Kanner Property Rights Conference Journal, Volume 2

Interdisciplinary Perspectives on Property October 11-12, 2012 Panel 1: The Impact of a Leading Property Scholar Panel 3: Property Rights in Times of Economic Crisis Panel 4: Property\u27s Moral Dimensionhttps://scholarship.law.wm.edu/propertyjournal/1002/thumbnail.jp

Rethinking Collective Anxieties as a Genre in Post-9/11 Hollywood Movies

Dieses Buch ruft das Genre Kino der (kollektiven) Ängste ins Leben und beschreibt und analysiert dieses Genre anhand beispielhafter Fallstudien nach dem 9/11. Es liefert vielschichtige Filmanalysen zu vier Hollywood-Filmen; Crash (2004), The Brave One (2007), The Company Men (2010) und The Purge: Election Year (2016). Diese Forschung stellt einen Versuch dar, eine abgrenzende Definition dieses Kinos als filmisches (Sub-)Genre zu konzipieren und einen Überblick über die Eigenschaften dieses Kinos zu geben, wobei besonderes Augenmerk auf post-9/11 Filme mit der Angst-Narrativ der inneren Bedrohung gelegt wird. Dieses Genre steht an der Schnittstelle ästhetischer Erkenntnisse, historischer Entwicklungen, kultureller Phänomene und politisch-ideologischer Schattierungen, was die Hybridisierung zu einem der Hauptmerkmale dieser Filmgattung macht. Diese Studie betrachtet das kollektive Angstkino nach dem 9/11 als eine Ansammlung historischer Ängste, von denen einige aus genau dieser Zeit stammen (wie der Patriot Act und die ständigen Alarmstufen Rot), während andere auf frühere Epochen der US-Geschichte zurückgehen (wie die Ankunft der ersten europäischen Siedler in einer unbekannten feindlichen Umgebung, die Hexenjagd in Salem, der Rote Schrecken, die Bürgerrechtsbewegung und die satanische Panik). Anders gesagt, das Buch untersucht die inneren Assoziationen der Filme mit einer Reihe historischer Ängste von der Gründung Amerikas bis zur Gegenwart. Darüber hinaus geht diese Studie den Echos dieser Ängste nach und beleuchtet ihre Ausdrucksformen und ihre Echos in anderen Filmen, literarischen Werken, Genres und Mythen. Obwohl die untersuchten Ängste oft mit relativ spezifischen Problemen verbunden sind (wie Race-Ängste und Kulturkriege, Kriminalitätsängste und Waffenkultur, Wirtschaftsängste und der Finanzcrash sowie politische Ängste und Wahlparanoia), sind sie immer noch überwiegend, nach Ansicht der Autorin, das Produkt eines halben Jahrhunderts neoliberaler Politik.This book brings 'the cinema of (collective) anxieties' to life as a genre, and it describes and analyzes this genre based on exemplary post-9/11 case studies. Thus, it provides multilayered film analyses of four Hollywood movies; Crash (2004), The Brave One (2007), The Company Men (2010), and The Purge: Election Year (2016). This research constitutes an attempt to conceptualize a demarcating definition of this cinema as a cinematic (sub)genre and to provide an outline of the traits and characteristics of this cinema while paying special attention to the cycle of post-9/11 movies depicting the fear narrative of internal threat. This genre stands at a junction of aesthetic realizations, historical developments, cultural phenomena, and political-ideological shades, which makes hybridization one of the leading features of this cinematic genre. This study approaches the post-9/11 collective anxiety cinema as an accumulation of historical anxieties, some of which stem from this very period (such as the Patriot Act and the constant Red Alerts), while others date back to earlier eras in US history (such as the arrival of the first European settlers in an unknown hostile environment, the Salem Witch Hunt, the Red Scare, the civil rights movement, and the Satanic panic). In other words, the book explores the films' inner associations with bundles of historical anxieties from the inception of America until the current era. Furthermore, this study traces the echoes of these anxieties and highlights their forms of expression and their echoes in other movies, literary works, genres, and myths. Although the examined anxieties are often tied to relatively specific problems (like racial anxieties and culture wars; crime anxieties and gun culture; economic anxieties and the financial crash; political anxiety and election paranoia), they are still largely, in the author's view, the product of half a century of neoliberal policies

Indigenous Knowledge Production

Despite many scholars noting the interdisciplinary approach of Aboriginal knowledge production as a methodology within a broad range of subjects – including quantum mathematics, biodiversity, sociology and the humanities - the academic study of Indigenous knowledge and people is struggling to become interdisciplinary in its approach and move beyond its current label of ‘Indigenous Studies’. Indigenous Knowledge Production specifically demonstrates the use of autobiographical ethnicity as a methodological approach, where the writer draws on lived experience and ethnic background towards creative and academic writing. Indeed, in this insightful volume, Marcus Woolombi Waters investigates the historical connection and continuity that have led to the present state of hostility witnessed in race relations around the world; seeking to further one’s understanding of the motives and methods that have led to a rise in white supremacy associated with ultra-conservatism. Above all, Indigenous Knowledge Production aims to deconstruct the cultural lens applied within the West which denies the true reflection of Aboriginal and Black consciousness, and leads to the open hostility witnessed across the world. This monograph will appeal to undergraduate and postgraduate students, as well as postdoctoral researchers, interested in fields such as Sociology of Knowledge, Anthropology, Cultural Studies, Ethnography and Methodology

Indigenous Knowledge Production

Despite many scholars noting the interdisciplinary approach of Aboriginal knowledge production as a methodology within a broad range of subjects – including quantum mathematics, biodiversity, sociology and the humanities - the academic study of Indigenous knowledge and people is struggling to become interdisciplinary in its approach and move beyond its current label of ‘Indigenous Studies’. Indigenous Knowledge Production specifically demonstrates the use of autobiographical ethnicity as a methodological approach, where the writer draws on lived experience and ethnic background towards creative and academic writing. Indeed, in this insightful volume, Marcus Woolombi Waters investigates the historical connection and continuity that have led to the present state of hostility witnessed in race relations around the world; seeking to further one’s understanding of the motives and methods that have led to a rise in white supremacy associated with ultra-conservatism. Above all, Indigenous Knowledge Production aims to deconstruct the cultural lens applied within the West which denies the true reflection of Aboriginal and Black consciousness, and leads to the open hostility witnessed across the world. This monograph will appeal to undergraduate and postgraduate students, as well as postdoctoral researchers, interested in fields such as Sociology of Knowledge, Anthropology, Cultural Studies, Ethnography and Methodology

Neodomestic American fiction

(print) xiii, 246 p. ; 24 cm.Item embargoed for five year

Neodomestic American fiction

(print) xiii, 246 p. ; 24 cm.Item embargoed for five year

The Adirondack Chronology

The Adirondack Chronology is intended to be a useful resource for researchers and others interested in the Adirondacks and Adirondack history.https://digitalworks.union.edu/arlpublications/1000/thumbnail.jp