Saying Hello World with GROOVE - A Solution to the TTC 2011 Instructive Case

This report presents a solution to the Hello World case study of TTC 2011 using GROOVE. We provide and explain the grammar that we used to solve the case study. Every requested question of the case study was solved by a single rule application.Comment: In Proceedings TTC 2011, arXiv:1111.440

Hot Licks and Rhetoric: Collecting, Community, and Disruptive Literacies

This ethnographic dissertation investigates the activities and tactical technical communications (TTC) of underground music collectors. Through this it explores the concepts of community and institution that compositionists and technical writing scholars use as ways to address social influences on writing, but which fail to explain how these milieus influence the writers and their genres. Collectors of Recordings of Independent Origin (ROIOs), through the use of increasingly disruptive technologies, moved from passive listeners to active producers of music for sharing freely, garnering opposition from the music industry as their activities moved online. This study views the relationship between the music industry, ROIO collectors, and bootleggers through an activity theory lens and applies rhetorical genre analysis to collectors’ voluntary, colloquially written, but highly technical documentation. These methods, coupled with surveys of ROIO collectors, creators, and site administrators, reveal high interactivity and cooperation between these seemingly oppositional groups. By focusing away from social contexts and toward the literacies employed within them and the purposes to which these literacies are applied, this study suggests that the way in which technologies disrupt societies and organizations is analogous to the way in which social contexts influence writing and genre. These findings allow for a more literacy-connected way of seeing institution and a purpose-driven view of community that return analytical focus to writers and the purposes for which write. In turn, these ideas allow us to view tactics, currently viewed in TTC scholarship as opposition to institutional preferences or strategies, in terms of both multiperspectivity of an activity system’s object and the available literacies employed for the writer’s purposes

Black British Theatre: A Transnational Perspective

This thesis examines post-war black British theatre through a transnational lens. It argues that the hitherto prioritization of a national paradigm in discussions of black British theatre is not sufficiently complex to chart the historical processes that have shaped it and the multiple spatial, cultural, and political contexts in which it has been generated. This thesis finds that a transnational optic exposes a network of connections – physical, ideological and psychic – between blacks in Britain and other global black communities which have shaped and transformed the lives of Britain’s black communities and their cultural production. The thesis is divided into three chapters: the USA (chapter 1), the Caribbean (chapter 2), and Africa (chapter 3). Each chapter represents a specific geo-cultural-political space with which black British theatre has an important relationship. Each chapter follows the same broad structure: the first half of the chapter establishes a particular transnational process and mode of analysis which frames the ensuing historical discussion; the second half is devoted to an analysis of two contemporary black British dramatists. The USA chapter examines black British theatre through the lens of Americanization and Black Power. The first half traces the influence of black America on black British theatre’s formation, organization and expression in the post-war period. The second half examines works by Kwame Kwei-Armah and Mojisola Adebayo. The Caribbean chapter applies the process and theory of creolization to a discussion of the rise and consolidation of Caribbean culture in black British theatre. The chosen case studies for this chapter are Roy Williams and Bola Agbaje. Finally, the African chapter discusses the recent flux of immigrants from Africa since the 1990s and, using the concept of diaspora as an analytic model, explores the impact this has had on black British theatre. The second half focuses on works by Inua Ellams and debbie tucker green. Dividing the thesis into the spaces of the USA, the Caribbean and Africa allows one to filter and track the origination and circulations of particular sets of ideas, practices and / or people. The divisions reiterate that I am looking at complex heterogeneous material informed by multiple strands of influence. Nevertheless, connections between the chapters emerge, which illustrate historically embedded circuits of influence and exchange that have routinely transgressed national borders. Taken as a whole, the thesis supports the idea that black British theatre not only merits a transnational approach, but is, in fact, a transnational practice in itself.AHR

Bowdoin Orient v.134, no.1-24 (2004-2005)

https://digitalcommons.bowdoin.edu/bowdoinorient-2000s/1005/thumbnail.jp