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This article examines aspects related to the dystopic consumption and production of the musical and performance art form known as black metal. Steeped in anti-Christian motifs, surrounded by a history of violence and brutal imagery, black metal is an extreme metal art form that has been growing steadily in popularity throughout Europe, South America, and the United States. We first examine black metal culture through the eyes of both artists and consumers, using mixed qualitative methodologies. Thereafter, we derive specific theoretical interpretations from the black metal subculture that are predicated on the emerging themes of signification, identity transformation, xenophobia, and a reconstructed mythology that all point to what we present as a dystopian consumption model. The model demonstrates how dystopia, in context, is at the heart of the symbiotic relationship between consumers and producers and is encapsulated by a specific set of processes and overarching conditions. Implications and relationships to utopian models are discussed.

Evaluation culture runs the risk of over rationalisation. In order to evaluate programs, educational systems as well as the reforms themselves, experts require these to show objectives that are explicit, clear and stable and to hold fast to these objectives. On the other hand, the sociological approach favored by the organisations and the school systems suggests that the goals should remain vague enough to be acceptable in a pluralistic society, that the decisions leading to reforms should integrate the contradictions of the systems and of it's limited rational and finally that the final evaluation of reforms usually occurs when these are almost forgotten. The only avenue relative to programs, pioneered by Scriven, is to do a formative observation of these school reforms, by first focusing most of the attention to teaching practices and to learning conditions rather than to measurable contents acquired by the learners. La culture de l’évaluation court le risque d’un excès de rationalisme. Pour évaluer les programmes, les systèmes éducatifs, les réformes, les experts les somment d’afficher des objectifs explicites, univoques et stables et de s’y tenir. Or, l’approche sociologique des organisations et des systèmes d’enseignement suggère que leurs finalités doivent rester assez vagues pour être acceptables dans une société pluraliste, que les décisions qui conduisent aux réformes participent des contradictions du système et de sa rationalité limitées, et enfin que l’évaluation finale des réformes survient, en général, lorsqu’elles sont presque oubliées. La seule voie, ouverte par Scriven à propos des programmes, est de pratiquer une observation formative des réformes scolaires, en accordant dans l’immédiat davantage d’attention aux pratiques d’enseignement et aux conditions d’apprentissage qu’aux acquis mesurables des élèves.

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In keeping with recent contributions to the debate over the "nineteenth century revolution in government", this article proposes methodological considerations for the identification and enumeration of servants of the state in the United Canadas. After an examination of difficulties presented by the use of official source materials, the article highlights the methodological limitations of a bureaucratic model of state power. Inscrit dans le débat sur la « nineteenth century revolution in government », cet article propose des considérations méthodologiques pour identifier et dénombrer le personnel de l'État au Canada-Uni. Après avoir relevé les embûches des sources officielles, l'article souligne les limites méthodologiques du modèle bureaucratique du pouvoir de l'État.

In his Geschichte der Sklaverei in den Vereinigten Staaten von Amerika (1860), Friedrich Kapp drew on a German concept of a clash between Germanic and Romanic civilisations to explain the American conflict between North and South. Kapp responded to an analogous ideology propagated by Southerners that divided the US into an Anglo-Saxon North and Norman South. In doing so, Kapp demonstrated a unique synthesis of German and American thought that set his response to the South apart from that of Anglo-American anti-slavery thinkers. More importantly, by applying the clash of civilisations in a transatlantic way, Kapp universalised and strengthened the concept for its eventual later application again in Germany. In seinem Werk Geschichte der Sklaverei in den Vereinigten Staaten von Amerika (1860) griff Friedrich Kapp auf ein deutsches Konzept von einem Kampf des germanischen und romanischen Geistes zuruck, um den amerikanischen Sklavenkonflikt zwischen Nord und Sud zu erleuchten. Dies war seine Antwort auf eine vergleichbare, im amerikanischen Suden verbreitete Ideologie, die die USA in einen angelsachsischen Norden und einen normannischen Suden teilte. Kapps Antwort auf die sudlandischen Rebellen stellt eine Synthese der deutschen und der amerikanischen Denkweisen dar, die zugleich einen Gegensatz zur Reaktion der anglo-amerikanischen Figuren der Antisklavereibewegung bildete. Noch wichtiger ist, dass Kapps transatlantische Anwendung des Konzepts eines Zivilisationsstreites in der Folge universalisiert und verstarkt wurde: die Idee trat schlieslich auch im deutschen Kontext wieder auf.

This article charts how movies were integrated into the existing popular print culture of weekend newspapers in North America between 1911 and 1915. Neither the movie theatre nor the newspaper should be given priority as the primary site of cinema culture. The practice of reading a newspaper’s film page would be incomplete without a trip to join the mass audience at a movie theatre; conversely, a moviegoer’s pleasure could be whetted by the print supplement. Early, isolated experiments in metropolitan newspapers led to syndicates offering film pages for reproduction in small town papers. With the proliferation of moving picture publicity in newspapers throughout 1913, film studios began to collaborate with newspaper syndicates on a continental scale. Movie stories appeared in daily and weekly forms in various newspapers chains, well beyond the familiar ‘serial queen’ fiction tie-in. A subscription to the newspaper could become a commitment to engage with the mass market for movies. Insofar as a public is ...

Cet article présente, dans les grandes lignes, le système de notation utilisé par Helmut Lachenmann dans Pression pour spécifier les actions que doit accomplir l’interprète sur les différentes parties du violoncelle (cordes, table d’harmonie, chevalet, cordier) mais aussi sur l’archet. Après avoir décrit succinctement les principales différences entre les deux éditions de l’oeuvre (1972 vs 2012), nous en expliquons cinq passages en montrant systématiquement les deux versions de la partition et en indiquant les minutages correspondant aux enregistrements vidéo de Lauren Radnofsky et David Stromberg. Ainsi le lecteur pourra apprécier la précision et l’évolution du système de notation, visualiser les gestes que réalisent les interprètes tout en suivant la partition et entrer ainsi pleinement dans l’univers sonore profondément inouï de cette oeuvre devenue un « classique » du répertoire pour violoncelle seul. This artical presents, in broad terms, the scoring systems used by Helmut Lachenmann in Pression to indicate the techniques required of the performer in manipulating various elements of the cello (strings, soundboard, bridge, and tailpiece) as well as the bow. After briefly describing the main differences between the two editions of the work (1972 and 2012), we focus on five excerpts, specifying their time cues in video recordings by Lauren Radnofsky and David Stromberg. Thus, score excerpts in hand, the reader can appreciate the precision and development of Lachenmann’s notational system as they observe the performers’ actions, gaining a fuller understanding of the profoundly inventive sonic landscape of this work, which has become a classic of the solo cello repertoire.

One of the most striking differences between the Canadian educational system and the European educational systems is the importance given to oral assessment, particularly in mathematics courses. This thesis studies the views on oral assessment in post-secondary education from mathematics professors’ perspectives. Seven mathematics professors and instructors are interviewed, being asked to explain how they perceive the oral examination, and how they compare the oral exam to the written exam. Four out of seven mathematics professors and instructors were educated in Poland, Romania, Bosnia, and Ukraine, and they are currently teaching mathematics at a university in Canada. The other three professors were educated in Canada, Germany, and the United States, and they are currently teaching at a university in Germany. Five participants had previously experienced oral examination in mathematics while the other two had never been exposed to oral examination in mathematics throughout their schooling. The results show that similar beliefs about mathematics result in different beliefs about mathematics assessment. They suggest that the mathematics professors’ views on oral assessment in mathematics are influenced by their schooling and teaching experiences with mathematics assessment, as well as the socio-cultural and the institutionalized mathematics assessment norms that exist within the teaching institution.