Browse Results For:
Le défi de la gestion intégrée
L’approche de la gestion intégrée des zones côtières est apparue en opposition à l’approche unisectorielle de la gestion des ressources afin de pallier aux nombreux stress posés sur les écosystèmes par les activités humaines. Près de 700 projets de gestion côtière intégrée sont en cours aujourd’hui dans différents pays du monde. Malgré cela, la dégradation des milieux côtiers n’a pas été freinée. Elle se poursuit même à un rythme alarmant. Il y a donc urgence de trouver des approches de gestion qui proposent des solutions viables.Dans la foulée de la dynamique société et nature et des relations environnement et sociétés, il a été montré que les contextes culturels et les savoirs écologiques locaux ont une influence sur les demandes des communautés pour des politiques environnementales de gestion participative et inclusive des zones côtières du Golfe du Saint-Laurent. L’objectif principal de ce livre est d’élargir l’aire d’étude aux territoires européens et africains, voire des milieux insulaires d’outremer comme la Réunion et la Martinique, afin de susciter une réflexion sur le développement durable du littoral.
Movement, Musidora, and the Crime Serials of Louis Feuillade
The crime serials by French filmmaker Louis Feuillade provide a unique point of departure for film studies, presenting modes rarely examined within early cinematic paradigms. Made during 1913 to 1920, the series of six films share not only a consistency of narrative structure and style but also a progressive revelation of the criminal threat—a dislocation of both cinematic and ideological subjectivity—as it shifts realms of social, cultural, and aesthetic disturbance. Feuillade’s work raises significant questions of cinema authorship, film history, and film aesthetics, all of which are examined in Vicki Callahan’s groundbreaking work Zones of Anxiety, the first study to address the crime serials of Louis Feuillade from a feminist perspective. Zones of Anxiety merges cultural history and feminist film theory, arguing for a different kind of film history, a “poetic history” that is shaped by the little-examined cinematic mode of “uncertainty.” Often obscured by film technique and film historians, this quality of uncertainty endemic to the cinema comes in part from the formal structures of repetition and recursion found in Feuillade’s serials. However, Callahan argues that uncertainty is also found in the “poetic body” of the actress Musidora who is featured in two of the serials. It is the mobility of the Musidora figure—socially, culturally, sexually, and textually—that makes her a powerful image and also a place to view the historical blind spots of film studies and feminist studies with regard to questions of race, class, and sexuality. Callahan’s substantial focus on archival research builds a foundation for a host of compelling arguments for a new feminist history of film. Other studies have touched on the issue of gender in early cinema, though until now neither Feuillade’s work nor French silent film have been examined in light of feminist film theory and history. Zones of Anxiety opens up the possibility of alternate readings in film studies, illuminating our understanding of subjectivity and situating a spectatorship that acknowledges social and cultural differences.
Literature, Postcolonialism, and the Nation
Attempts by writers and intellectuals in former colonies to create unique national cultures are often thwarted by a context of global modernity, which discourages particularity and uniqueness. In describing unstable social and political cultures, such "third-world intellectuals" often find themselves torn between the competing literary requirements of the "local" culture of the colony and the cosmopolitan, "world" culture introduced by Western civilization. In Zones of Instability, Imre Szeman examines the complex relationship between literature and politics by exploring the production of nationalist literature in the former British empire. Taking as his case studies the regions of the British Caribbean, Nigeria, and Canada, Szeman analyzes the work of authors for whom the idea of the"nation" and literature are inexorably entwined, such as Chinua Achebe, Wole Soyinka, C.L.R. James, Frantz Fanon, and V.S. Naipaul. Szeman focuses on literature created in the two decades after World War II, decades in which the future prospects for many colonies went from extreme political optimism to extreme political disappointment. He finds that the "nation" can be read as that space in which literature is thought to be able to conjoin two things that history has separated—the writer and the people.
Lynn Powell’s earlier work has deservedly brought her prestigious prizes and a loyal following. Now, in The Zones of Paradise, Powell extends her range and raises her language to a new intensity. These poems travel from Australia to New Mexico, from the Garden of Eden to her own back yard in Ohio, and everywhere they tremble with the restless exploration of desire, thwarted or fulfilled: “my heart another / Magellan of memory and want.” The Zones of Paradise may offer a vision of what it is like to live in “the fallout of The Fall,” but Powell’s lines dazzle with their sensuous intelligence and vivid wit, introducing an undaunted Eve who can announce, “I want to take April as my personal savior.” In poems that embrace both the risks and pleasures of experience, Lynn Powell celebrates the only world we know.
In November, 1781, the captain of the slave ship Zong ordered that some 150 Africans be murdered by drowning so that the ship's owners could collect insurance monies. Relying entirely on the words of the legal decision Gregson v. Gilbert--the only extant public document related to the massacre of these African slaves--Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten.
The author combines the unique multidisciplinary backgrounds of an academic, a political scientist, a lawyer and an urban planner to provide the reader with a novel and challenging discussion about the economic nature of land use zoning. Besides establishing a coherent framework for zoning based on the Coasian property rights paradigm, the book offers the reader several up-to-date case studies, including the government role in assigning exclusive property rights via marine fish culture zoning in Hong Kong.
White Flight and the Animal Ghetto
Why do we feel bad at the zoo? In a fascinating counterhistory of American zoos in the 1960s and 1970s, Lisa Uddin revisits the familiar narrative of zoo reform, from naked cages to more naturalistic enclosures. She argues that reform belongs to the story of cities and feelings toward many of their human inhabitants.
In Zoo Renewal, Uddin demonstrates how efforts to make the zoo more natural and a haven for particular species reflected white fears about the American city—and, pointedly, how the shame many visitors felt in observing confined animals drew on broader anxieties about race and urban life. Examining the campaign against cages, renovations at the National Zoo in Washington, D.C. and the San Diego Zoo, and the cases of a rare female white Bengal tiger and a collection of southern white rhinoceroses, Uddin unpacks episodes that challenge assumptions that zoos are about other worlds and other creatures and expand the history of U.S. urbanism.
Uddin shows how the drive to protect endangered species and to ensure larger, safer zoos was shaped by struggles over urban decay, suburban growth, and the dilemmas of postwar American whiteness. In so doing, Zoo Renewal ultimately reveals how feeling bad, or good, at the zoo is connected to our feelings about American cities and their residents.
The Zoology of Tapeworms was first published in 1952. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Leaders in helminthology have long recognized the need for such a work as this—a comprehensive study of tapeworms. This definitive treatise describes the tapeworms of the world—their gross and microscopic anatomy, their physiology, life cycles, and relationships to hosts, the theories of origin and evolution, and the various systems of classification that have been applied to tapeworms.
Detailed, systematic descriptions and keys for the identification of all known genera of the world and species of North America are provided. Emphasis on the theoretical significance of various aspects of tapeworm zoology is balanced by a wealth of detailed description. A bibliography up to 1950 is appended.
A review of the literature on each topic is incorporated in the discussions. Starting with a few fragments of information a century or more ago, the literature on the subject of tapeworms has appeared in a wide range of journals and books published in at least five languages. Many of the older publications are, for practical purposes, unavailable, and a number of the more recent journals are difficult to obtain. Therefore, the consolidation of this large body of scattered literature in a single volume will be of value to scientists in many fields.
In addition to filling a basic need for helminthologists, this book should serve as a reference work for parasitologists, zoologists, ecologists, clinicians, medical research workers, and students and workers in various fields of biology.
There are 419 text illustrations from drawings of species by the authors.
A Guide to Their Identification and Ecology
Zooplankton play a vital role in the ecology of estuaries and coastal waters. In this revised edition of Johnson and Allen's instant classic, we are offered a guided tour of zooplankton, including early developmental stages of familiar shrimps, crabs, and fishes. Zooplankton of the Atlantic and Gulf Coasts details the behavior, morphology, and coloration of these tiny aquatic animals. Precise descriptions and labeled illustrations of hundreds of the most commonly encountered species provide readers with the best source available for identifying zooplankton. Inside the second edition • an updated introduction that orients readers to the diversity, habitats, environmental responses, collection, history, and ecological roles of zooplankton • descriptions of life cycles • illustrations (including 88 new drawings) that identify 340 + taxa and life stages • range, habits, and ecology for each entry located directly opposite the illustration • appendixes with information on collection and observation techniques and suggested readings and citations for more than 1,300 scientific articles and books
The Enigmatic Career of an Extreme Style
ZOOT SUIT (n.): the ultimate in clothes. The only totally and truly American civilian suit.
—Cab Calloway, The Hepster's Dictionary, 1944
Before the fashion statements of hippies, punks, or hip-hop, there was the zoot suit, a striking urban look of the World War II era that captivated the imagination. Created by poor African American men and obscure tailors, the "drape shape" was embraced by Mexican American pachucos, working-class youth, entertainers, and swing dancers, yet condemned by the U.S. government as wasteful and unpatriotic in a time of war. The fashion became notorious when it appeared to trigger violence and disorder in Los Angeles in 1943—events forever known as the "zoot suit riot." In its wake, social scientists, psychiatrists, journalists, and politicians all tried to explain the riddle of the zoot suit, transforming it into a multifaceted symbol: to some, a sign of social deviance and psychological disturbance, to others, a gesture of resistance against racial prejudice and discrimination. As controversy swirled at home, young men in other places—French zazous, South African tsotsi, Trinidadian saga boys, and Russian stiliagi—made the American zoot suit their own.
In Zoot Suit, historian Kathy Peiss explores this extreme fashion and its mysterious career during World War II and after, as it spread from Harlem across the United States and around the world. She traces the unfolding history of this style and its importance to the youth who adopted it as their uniform, and at the same time considers the way public figures, experts, political activists, and historians have interpreted it. This outré style was a turning point in the way we understand the meaning of clothing as an expression of social conditions and power relations. Zoot Suit offers a new perspective on youth culture and the politics of style, tracing the seam between fashion and social action.