The Cowl - v.27 - Special Edition - Sep, 1974

The Cowl - student newspaper of Providence College. Volume 27, Special Edition - September, 1974. 2 pages. Note:: This issue was printed without a specified calendar day. Note: The volume number printed on the banner page of this issue (XXVII) duplicates the volume number for 1964-65 academic year

SJSU: Diversity University

‘San Jose State: Diversity University’ was written and designed to be a series of conversations with people who have been a part of the fabric of San Jose State. The narrative includes reflections of how they came to San Jose State, and what it was like at the time that they were, and have been here.https://scholarworks.sjsu.edu/history/1001/thumbnail.jp

Typologies of Black Male Sensitivity in R&B and Hip Hop

A qualitative content analysis was conducted on the lyrics of 79 R&B and Hip Hop songs from 1956-2013 to identify the ways that these Black male artists expressed sensitivity. The songs were determined by Billboard Chart Research Services, and Phenomenology provided the theoretical foundation on which the themes were identified. Qualitative analysis of the lyrics revealed Black male sensitivity in R&B and Hip Hop to be based on the following four typologies: (a) Private Sensitivity; (b) Partnered Sensitivity; (c) Perceptive Sensitivity; and (d) Public Sensitivity. Private Sensitivity occurred when the Black male is alone; feels lonely; disguises or hides his tears from his romantic partner or others; and expresses a determination to not cry and/or continue crying. Partnered Sensitivity occurred when the Black male encourages and/or connects with his romantic partner, other men, and/or members of the Black community through crying. Perceptive Sensitivity was demonstrated when Black men acknowledge the tears shed by others, and shed tears themselves while being conscious of society\u27s expectation that men suppress emotion and/or refrain from crying. Public Sensitivity was exemplified when the Black male cries publicly and verbally expresses that he does not care what others think of him. Qualitative examples are provided to support each of the aforementioned themes

Encounter, Encounter Groups and the Practicing Physician

Father McEniry explores the various stages of encounter groups and explains the participation process. Physicians who question the value of the movement for their patients will find McEniry\u27s criteria for participation helpful