Journal articles on the topic 'Rapport Cd'

Les mines qui sont abandonnées avec leurs installations minières et métallurgiques constituent un exemple représentatif du transfert des éléments métalliques dans l’écosystème. Au Maroc, le site minier d’Aouli est drainé par l’oued Moulouya (l’unique oued de la région) d’une longueur de 520 km avec un bassin versant d’une superficie d’environ 50.000 km2. A travers ce travail, nous avons déterminé un certain nombre de paramètres chimiques afin de voir la destinée de certains métaux (Pb, Zn, Cu et Cd) issue de ce district minier abandonné. Les résultats ont montré que dans l’eau, dans les matières en suspension et dans les sédiments, il y a une contamination métallique due à la mine d’Aouli situé au niveau de la Haute Moulouya ; tandis qu’au niveau de la Basse Moulouya, l’affluent oued Za contribue à cette contamination par un apport anthropique qui résulte en une augmentation des teneurs en cadmium, plomb et zinc. L’effet de cette contamination externe est également mis en évidence par les caractères géochimiques d’une station témoin situé en amont de l’oued loin de toute influence minière. L’examen des rapports des différents éléments (Cd, Pb et Cu) par rapport au Zn dans les sédiments montre qu’ils sont préservés dans les sédiments en aval (Basse Moulouya). Par contre, au niveau de la Haute et la Moyenne Moulouya, on assiste à une diminution des rapports Cu/Zn et Cd/Zn et une augmentation du rapport Pb/Zn au niveau de la station S3; ce qui reflète l’effet de la mine d’Aouli. L’augmentation des rapports au niveau des stations S1 et S4 sont en relation avec la présence d’algues et qui jouent un rôle important dans la modification des teneurs en Zn dans les sédiments. L’étude de ces rapports a permis de confirmer que dans notre cas aucun effet notable dû aux apports des affluents n’est mis en évidence sur le contrôle des concentrations des éléments dans les sédiments de l’oued Moulouya. Cette particularité permet de suggérer que dans la cas de l’oued Moulouya la dilution physique est plus importante que la mobilisation chimique et permet d’expliquer le déclin en aval des concentrations des éléments métalliques.

Corporate bodies have come to the realisation that establishing a strong rapport with surrounding communities is vital for the growth, success and survival of their organisations. This article delves into Corporate Social Responsibility (CSR) activities of business organisations operating in Ghana. Specifically, it looks at how CSR initiatives of sampled companies contribute to community development (CD). To attain this aim, both quantitative and qualitative research approaches were adopted. The purposive sampling technique was used to select companies operating in three main sectors of the economy. Secondary data sources such as companies’ periodicals, annual reports, websites, newspapers and publications by government agencies were used. The findings of the study reveal that the selected companies engaged in various forms of CSR activities that contribute to CD. There general focus of these companies is on education, health and people empowerment. It is recommended that stakeholders’ engagement needs to be fully practised in the course of CSR implementation. Keywords: Community, community development, corporate social responsibility.

<p style="text-align: justify;">L'emploi de certaines préparations pectolytiques sur moût peut conduire à une teneur en vinyl-phénols élevée à l'origine d'odeurs et de goûts indésirables dans les vins blancs. Nous montrons dans ce travail que de nombreuses préparations enzymatiques issus de <em>Aspergillus niger</em> contiennent une activité du type cinnamyl-estérase (CE) capable d'hydrolyser les esters tartriques des acides hydroxycinnamiques du moût au cours de la phase pré-fermentaire, en libérant des acides trans p-coumarique et férulique. Sous l'action de l'activité cinnamate-décarboxylase (CD) de<em> Saccharomyces cerevisae</em>, ces acides phénols sont transformés en vinyl-phénols correspondants au cours de la fermentation alcoolique (vinyl-4-phénol et vinyl-4-gaïacol). Le choix d'une souche de levure à faible activité CD (ZYMAFLORE VL 1) permet d'éviter l'apparition d'un caractère phénolé désagréable. Par rapport à une préparation commerciale brute, l'utilisation d'une préparation expérimentale à faible activité CE (NOVO NORDISK FERMENT Ltd) limite très significativement la synthèse de vinyl-phénols des vins sans affecter le potentiel clarifiant de la préparation enzymatique.</p>

Cet article présente les résultats d’une recherche expérimentale visant à étudier la dégradation de la surface des pales d’éoliennes situées dans des zones arides causée par les impacts de particules de sable et l’influence qui en résulte sur leur performance énergétique. Les essais sont effectués dans une sableuse à érosion puis dans la soufflerie pour la pale en fibre de verre / polyester non revêtue sous différents angles et durées d’impact. Les forces aérodynamiques sur les profiles NACA 4412 sont déterminées expérimentalement. Tous les profiles (AR = 0,571) sont testés dans une soufflerie à une vitesse de l’air de 10 m/s au nombre de Reynolds 6.5×105. Les résultats montrent les différences de comportement détectées pour les échantillons avec T = 160s, T = 240s et T = 340s (quand Ra augmente) en les comparant avec l’échantillon lisse (T = 0s, Ra = 0,94). Les coefficients de force (CL et CD) montrent des changements significatifs qui conduisent à une diminution du rapport portance-traînée et donc une perte de performance notable.

Selon les recommandations actuelles, les traitements de choix des troubles alimentaires compulsifs type boulimie et hyperphagie boulimique reposent sur plusieurs aspects. Tout d’abord, une prise en charge hygiéno-diététique ayant pour objectif de restructurer les prises alimentaires, modifier les comportements alimentaires en dehors des crises, tester les croyances erronées vis-à-vis des aliments, aider à la gestion des vomissements… Elles sont le plus souvent associées à une prise en charge psychothérapique et/ou médicamenteuse. La psychothérapie de choix est la thérapie cognitivo-comportementale (TCC). Compte tenu de leurs cibles thérapeutiques les TCC sont plutôt à réserver à des patientes euthymiques, ayant de fortes préoccupations pour la minceur. L’alternative psychothérapique peuvent être les thérapies interpersonnelles et éventuellement les thérapies psychanalytiques dans certaines situations. Le traitement médicamenteux de première ligne est la fluoxetine à dose anti-compulsive (60 mg/j). D’autres prises en charge médicamenteuses sont proposées (epitomax, naltrexone…) mais doivent être réservées à des deuxièmes lignes après avis spécialisé. Quelle que soit la prise en charge retenue, il est fondamental dans le cadre de l’hyperphagie boulimique d’expliquer aux patients que ces prises en charge n’auront pas d’effets amaigrissants En complément de ces prises en charge, des techniques de self-help devraient être systématiquement associées. Ces techniques consistent en l’utilisation de différents outils (livres, des sites Internet, CD…) qui seront utilisé par le patient seul ou accompagné par le thérapeute dans le but d’augmenter ses connaissances par rapport sa problématique et lui apporter des compétences et des outils pour diminuer les symptômes voir les faire disparaître. Ces techniques simples et pouvant être facilement utilisées par tous ont été validées scientifiquement dans plus d’une trentaine d’études y compris en population française. Certains de ces supports de self-help, actuellement disponibles en France, seront présentés.

RésuméUn profil d’altération développé sur chloritoschistes de la zone de Bengbis (Sud Cameroun) a été choisi pour quantifier l’intensité de l’altération et comprendre le comportement des terres rares. Les valeurs de l’indice d’altération mafique combinées aux diagrammes ternaires du système Al – Fe – Mg – Ca – Na – K montrent que l’hydrolyse des feldspaths est proportionnelle à celle des minéraux mafiques (pertes en Mg), bien que l’hydrolyse des plagioclases (Ca, Na) soit plus intense que celle des minéraux ferromagnésiens. Les matériaux d’altération étudiés sont localisés dans le domaine de la kaolinitisation, à l’exception des matériaux nodulaires qui sont légèrement latritiss. La modification du comportement du Mg dans le milieu d’altération s’exprime par les faibles valeurs du rapport Ca/Mg. Le potassium et Be sont lessivés dans le sol en association avec Mg. L’ordre de mobilité des éléments dans l’environnement d’altération étudié est : Ca ≈ Na > Fe2+ ≈ Sr > Mg ≈ Co > Mn > Li > Ba > Rb > P > Cd > Ni > Si > Be > K > Sn. Les enrichissements en K, Cs et Be dans les saprolites sont liés à la présence d’illite. L’accumulation en Cs dans le sol est due à la présence de kaolinite. Le système le plus stable dans le milieu d’altération étudié est : Hf – Nb – W – U. Les saprolites, les matériaux nodulaires et les matériaux argileux meubles superficiels sont appauvris en terres rares par rapport à la roche mère. Les terres rares présentent trois types de comportement le long du profil d’altération, comme l’indiquent les valeurs du rapport (La/Yb)N ((La/Yb)N < 1, (La/Yb)N ~ 1 et (La/Yb)N > 1). Les terres rares légères et les terres rares moyennes s’accumulent dans les matériaux d’altération pour des valeurs de pH comprises entre 5,5 et 5,6 et pour celles de Eh variant entre +60 et +70mV. L’ordre de mobilité de ces éléments dans ces matériaux est le suivant : terres rares moyennes > terres rares lourdes terres rares légères. Ce fait est contre-intuitif, car les terres lourdes sont plus mobiles dans les environnemenst supergènes que les terres rares légères. L’adsorption ou la co-précipitation de ces terres rares sur les oxydes de fer peut principalement contrôler la concentration de ces éléments dans le profil d’altération. Les faibles anomalies en Ce dans les matériaux d’altération de la zone de Bengbis, dues au changement de Ce3+ en Ce4+, sont probablement dues à la présence de faibles quantités de rhabdophane. Les matériaux d’altération étudiés présentent un fractionnement en Gd (Gd/Gd* ~0.70 – 0.84) dues à une intense lixiviation. Ce fait a rarement été signalé dans un environnement d’altération latéritique. Il semble qu’une partie de la distribution et de la remobilisation du gadolinium soit contrôlée par des minéraux mafiques dans les matériaux d’altération étudiés. La distribution et la mobilisation des terres rares sont donc contrôlées par (1) l’adsorption ou la coprécipitation dans les minéraux mafiques et Fe, (2) et légèrement par les minéraux contenant des terres rares tels que le rhabdophane, rencontrés dans les matériaux d’altération étudiés. Abstract An in situ weathering profile overlying chlorite schists in southern Cameroon was chosen to quantify chemical weathering intensity and to study the behaviour of rare earth elements (REE). Mafic index alteration values combined with the ternary diagrams of the Al – Fe – Mg – Ca – Na – K system show that the hydrolysis of feldspars is proportional to that of mafic minerals (losses in Mg), although the hydrolysis of the plagioclases (Ca, Na) is more intense than that of ferromagnesian minerals. The studied materials are localised in the domain of kaolinitisation, except for nodular materials which are slightly lateritised. The change in the behaviour of Mg in the weathering environment is expressed by the low values in Ca/Mg ratio. Potassium and Be are leached in the soil in association with Mg. The order of mobility of the elements in the weathering environment is: Ca ≈ Na > Fe2+ ≈ Sr > Mg ≈ Co > Mn > Li > Ba > Rb > P > Cd > Ni > Si > Be > K > Sn. The enrichments in K, Cs and Be in saprolites are linked to the presence of illite. Cesium accumulation in the soil is due to the presence of kaolinite. The most stable system is: Hf – Nb – W – U. Saprolites, nodular and loose clayey materials are depleted in REE relative to the parent rock. REE exhibit three types of behaviour along the Bengbis profile like indicated by (La/Yb)N ratio values ((La/Yb)N < 1, (La/Yb)N ~ 1 and (La/Yb)N > 1). Light REE and Middle REE accumulate in the weathering materials for pH values ranging between 5.5 and 5.6 and for those of Eh varying between +60 and +70mV. The order of mobility of REE in these horizons is: Middle REE > Heavy REE ≈ Light REE. This fact is counter-intuitive, because Heavy REE are more mobile in supergene environment than Light REE. Adsorption or co-precipitation of LREE onto Fe oxides mainly may control the concentration of these elements in the profile. Weak Ce anomalies in the weathering materials of Bengbis area, due to the change in Ce3+ to Ce4+, are probably due to the presence of low amounts in rhabdophane. The studied weathering materials show a fractionation in Gd (Gd/Gd* ~0.70 – 0.84) due to intense chemical leaching. This fact has been rarely reported in lateritic weathering environment. It appears that, a part of Gd distribution and remobilization is controlled by mafic minerals in the studied weathered materials. REE distribution and mobilization are thus controlled by (1) adsorption or co-precipitation in mafic and Fe minerals, (2) and slightly by REE-bearing minerals such as rhabdophane found in the studied weathering profile.

L'articolo si propone di analizzare l'impatto dell'offerta di prodotti/servizi tradizionalmente estranei alla proposta della GDO del largo consumo - cd "Extra" - sul rapporto insegna-cliente. A questo scopo vengono presentati i risultati emersi da un'indagine campionaria in-store condotta per comprendere il riscontro che questa tipologia di offerta ottiene presso la clientela ed il ritorno che ne puň derivare all'insegna, anche in termini di impatto sul livello complessivo di fedeltÀ comportamentale e conativa. Ne emergono interessanti implicazioni manageriali sia relativamente alla comprensione dei fattori/ leve di marketing su cui agire per raccogliere i principali benefici derivanti dalla nuova proposta, sia in termini di considerazioni competitive in ottica di rivalitÀ inter-type.

Estevão Marques lançou, em 2014, o cd solo Conexão central com oito faixas, que conta com a participação de beatmakers de diferentes partes do Brasil. Apresentamos quatro delas: “O que fazer?”, “Derrubando reis”, “Pesadão” e “Para os que duvidaram”, todas compostas pelo rapper.

Il lavoro analizza il tema del diritto al consenso informato. Si parte con un’analisi generale del “nuovo” concetto di salute, per poi passare a trattare più dettagliatamente del diritto de quo. Ci si sofferma in particolare sulla informazione quale requisito atto a renderlo valido e si affronta il tema del nuovo rapporto medico-paziente; infine, si svolgono delle considerazioni critiche rispetto alla cd. spersonalizzazione di tale relazione medicale. ---------- The work deals with the process of the informed consent. It analyzes the “new” right to health; then, it focalizes its attention on the right to be informed before conducting a healthcare. At the end, it considers the theme of the relationship between the doctor and the patient and investigates the problem of its depersonalization.

Chiamato - in modo in veritŕ inusuale - a risolvere l'impasse sorta a seguito del diniego della Procura distrettuale di Palermo di soddisfare la richiesta della Procura nazionale antimafia di copia degli atti delle indagini relative alla cd. trattativa Stato-mafia, il Csm mostra di non avere dubbi. Il procuratore nazionale ha diritto di ottenere dai procuratori distrettuali copia degli atti d'indagine, al di lŕ dell'esistenza del segreto investigativo, e ciň per la decisiva ragione che, in difetto, non potrebbe esercitare le funzioni di impulso e coordinamento delle indagini che gli competono e, a fortiori, il potere di avocazione per accertata violazione dei doveri di coordinamento. Le cautele di un tempo sono accantonate, i poteri del procuratore nazionale sono ricostruiti nel modo piů ampio anche a dispetto di qualche non trascurabile forzatura, non suscitano piů timore i rischi di una interpretazione "espansionistica" degli stessi. Ma un approfondimento sulle ricadute istituzionali di questo orientamento non sarebbe inutile...

Il presente contributo, muovendo dal rilievo ampiamente condiviso che il sistema di tutela dei diritti umani in ambito europeo fa perno sulla giurisprudenza della Corte Europea dei Diritti dell'Uomo e della Corte di Giustizia, si concentra sull'esame di alcuni aspetti di contesto, sovente lasciati sullo sfondo, ma che appaiono invece essenziali per la stessa comprensione del fenomeno. Si tratta, precisamente, delle modalitŕ di nomina dei giudici, dello stile delle sentenze, dell'esistenza di una regola del precedente e dei modi del suo operare. L'analisi svolge poi alcune considerazioni sul tema dei rapporti tra le due Corti, soprattutto alla luce della adesione dell'Unione alla Convenzione europea a seguito dell'entrata in vigore del cd. Trattato di Lisbona, che riconosce lo stesso valore giuridico dei trattati alla Carta dei diritti fondamentali dell'Unione Europea approvata a Nizza nel 2000 (art. 6 TUE). Alla luce del contesto cosě ricostruito, vengono svolti rilievi critici sulle modalitŕ attraverso cui i giudici italiani si rapportano alla giurisprudenza convenzionale e comunitaria.

Il saggio ripercorre le tappe che portarono alla nascita della Scuola di polizia scientifica (poi Scuola superiore a partire dal 1925), grazie all’opera di Salvatore Ottolenghi. La Scuola, istituita a Roma nel 1902, si proponeva di insegnare sia ai funzionari di pubblica sicurezza che a quelli della polizia giudiziaria un metodo scientifico per assolvere al meglio le proprie funzioni: nell’un caso la prevenzione dei reati, nell’altro fornire all’autorità giudiziaria dati “oggettivi” ai fini dell’accertamento della verità processuale. L’analisi è l’occasione per aprire uno squarcio su un periodo culturalmente vivace e di fideistico entusiasmo verso le cd. scienze ausiliarie (l’antropologia, la psicologia, la medicina legale, la statistica etc.), che irrompono sulla scena del processo penale, grazie anche all’impulso della Scuola positiva. Oggetto di attenzione sarà in particolare l’antropometria, messa a punto da Bertillon, e la dattiloscopia, grazie anche agli studi dell’italiano Gasti. Siamo agli albori della prova scientifica, che allora, come oggi, interroga sul ruolo del giudice, sulla legittimità dell’uso di pratiche tacciate di invasività e violazione dei diritti della persona, sul rapporto tra scienza e diritto e tra prova scientifica e discrezionalità (o libero convincimento) del giudice.

Lo studio, facendo riferimento al modello Job Demands - Job Resources (JD-JR) della teoria della Conservazione delle Risorse (COR) esamina le condizioni di lavoro degli operatori del 118. Nella letteratura attenzione č stata data al rapporto tra burnout e JD-JR dove l'esaurimento emotivo č relato con le JD e la depersonalizzazione con le JR. Gli obiettivi dello studio sono di verificare a) il ruolo che la dimensione organizzativa del 118 ha su burnout, JD e JR; b) se il carico lavorativo percepito puň essere predittivo del burnout e c) quali JD-JR possono predire il burnout. Sono stati esaminati 130 operatori afferenti a due gruppi ad alta e bassa richiesta di lavoro. Le analisi riguardano misure di resilienza (CD-RISC), di stress e burnout (OCS-MBI) e informazioni demografiche. Dai risultati emerge un punteggio di resilienza adeguato per i due gruppi e una peggiore condizione lavorativa per quello ad alta richiesta. Il burnout sembra essere influenzato dalla complessitŕ e quantitŕ di richieste. Il carico di lavoro appare predittivo di esaurimento emotivo e depersonalizzazione, la resilienza ha una influenza solo per la realizzazione personale.

Introduction. Les tumeurs stromales gastro-intestinales sont des tumeurs mésenchymateuses du tube digestif et du mésentère, caractérisées par la présence de mutation activatrice de proto-oncogènes KIT. Leur incidence est faible dans le monde. Au Sénégal, quelques cas ont été rapportés. Objectifs. Définir les facteurs pronostiques et l'évolution des tumeurs stromales digestives à l'hôpital Principal de Dakar. Malades et méthodes. Etude rétrospective de février 2002 à février 2014 ayant inclus tous les malades hospitalisés pour une tumeur stromale digestive diagnostiquée à l’examen anatomo-pathologique et confirmé à l’immunohistochimie. Résultats. Quinze cas ont été colligés. L’âge moyen était de 50 ans, le sex-ratio de 4. Les manifestations cliniques étaient : une masse abdominale douloureuse (n=10), une altération de l’état général (n=12), une hémorragie digestive (n=2). L’endoscopie digestive haute montrait : une tumeur ulcéro-bourgeonnante (n=9), le siège de la tumeur était : le fundus (n=6), la région antro-fundique (n=3), l’antre dans un cas et le deuxième duodénum dans un cas. Les explorations biologiques montraient une anémie dans 15 cas avec un taux moyen d’hémoglobine à 8,3 g/dl. L’examen histologique montrait une prolifération de cellules fusiformes exprimant en immunohistochimie le marqueur CD 34 dans 15 cas et le marqueur CD 117 (n=13). La tumeur était localisée chez 4 patients. On notait des métastases hépatiques (n=9), péritonéales (n=3), ganglionnaires (n=3). Sur le plan thérapeutique, une chirurgie curative a été réalisée dans 4 cas et un traitement médical par Imatinib dans 11 cas. L’évolution était marquée par un décès (n=13). Conclusion. Les tumeurs stromales digestives sont rares. Elles sont de mauvais pronostic car le diagnostic est tardif. La majorité des malades ont pu bénéficier d’un traitement par l’imatinib mésylate qui a permis d’améliorer leur survie.

Abstract: Canadian audiovisual production in film or video, on tape or CD are in danger of deteriorating and, what is available, of becoming inaccessible. This was the conclusion of a Federal Task Force report titled Fading Away in 1995. The problem is all the greater six years later. Apart from the loss of a valuable heritage, the lack of support for the preservation of and access to audiovisual production is detrimental to major research interests in communications and related social sciences. This paper presents a general discussion of the issues involved and a call to action. Résumé: La production canadienne de cinéma, de vidéo, d'enregistrement audio sur ruban et sur disque compact est menacée de détérioration; de plus, les archives sont en voie de devenir inaccessibles. Telle était la conclusion du rapport d'un groupe de travail fédéral en 1995. Six ans plus tard, le problème s'est amplifié. La perte d'un patrimoine précieux mise à part, l'appui insuffisant à la conservation et à la consultation des archives audiovisuelles nuit à la recherche en communication et dans les disciplines connexes des sciences sociales. Cet article examine de façon générale les enjeux de la situation et réclame des actions concrètes pour régler le problème.

Abstract Background The Community for Successful Ageing (ComSA) program has implemented overlapping BioPsychoSocial (BPS) components as part of a Community Development (CD) grassroots and volunteer-led initiative. Implementation of such multi-component programming is influenced by known program characteristics including novelty, complexity and observability as well as related organizational factors. As such, we explored ComSA CD’s implementation from the organizational perspective, seeking to inform program improvements. Methods We conducted four focus groups with program staff, partners and trainers (total N = 21 participants). Findings were analysed using an interpretative approach and synthesized into a line of argument informing lessons learnt. Results An implementation framework was identified. It is guided by considering the influence of known program characteristics across major themes, representing three core implementation stages. These and supporting sub-themes are elaborated in turn: Creating commitment toward the program was challenged by novelty and at times a lack of shared understanding of ComSA CD, particularly relating to the S component. Overall, cohesion within organizational contexts and having a strong rapport with the community (ability to engage) were needed to persuade volunteers and participants to commit to the program. Coordination and resource allocation were influenced by the complexity of interconnecting BPS components - requiring aligning communication between partners and adapting the BPS sequence, given the separated management structure of program trainers. Efficiency of resource utilization was constrained by the ability to pool and match resources given the limited manpower and community partners who worked-in-silo due to a KPI-centric culture. Collaborative program monitoring and appraisal increased observability of the program’s benefits, but depended on partners’ prior commitment. Despite appreciating its holistic BPS programming, dropout rate was used as a way to gauge program success, which has limited interpretability. Occasional uncertainty about the program value contributed to concerns about duplicating existing ageing programs, particularly those related to the B component. Conclusion Lessons learnt for improving BPS programming include (1) eliciting better participants’ buy-in and shared program vision, (2) increasing adaptability of BPS sequence and building a culture of shared values for working together (3) and developing comprehensive monitoring systems for program appraisal.

1. Consiglio di Stato - 15.6.2010 n. 3760 - regolarizzazione ex art. 33 legge 189/2002 - rilascio del permesso di soggiorno - successiva verifica di pregressa espulsione, ostativa alla regolarizzazione - diniego di rinnovo del titolo di soggiorno - mancata valutazione degli elementi nuovi sopravvenuti ed in particolare dei vincoli familiari - violazione dell'art. 8 CEDU - violazione dell'art. 5, co. 5 TU n. 286/98 - illegittimitŕ del diniego; requisiti dell'esercizio dell'autotutela in materia di soggiorno.NOTA di Nazzarena Zorzella, L'autotutela e la rilevanza dei vincoli familiari: oltre il ricongiungimento famigliare.2. Consiglio di Stato 13.9.2010 n. 6566 - permesso di soggiorno - diniego di rinnovo per condanne penali ostative - mancata valutazione dei vincoli familiari - rilevanza anche al di fuori dei presupposti del ricongiungimento familiare - violazione dell'art. 8 CEDU - illegittimitŕ.3. Consiglio di Stato 22.11.2010 n. 8120 - regolarizzazione ex lege 222/2002 - temporaneo allontanamento dall'Italia nelle more del procedimento di regolarizzazione - ammissibilitŕ in via eccezionale.4. Consiglio di Stato Adunanza plenaria 25.2.2011 n. 912 - regolarizzazione ex lege 102/2009 - asserita ostativitŕ delle condanne ex art. 14, co. 5 ter TU n. 286/98 (pregressa espulsione non eseguita) - ricostruzione dei due diversi orientamenti - presa d'atto delle difficoltŕ interpretative - sopravvenuta rilevanza anche della direttiva 2008/115/CE (cd. direttiva rimpatri) - rinvio al Tar per la valutazione del merito.5. Tribunale amministrativo regionale Liguria 21.1.2011 n. 86 - regolarizzazione ex lege 102/2009 - diniego per condanna ex art. 14, co. 5 ter TU n. 286/98 (pregressa espulsione non eseguita) - ostativitŕ non rientrante esattamente nei reati ex art. 380 e 381 c.p.p. - incompatibilitŕ della asserita ostativitŕ anche alla luce delle disposizioni self executing della direttiva 2008/115/CE (cd. direttiva rimpatri).RASSEGNA DI GIURISPRUDENZA6. Consiglio di Stato ord. 10.112010 n. 5134 - regolarizzazione - diniego per pregressa condanna - impugnazione - intervenuta riabilitazione nelle more - decorso, comunque, del quinquennio dalla condanna patteggiata - illegittimitŕ del diniego - accoglimento della sospensiva.7. Tribunale amministrativo regionale Emilia Romagna 23.11.2009 n. 2046 - permesso di soggiorno per famiglia - diniego di rinnovo per asserita insussistenza dei requisiti reddituali in capo al coniuge - mancata verifica delle circostanze sopravvenute (separazione coniugale e inizio di attivitŕ lavorativa) - illegittimitŕ; procedimento di rinnovo del permesso di soggiorno - comunicazione di avviso di rigetto ex art. 10-bis legge 241/90 - mutamento del domicilio rispetto all'istanza - onere di comunicazione in capo allo straniero.8. Tribunale amministrativo regionale Emilia Romagna 15.2.2010 n. 1081 - permesso di soggiorno per lavoro - diniego di rinnovo per paventata insufficienza reddituale - omessa valutazione di elementi reddituali diversi dal lavoro (convivenza con parente, acquisizione di titolo di studio, ecc.) - illegittimitŕ; capacitŕ reddituale rivolta anche al futuro e non alla sola disponibilitŕ attuale; verifica di parametri diversi dall'assegno sociale - elementi nuovi sopravvenuti (nuovo rapporto di lavoro.9. Tribunale amministrativo regionale Campania 27.7.2010 n. 16994 - permesso di soggiorno - diniego di rinnovo per cessazione del rapporto di lavoro dopo un mese dall'inizio - mancata applicazione del diritto all'iscrizione nelle liste di collocamento, ex art. 22, co. 11, TU 286/98 - illegittimitŕ.

1. Consiglio di Stato Ad. Plen. 10.5.2011 n. 7 - regolarizzazione ex art. 1 ter l. 102/2009 - pregressa condanna ex art. 14, co. 5 ter TU n. 286/98 - non ostativitŕ della causa - contrasto con gli artt. 15 e 16 della direttiva 2008/115/CE (cd. direttiva rimpatri) - normativa europea direttamente applicabile - decisione della Corte di Giustizia del 28.4.2011 causa C-61/11 PPU El Dridi - non applicazione della normativa in contrasto da parte del giudice nazionale; abolitio criminis - retroattivitŕ ex art. 2 c.p. - effetti anche sui provvedimenti amministrativi - rapporto giuridici non definitivi - inapplicabilitŕ del principio tempus regit actum 2. Tribunale amministrativo regionale Emilia Romagna - 23.2.2010 n. 1339 - permesso di soggiorno - straniero soggiornante in Italia da 40 anni - attuale disagio sociale - persona sostenuta dai Servizi sociali - diniego di rinnovo del titolo per insufficienza reddituale - mancata valutazione del periodo di tempo trascorso, dei legami familiari e sociali - illegittimitŕ del diniego 3. Tribunale amministrativo regionale Lazio 3.11.2010 n. 33120 - permesso di soggiorno - procedimento per il suo rilascio - superamento del termine di conclusione del procedimento - silenzio della PA - illegittimitŕ - ordine giudiziale alla questura di provvedere; ritardo - risarcimento del danno - mancata allegazione probatoria - rigetto per genericitŕ della domanda 4. Tribunale amministrativo regionale Lombardia 1.2.2011 n. 325 - regolarizzazione - decorso del termine per la definizione del procedimento - silenzio della PA - ricorso avverso il silenzio - accoglimento per inutile decorso del termine; ostativitŕ delle condanne in capo al datore di lavoro - insussistenza; interesse giuridico anche del lavoratore all'informazione sull'esito del procedimento; ricorso avverso il silenzio - contestuale richiesta di risarcimento dei danni - necessitŕ di mutamento del rito processuale ex art. 117, co. 6 codice processo amministrativo 5. Tribunale amministrativo regionale Friuli Venezia Giulia 24.2.2011 n. 100 - regolarizzazione - ostativitŕ delle condanne ex artt. 380 e 381 c.p.c. - automatismo preclusivo - impossibilitŕ di valutare la lievitŕ o la gravitŕ del fattoreato e/o l'allarme sociale - sospetta illegittimitŕ costituzionale della norma per violazione dei principi di ragionevolezza, paritŕ di trattamento e adeguatezza - rinvio alla Corte costituzionaleRASSEGNA DI GIURISPRUDENZA6. Tribunale amministrativo regionale Emilia Romagna 25.5.2010 n. 211 - decreto flussi - nulla osta negato per asserita insufficienza reddituale del datore di lavoro - mancata valutazione del reddito attuale - illegittimitŕ; criteri di verifica della capacitŕ reddituale del datore di lavoro predeterminati dalla D.P.L. - procedimento di diniego di nulla osta - comunicazione preavviso di rigetto ex art. 10 bis l. 241/90 e s.m. - obbligo della PA di tenere conto dell'attivitŕ Partecipativa 7. Tribunale amministrativo regionale della Campania 19.1.2011 n. 362 - permesso CE per soggiornanti di lungo periodo - diniego per pregresse condanne ritenute automaticamente ostative - mancata valutazione della effettiva ed attuale pericolositŕ sociale e dei legami familiari - violazione della direttiva 2003/109/CE, dell'art. 8 CEDU e dell'art. 9 TU n. 286/98 - illegittimitŕ 8. Tribunale amministrativo regionale Sardegna 17.2.2011 n. 83 - permesso di soggiorno - diniego di rinnovo - mancata valutazione delle ragioni della mancata stipula del contratto di soggiorno con il richiedente la regolarizzazione - illegittimitŕ - omessa valutazione del principio che vieta di collegare la perdita del titolo di soggiorno alla perdita del lavoro

The spotlight is on the stand up comic. Huge roars of laughter fill the comedy club, as the stand up comic struts his stuff. The audience lap it up. They drink pint after pint of beer, while reinforcing each other's laughter response, in this feel-good-factor-event. Here, the in-house clan is affiliated to the lord of belly bursting laughter! Eager participants of the above stand up comedy club scenerio are certainly "sophisticated" members of these social laughter occasions. We enjoy being active participants of these types of pleasurable community occasions! I first took an interest in humour research study when I first began writing comedy scripts and plays. It was while I was completing a MSc in Appplied Behavioural Sciences I found that only a limited number of social research projects on humour had been published. After discussions with my tutors, I undertook my research thesis on an interpretive study of contemporary stand up comedy. I'd already completed several short research modules to help me build up my skills in academic study in research design and methodology. At first I didn't have any specific questions about the field of stand up comedy, as I wanted to enter the field with an open and inquisitive mind. I took an ethnographic approach. The questions and answers would "emerge" as the project progressed. I completed an extensive literature review reading all recently published humour research in journals and book publications, plus Phd theses in the UK and elsewhere. I first examined the three "Classical" theories of humour: Superiority; Psychic Relief; and Incongruity, (although there are many other less significant theories). The first two theories are seen as universal theories of humour but there is little evidence to show that humour is universal; rather it is culturally relative within differing social contexts. I found Oliver Double's (1997) book and Phd thesis to be relevant to my study. Double believes the incongruity theory is key to understanding humour, in that stand up comedians rely on effective joketelling and sustaining the audience's faith. As my literature review progressed I began to see a clear split between the theories that argue humour is caused by innate urges, instincts or physiological processes, as opposed to those theories that see humour as a cultural product. By the time I'd completed my study of stand up comedy and analysed all the data collected throughout the research process, I took the the latter argument to be more relevant to common experiences of both comic and comic audience. Although there are many ways of studying humour, much depends on the researcher's main interest; theoretical standpoint; research methods and design. I decided to research humour in a live comedy situation rather than research jokes. I took the view that comedy is an interactional resource, as Michael Mulkay (1988) has noted in his humour research publications. What I mean by this term is that humour functions and is constructed to produce and reproduce certain desirable, socio-cultural effects within social in-groups. Although humour and social group laughter has psychological and anatomical factors that have been identified by behavioural-cognitivists and neuroscientists alike, these studies don't offer much insight into the social interactions, implicit within the joking relationship between comic teller and audience. Likewise, I felt that a study of the semantics, discourse and language is limited, in relation to humour. As these studies seperate humour from real world time, the methods that these disciplines use were not f use in collecting data in the field. I began by listing several comedy clubs in my immediate area. Six comedy clubs were listed within the county that I reside. I selected these comedy clubs for a number of reasons - some practical, other reasons weres based on the numbers of people attending and the differing types of comedians on the comic circuit. I made frequent visits and my primary research method was using "direct observations" of the interactions and cultural exchanges occurring. I used some of the ethnographic methods used by Le Compte and Schensul (1999) to aid data collection. Fieldnotes were analysed for themes and then index coded to delineate the forms of stand up comedy that show both variability and repetiton. Semi-structured interviews took place with several audience members after the shows, eliciting responses about the acts. Notes were taken. After several site visits, a clear pattern of recurring behaviours, especially the purposeful targeting of audience members by each stand up comic emerged. Several stand up comedians, coaches and tutors were also interviewed. Traditionally, ethnographic study use only qualitative research methods but Le Compte and Schensul (1999) apply quantitative methods as well. To measure the amount of variability and repetition of these behaviour patterns, I decided to complete a content analysis of a wide range of stand up comedy videos and cds (50 items in total). Eventually I was able to identify and categorise four specific patterns of comic behaviour or what I termed "Joking Repertoires". I'II briefly discuss these in turn. The first joking repertoire I discovered is the BUILDING RAPPORT repertoire. Here the comic's strategy is to work on the audience's expectations in a mischevious manner. The comic directly targets several audience members in turn throughout his or her act. The comic make fun of the member's dress, accent, laugh, to name but a few characteristics. The audience accepts this direct "piss taking" as a legitimate rule of engagement. The strategy develops and builds a comic audience. An experience and skilled comic compere will use this repertoire to establish a contract between performer and audience. The audience expects and demands this implicit contract. They have paid to be entertained, even at the risk of being humiliated themselves. Of course some audience members want to be picked out and made fun of, as they purposely dress up for the part. Others less confident hide in the darkest corners of the club, out of the comic's gaze. The SPONTENEITY repertoire involves the comic using timing, control and delivery of the comic material in a spontenious manner. For example, during a performance an audience member's mobile phone may ring and stop the comic in his or her tracks. Comics will use these moments to their advantage. Audiences enjoy the unexpected and thrive on the skill of performers who are wellprepared with clever one-liners. They appear to be improvised but they are well thought-out, prior to the performance. Any breach of convention by the comic actor is rewarded with enthusiastic laughter and applause. The third repertoire is the DIRECT PUT DOWN. This is a more aggressive strategy for targeting individuals or group members of the audience. On my field studies of the comedy clubs, this repertoire was used extensively by all or most of the comics. The comic's aim in using direct put downs is to diffuse situations of heckling and regain control of their act. Audience's are usually wise to these put downs and will reward comedians who use cleverly worked out put downs. But audiences can also become quickly critical of the comic who over use or abuse audience members with overly cruel put downs. Much depends on whether or not there is a prevailing hostile atmosphere in the club. The CONFRONTATIONAL repertoire is the fourth category I delineated from my research findings. Here the comic purposely targets a large section of the audience or specific members of society; for example, the Establishment. The comic may take the role of devil's advocate and irritate the hell out of the audience over contentious issues. He or she might want to get the audience to take sides or be completely against what is being stated by the comic. The confrontational comic aims to gain SHOCK VALUE out of the material. Lenny Bruce (2000) and Bill Hicks (1992) were the forerunners of this kind of confrontational humour. Much copied later by UK performers in the 1980s Margaret Thatcher period. This repertoire appears to attract hostile audiences, as the more confrontational the comic, the more hostile the audience reciprocates. The above four joking repertoires can't cover every aspect of the stand up comedy experience. What it does show though is a clear pattern of social group interaction between comic and audience, in the creation of social group laughter. I did find that there are of course exceptions to these four delineated categories; where for example the surrealist humour of say Eddie Izzard (1997), breaks social convention, without targeting anyone or thing in particular. On studying stand up comedy at live events, I discovered different aspects of humour. First, as Provine (1996), a neuroscientist says: "Laughter is not about jokes but about social relations." Second, that the joking relationship relies on the performer establishing a contract of MAKE BELIEVE with the audience, using a number of performance strategies. Third, the contract includes cultural and economic exchanges by all parties and creates specific cultural niches or insider groups. Fourth, these exchanges encourage consumption and reinforcement of both permissive and prescriptive humour. Permissive humour tends towards alternative comedy, which in the UK historically aimed to be politically correct, yet antagonistic to the joke. Prescriptive humour functions as "applied humour". For example, it's function is always to target outsiders. Commonly used by traditionalist comedians, who "tell" ageist,disablist, homophobic, sexist, racist jokes. To my own surprise I found my research of stand up comedy here in the UK to uncover a great deal of prescriptive humour, currently being practiced in the so-called alternative stand up comedy circuit. I found similar prescriptive "targeting" on the pre-recorded videos and Cds of USA stand up acts that I undertook a content analysis of. My conclusions of this study show that stand up comedy appears to function to encompass and perpetuate an array of socialisation practices, circulating within specific cultural domains in the UK and possibily elsewhere. Some of these socialisation practices appear on the surface to be merely "pleasurable" social group occasions but they can also be interpereted as oppressive and discriminatory towards outsider groups, whatever their age, disability, gender, ethnicity or sex. From a more personal experience, I experienced alienation while visiting these clubs. I found it difficult to remain an "objective" researcher, whilst trying to be an active audience member. I seemed to laugh less at the stand up acts, at each subsequent site visit. This wasn't because I'd lost my "sense of humour", but because I became acutely aware (and disappointed) in the fact that joking relationships hasn't really moved on from traditional methods of targeting someone to "get a (cheap) laugh". Today's contemporary stand up comedy and the popular rise of the stand up comedy club, reveals a prescriptive humour, manufactured, delivered and received as an integral part of our mass cultural consumption. Works Cited Berger, P.L. Redeeming Laughter: The Comic Dimension of Human Experience. New York: SUNY P. 1997. Bruce, Lenny. Shut Your Mouth and Open Your Mind: The Rise and Reckless Fall Of Lenny Bruce. Enlightenment: Chrome Dreams CD. 2000. Double, O.J.. Stand Up! On Being a Comedian. London: Methuen. 1997 Hicks, Bill. Relentless. Recorded at the Laff Stop; Austin, Texas USA: Rykodisc. 1992. Izzard, Eddie. Glorious. London: Laughing Stock CD. 1997. Mulkay, M.J.. On Humour: Its Place in Modern Society. Oxford: Polity P. 1998. Holmes, B. "Titter ye not..." New Scientist, (17th April), 1996: 2-3. Links http://www.chinwag.co/uk-comedy.html http://www.comedyonline.co.uk http://www.humorlinks.co/lnks/Academic http://www.ahahaha.co.uk/virginmirth/humour/html Citation reference for this article MLA Style Lloyd, Robert V. "Sitting Targets and the Joking Relationships" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0311/8-lloyd-sitting-targets.php>. APA Style Lloyd, R. (2003, Nov 10). Sitting Targets and the Joking Relationships. M/C: A Journal of Media and Culture, 6, <http://www.media-culture.org.au/0311/8-lloyd-sitting-targets.php>

Murray Forman’s text The ‘Hood Comes First: Race, Space, and Place in Rap and Hip-Hop provides insightful commentary on the workings of and relationship between place and space. To highlight the difference of scale between these two parameters, he writes that, “place defines the immediate locale of human interaction in the particular, whereas space is the expanse of mobile trajectories through which subjects pass in their circulation between or among distinct and varied places” (25). This statement reflects Doreen Massey’s earlier observation from her book Space, Place, and Gender that “one view of a place is as a particular articulation” of the spatial (5). These descriptions clarify how human action shapes, and is shaped by, what Forman describes as the “more narrowly circumscribed parameters” of place (25) and the broader realm of space. Clearly, these two terms describe interconnected components that are socially constructed and dynamic: that is, they operate at different scales but are constructed in time, constantly reshaped by human action and perception. “Space and time are inextricably interwoven,” states Massey. She continues: “It is not that the interrelations between objects occur in space and time; it is these relationships themselves which create/define space and time” (261). If place and space represent different scales of social interaction and space and time are interconnected, place and time must be linked as well.While this indicates that human experience and representation operate on different scales, it is important to note that these two factors are also interrelated. As Stuart Hall writes, “[I]t is only through the way in which we represent and imagine ourselves that we come to know how we are constituted and who we are” (473). There is no objective experience, only that which is subjectively represented through various means. Through depictions of these relationships between place, space, and time, rap music shapes listeners’ comprehension of these parameters. DJs, MCs, producers, and other creative artists express personal observations through the influence of both the local and global, the past and present. In rap lyrics and their musical accompaniment, countries, cities, neighbourhoods, and even specific government housing developments inform the music, but the identities of these places and spaces are not fixed – for the performers or for the audience. They are more than the backdrop for what happens, inanimate structures or coordinates of latitude and longitude. Their dynamic nature, and their representation in music, serves to continually redefine “how we are constituted and who we are” (473).In MC Solaar’s Léve-toi et Rap from his 2001 album Cinquième as and his song Nouveau Western, from 1994’s Prose Combat, this is demonstrated in two very different ways. Léve-toi et Rap, a personal history told in the first person, clearly demonstrates both American hip-hop lineage and the transnational influences of Solaar’s upbringing. This song serves as an example of the adoption of American musical and lyrical techniques as means through which personally empowering, often place-based stories are told. In Nouveau Western, the narrative demonstrates the negative effects of globalization through this story about a geographically and temporally transported American cowboy. This track employs musical materials in a way that reflects the more critical lyrical commentary on the repercussions of American cultural and economic power. Through the manner of his storytelling, and through the stories themselves, MC Solaar explicitly demonstrates his own agency in representing, and thus constructing the meaning of, dynamic place and space as they are defined from these two perspectives.As a Paris-based French rapper, MC Solaar often makes his affiliation to this geographic focal point significant in his lyrics. This is especially clear in Léve-toi et Rap, in which Parisian banlieues (HLM government housing projects), nightclubs, and other places figure prominently in the text. From the lyrics, one learns a great deal about this rapper and his background: MC Solaar was born in Senegal, but his parents brought him to France when he was young (MC Solaar, “Léve-toi et Rap”; Petetin, 802, 805). He grew up struggling with the isolation and social problems of the banlieues and the discrimination he faced as an immigrant. He began rapping, established a musical career, and now encourages others to rap as a means of making something constructive out of a challenging situation. In the excerpt below, MC Solaar explains these origins and the move to the banlieues (Solaar, “Lève-toi et rap;” All translations by the author).Lève-toi et rap elaborates on the connection between the local and global in rap music, and between place, space, and time. The lyrics and music represent these properties in part by appropriating American rap’s stylistic practices. The introductory chorus incorporates sampled lyrics of the American artists Lords of the Underground, the Beastie Boys, Nas, and Redman (Various Contributors, “‘Lève-toi et rap’ Direct Sample of Vocals/Lyrics,” whosampled.com.). A bassline originally recorded by the funk group The Crusaders grounds the musical accompaniment that begins with the first verse (partially printed above), in which MC Solaar begins to depict his own place and space as he has experienced it temporally.In this chorus, the first sample is “I remember way back in the days on my block” from Lords of the Underground’s song Tic-Toc. This leads to “Oh My God” and “Ah, Ah, Ah,” both samples from Q-Tip’s contribution to the Beastie Boys’ song Get It Together. “I Excel,” which appears in Nas’s It Ain’t Hard to Tell comes next. The last sample, “Who Got the Funk,” is from Can’t Wait by Redman (Lords of the Underground, “Tic-Tic;” Beastie Boys and Q-Tip, “Get It Together;” Nas, “It Ain’t Hard to Tell;” The Crusaders, “The Well’s Gone Dry”).Scratching begins the introductory chorus (printed below), which ends with a voice announcing “MC Solaar.” At this point, the sampled bassline from The Crusaders’ 1974 song The Well’s Gone Dry begins.[Scratching]I remember back in the days on my block... Lords of the UndergroundOh my God... Ah, Ah, Ah... Beastie Boys and Q-TipI excel… NasWho got the funk... RedmanMC Solaar[Crusaders sample begins] The rap samples all date from 1994, the year Solaar released his well-received album Prose Combat and most are strategically placed: the first sample originated in the last verse of Tic-Toc, the Q-Tip samples in the middle are from the middle of Get It Together, and the last sample, “I Excel,” is from the first line of It Ain’t Hard to Tell. As Lève-toi et rap continues, MC Solaar’s statement of the song title itself replaces the iteration “MC Solaar” of the first chorus. In a sense, “Lève-toi et rap” becomes the last sample of the chorus. Through these American references, Solaar demonstrates an affiliation with the place in which rap is commonly known to have originally coalesced. For French rappers consciously working to prove their connection to rap’s lineage, such demonstrations are useful (Faure and Garcia, 81-82). Achieved by sampling music and lyrics from 1974 and 1994 from sources that are not all that obvious to a casual listener, Solaar spatially connects his work to the roots of rap (Shusterman, 214). These particular samples also highlight a spatial relationship to particular styles of rap that represent place and space in particular ways. Nas and Lords of the Underground, for instance, have added to the discourse on street credibility and authenticity, while Q-tip has provided commentary on social and political issues. MC Solaar’s own story widens the parameters for illustrating these concepts, as he incorporates the personally significant places such as Senegal, Chad, and the Saint Denis banlieue to establish street credibility on a transnational scale; the lyrics also describe serious social and political issues, including the “skinheads” he encountered while living in Paris. Dynamic place is clear throughout all of this, as everything occurring in these places is meaningful in part because of the unavoidable relationship with the passing of time – Solaar’s birth, his upbringing, and his success occurred through his choices and social interactions in specific places.Looking more closely at the representation of place and time, Lève-toi et rap is less than straightforward. As discussed previously, some of the vocal samples are rearranged, demonstrating purposeful alteration of pre-recorded material; in contrast, the use of a repeated funk bassline sample during a clear narrative of Solaar’s life juxtaposes a linear story with a non-linear musical accompaniment. To this, MC Solaar made a contemporary textual contribution to later choruses, with the title of the song added as the chorus’s last line. Such manipulation in the context of this first-person narrative to express this movement supports the conclusion that, far from being a victim of political and economic forces, MC Solaar has used them to his advantage. After all, the title of the song itself, Lève-toi et rap, translates roughly to “get up and rap.”In addition to manipulating the materials of American rap and funk for this purpose, Solaar’s use of verlan, a type of slang used in the banlieues, brings another level of locality to Lève-toi et rap. The use of verlan brings the song’s association with French banlieue culture closer: by communicating in a dialect fluently understood by relatively few, rappers ensure that their message will be understood best by those who share the constellation of social and temporal relations of these housing developments (Milon, 75). Adding verlan to other slang and to unique grammatical rules, the rap of the banlieues is to some extent in its own language (Prévos, “Business” 902-903).Referring to MC Solaar’s 1994 album Prose Combat, André Prévos observed that this material “clearly illustrates the continuity of this tradition, all the while adding an identifiable element of social and personal protest as well as an identifiable amount of ‘signifying’ also inspired by African American hip-hip lyrics” (Prévos, “Postcolonial” 43). While it is clear at this point that this is also true for Lève-toi et rap from Cinquème as, Nouveau Western from Prose Combat demonstrates continuity in different way. To start, the samples used in this song create a more seamless texture. A sample from the accompaniment to Serge Gainsbourg’s Bonnie and Clyde from 1967 undergirds the song, providing a French pop reference to a story about an American character (Various Contributors, “Nouveau Western” whosampled.com). The bassline from Bonnie and Clyde is present throughout Nouveau Western, while the orchestral layer from the sample is heard during sections of the verses and choruses. Parts of the song also feature alto saxophone samples that provide continuity with the jazz-influenced character of many songs on this album.The contrasts with Lève-toi et rap continue with the lyrical content. Rather than describing his own process of acquiring knowledge and skill as he moved in time from place to place, in Nouveau Western MC Solaar tells the story of a cowboy named “Harry Zona” who was proud and independent living in Arizona, hunting for gold with his horse, but who becomes a victim in contemporary Paris. In the fabled west, the guns he carries and his method of transportation facilitate his mission: Il erre dans les plaines, fier, solitaire. Son cheval est son partenaire [He wanders the plains, proud, alone. His horse is his partner.]. After suddenly being transported to modern-day Paris, he orders a drink from an “Indian,” at a bistro and “scalps” the foam off, but this is surely a different kind of person and practice than Solaar describes Harry encountering in the States (MC Solaar, “Nouveau Western”).After leaving the bistro, Harry is arrested driving his stagecoach on the highway and shut away by the authorities in Fresnes prison for his aberrant behaviour. His pursuit of gold worked for him in the first context, but the quest for wealth advanced in his home country contributed to the conditions he now faces, and which MC Solaar critiques, later in the song. He raps, Les States sont comme une sorte de multinationale / Elle exporte le western et son monde féudal / Dicte le bien, le mal, Lucky Luke et les Dalton [The States are a kind of multinational”/ “They export the western and its feudal way/ Dictate the good the bad, Lucky Luke and the Daltons] (MC Solaar, “Nouveau Western”).Harry seems to thrive in the environment portrayed as the old west: as solitary hero, he serves as a symbol of the States’ independent spirit. In the nouveau far west [new far west] francophone comic book characters Lucky Luke and the Daltons sont camouflés en Paul Smith’s et Wesson [are camouflaged in Paul Smith’s and Wesson], and Harry is not equipped to cope with this confusing combination. He is lost as he negotiates le système moderne se noie l’individu [the modern system that drowns the individual]. To return to Bonnie and Clyde, these ill-fated and oft-fabled figures weren’t so triumphant either, and in Gainsbourg’s song, they are represented by 1960s French pop rather than by even a hint of local 1930s musical traditions. “Harry Zona” is not the only person whose story unfolds through the lens of another culture.While Solaar avoids heavy use of verlan or other Parisian slang in this song, he does use several American cultural references, some of which I have already mentioned. In addition, the word “western” refers to western movies, but it also serves as another term for the United States and its cultural exports. “Hollywood” is another term for the west, and in this context MC Solaar warns his listeners to question this fictional setting. Following his observation that John Wayne looks like Lucky Luke, “well groomed like an archduke,” he exclaims Hollywood nous berne, Hollywood berne! [Hollywood fooled us! Hollywood fools!]. This is followed by, on dit gare au gorille, mais gare à Gary Cooper [as they say watch out for the gorilla, watch out for Gary Cooper]. Slick characters like the ones Gary Cooper played have ultimately served as cultural capital that has generated economic capital for the “multinational” States that Solaar describes. As Harry moves “epochs and places,” he discovers that this sort of influence, now disguised in fashion-forward clothing, is more influential than his Smith and Wesson of the old west (MC Solaar, “Nouveau Western”).It is important to note that this narrative is described with the language of the cultural force that it critiques. As Geoffrey Baker writes, “MC Solaar delves into the masterpieces and linguistic arsenal of his colonizers in order to twist the very foundations of their linguistic oppression against them” (Baker, 241). These linguistic – and cultural – references facilitate this ironic critique of the “new Far West”: Harry suffers in the grip of a more sophisticated gold rush (MC Solaar, “Nouveau Western”).Lève-toi et rap transforms musical and verbal language as well, but the changes are more overt. Even though the musical samples are distinctly American, they are transformed, and non-American places of import to MC Solaar are described with heavy use of slang. This situates the song in American and French cultural territory while demonstrating Solaar’s manipulation of both. He is empowered by the specialized expression of place and space, and by the loud and proud references to a dynamic upbringing, in which struggle culminates in triumph.Empowerment through such manipulation is an attractive interpretation, but because this exercise includes the transformation of a colonizer’s language, it ultimately depends on understanding rap as linked to some extent to what Murray Forman and Tricia Rose describe as “Western cultural imperialism” (Rose, 19; Forman, 21). Both Rose and Forman point out that rap has benefitted from what Rose describes as “the disproportionate exposure of U.S. artists around the world,” (Rose, 19) even though this music has provided an avenue through which marginalized groups have articulated social and political concerns (Rose, 19; Forman 21). The “transnational circulation of contemporary culture industries” that Forman describes (21) has benefitted multinational corporations, but it has also provided new means of expression for those reached by this global circulation. Additionally, this process has engendered a sense of community around the world among those who identify with rap’s musical and lyrical practices and content; in many cases, rap’s connection to the African diaspora is a significant factor in the music’s appeal. This larger spatial connection occurs alongside more locally place-based connections. Lève-toi et rap clearly manifests this sense of simultaneously negotiating one’s role as a global citizen and as an individual firmly grounded in the place and space of local experience.Even though rap has been a music of resistance to hegemonic social and economic forces for people around the world, it is nonetheless important to recognize that the forces that have disseminated this music on a global scale have contributed to the unequal distribution of wealth and power. Working within this system is almost always unavoidable for rappers, many of whom criticize these conditions in their music, but depend on these transnational corporations for their success. Paul A. Silverstein writes that “hip-hop formations themselves, while enunciating an explicit critique of both state interventionism and the global market, have directly benefited from both and, to be sure, simultaneously desire their end and their continuation” (47-48). This is very clear in Nouveau Western, which Silverstein writes “portrayed neo-liberalism as a ‘new Far West’ where credit cards replace Remingtons.” (48) That this critique has reached a large audience in the francophone world and elsewhere highlights the irony of the situation: under the current system of popular musical production and circulation, such material often must reach its audience through complicity with the very system it denounces. This view on the mixture of the local and global presented in these songs illustrates this confusing situation, but from another perspective, the representation of social interaction on varying scales connects to the factors that have contributed to rap since its inception. Local places and geographically broad spatial connections have been articulated in constantly changing ways through musical and lyrical sampling, original lyrical references, and the uses that creators, listeners, and the industry enact vis-à-vis global rap culture. Whether revealed through clear references to American rap that facilitate a personal narrative or through a more complicated critique of American culture, MC Solaar’s songs Lève-toi et rap and Nouveau Western expose some accomplishments of a French rapper whose work reveals personal agency both outside and within the “multinational” United States. ReferencesBaker, Geoffrey. “Preachers, Gangsters, Pranksters: MC Solaar and Hip-Hop as Overt and Covert Revolt.” The Journal of Popular Culture 44 (2011): 233-54.Beastie Boys and Q-Tip. “Get It Together.” Ill Communication. Grand Royal Records, 1994. CD.Faure, Sylvia, and Marie-Carmen Garcia. “Conflits de Valeurs et Générations.” Culture Hip Hop Jeunes des Cités et Politiques Publiques. Paris: La Dispute SNÉDIT, 2005. 69-83. Forman, Murray. “Space Matters: Hip-Hop and the Spatial Perspective.” The ‘Hood Comes First: Race, Space and Place in Rap and Hip-Hop. Middletown: Wesleyan UP, 2002. 1- 34. Hall, Stuart. “What Is This ‘Black’ in Black Popular Culture?” Critical Dialogues in Cultural Studies, Edited by David Morley and Kuan-Hsing Chen. London: Routledge, 1996. 465-475. Lords of the Underground. “Tic-Tic.” Keepers of the Funk. Pendulum Records, 1994. CD.Massey, Doreen. Space, Place and Gender. Minneapolis: U of Minnesota Press, 1994. 19-24.Milon, Alain. “Pourquoi le Rappeur Chante? Le Rap comme Expression de la Relégation Urbaine.” Cités 19 (2004): 71-80.MC Solaar (Claude M’Barali). “Lève-toi et rap.” Cinquème as. Wea International, 2001. CD.———. “Nouveau Western.” Prose Combat. Cohiba, 1994. CD.Nas. “It Ain’t Hard to Tell.” Illmatic. Columbia Records, 1994. CD.Petetin, Véronique. “Slam, Rap, et ‘Mondialité.” Études 6 (June 2009): 797-808.Prévos, André J.M. “Le Business du Rap en France.” The French Review 74 (April 2001): 900-21.———. “Postcolonial Popular Music in France.” Global Noise: Rap and Hip-Hop outside the USA. Ed. Tony Mitchell. Middletown: Wesleyan UP, 2001. 39-56. Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown: Wesleyan UP, 1994.Shusterman, Richard. “L’Estitique Postmoderne du Rap.” Rue Deseartes 5/6 (November 1992): 209-28.Silverstein, Paul A. “‘Why Are We Waiting to Start the Fire?’: French Gangsta Rap and the Critique of State Capitalism.” Black, Blanc, Beur: Rap Music and Hip-Hop Culture in the Francophone World. Ed. Alain-Philippe Durand. Oxford: Scarecrow Press, 2002. 45-67. The Crusaders. “The Well’s Gone Dry.” Southern Comfort. ABC/Blue Thumb Records, 1974. CD.Various Contributors. “‘Lève-toi et rap’ Direct Sample of Vocals/Lyrics.” whosampled.com.———. “‘Nouveau Western’ Direct Sample of Hook/Riff.” whosampled.com.Various Contributors. “MC Solaar – ‘Lève-toi et rap’ Lyrics.” Rap Genius.