What was it like to be colonized by foreigners? Highlighting a region in central Congo, in the center of sub-Saharan Africa, Being Colonized places Africans at the heart of the story. In a richly ...textured history that will appeal to general readers and students as well as to scholars, the distinguished historian Jan Vansina offers not just accounts of colonial administrators, missionaries, and traders, but the varied voices of a colonized people. Vansina uncovers the history revealed in local news, customs, gossip, and even dreams, as related by African villagers through archival documents, material culture, and oral interviews.     Vansina’s case study of the colonial experience is the realm of Kuba, a kingdom in Congo about the size of New Jersey—and two-thirds the size of its colonial master, Belgium. The experience of its inhabitants is the story of colonialism, from its earliest manifestations to its tumultuous end. What happened in Kuba happened to varying degrees throughout Africa and other colonized regions: racism, economic exploitation, indirect rule, Christian conversion, modernization, disease and healing, and transformations in gender relations. The Kuba, like others, took their own active part in history, responding to the changes and calamities that colonization set in motion. Vansina follows the region’s inhabitants from the late nineteenth century to the middle of the twentieth century, when a new elite emerged on the eve of Congo’s dramatic passage to independence.
Abstract The purpose of this research is to compare the physical attributes of male and female KUBA chickens of their height, weight, and breast circumference to establish correlation between egg ...characteristics and quantitative characteristics. Such as BW, PBB, and body size. 87 KUBA hens used in the study with 40 male and 47 female. Observational experiments were recorded characteristics of the eggs, weight, perimeter, and height. T-test analysis was utilized to compare the sexes of KUBA chickens for variations in egg features, body weight, and proportionate body weight. The size vector of male and female KUBA chickens was compared using T2-Hotteling analysis. The link of KUBA chicken egg weight, egg length, and egg breadth was analyzed using regression and correlation techniques. Minitab version 21 was used as a data-processing aid. Male KUBA chickens had BW of 34.77g, PBB of 245.3g, 672.4g, 427.04g, and 210.56g at DOC, 1 month, and 2 months; female had BW of 33.41g, PBB of 239.5g, 655.3g, 206.09g, and 415.75g at the same ages. Male KUBA chickens were found with greater weight, breadth, and length, also average BW, PBB, and body sizes (P<0.05). Both male and female KUBA chickens laid eggs of a heavier weight for their larger size. Egg weight was positively correlated with egg length (0.919). The size of male and female KUBA chickens is determined by their breast circumference, while the shape of male KUBA chickens is characterized by their breast length, and the shape of female KUBA chickens is described by their tibia length. Keywords: Egg characteristics; KUBA chicken; Quantitative characteristics Abstrak Tujuan dari penelitian ini adalah untuk membandingkan dan membedakan penciri ukuran ayam KUBA jantan dan betina ditinjau dari tinggi, berat, dan lingkar dada, serta untuk mengetahui korelasi antara karakteristik telur dan karakteristik kuantitatif seperti BB, PBB, dan ukuran tubuh. Ayam KUBA yang digunakan dalam penelitian sebanyak 87 ekor terdiri dari 40 ekor jantan dan 47 ekor betina. Eksperimen observasi dilakukan. Karakteristik telur, serta berat, keliling, dan tinggi, dicatat. Analisis uji-t digunakan untuk membandingkan jenis kelamin ayam KUBA untuk variasi fitur telur, bobot badan, dan bobot badan proporsional. Vektor ukuran ayam KUBA jantan dan, betina dibandingkan menggunakan analisis T2-Hoteling. Keterkaitan antara bobot telur ayam KUBA, panjang telur, dan lebar telur dianalisis menggunakan teknik regresi dan korelasi. Minitab, dalam versi 21, digunakan sebagai bantuan pemrosesan data. Ayam KUBA jantan memiliki BB 34,77g, PBB 245,3g, PBB 672,4g, PBB 427,04g, dan PBB 210,56g pada DOC, 1 bulan, dan 2 bulan; betina memiliki BB 33,41g, PBB 239,5g, PBB 655,3g, PBB 206,09g, dan PBB 415,75g pada umur yang sama. Ayam KUBA jantan ditemukan menghasilkan telur dengan bobot, lebar, dan panjang yang lebih besar, serta rata-rata BB, PBB, dan ukuran tubuh yang lebih besar (P<0.05) baik ayam KUBA jantan maupun betina bertelur dengan bobot yang lebih berat untuk ukurannya yang lebih besar. Berat telur berkorelasi paling positif dengan panjang telur (0,919). Lingkar dada digunakan untuk mencirikan ukuran ayam KUBA jantan dan betina, sedangkan panjang dada digunakan untuk mencirikan bentuk ayam KUBA jantan dan panjang tibia digunakan untuk mencirikan bentuk ayam KUBA betina. Kata kunci: Ayam KUBA; Karakteristik kuantitatif; Karakteristik telur
TEMPO was selected in 2012 by NASA as the first Earth Venture Instrument, for launch between 2018 and 2021. It will measure atmospheric pollution for greater North America from space using ...ultraviolet and visible spectroscopy. TEMPO observes from Mexico City, Cuba, and the Bahamas to the Canadian oil sands, and from the Atlantic to the Pacific, hourly and at high spatial resolution (~2.1km N/S×4.4km E/W at 36.5°N, 100°W). TEMPO provides a tropospheric measurement suite that includes the key elements of tropospheric air pollution chemistry, as well as contributing to carbon cycle knowledge. Measurements are made hourly from geostationary (GEO) orbit, to capture the high variability present in the diurnal cycle of emissions and chemistry that are unobservable from current low-Earth orbit (LEO) satellites that measure once per day. The small product spatial footprint resolves pollution sources at sub-urban scale. Together, this temporal and spatial resolution improves emission inventories, monitors population exposure, and enables effective emission-control strategies.
TEMPO takes advantage of a commercial GEO host spacecraft to provide a modest cost mission that measures the spectra required to retrieve ozone (O3), nitrogen dioxide (NO2), sulfur dioxide (SO2), formaldehyde (H2CO), glyoxal (C2H2O2), bromine monoxide (BrO), IO (iodine monoxide), water vapor, aerosols, cloud parameters, ultraviolet radiation, and foliage properties. TEMPO thus measures the major elements, directly or by proxy, in the tropospheric O3 chemistry cycle. Multi-spectral observations provide sensitivity to O3 in the lowermost troposphere, substantially reducing uncertainty in air quality predictions. TEMPO quantifies and tracks the evolution of aerosol loading. It provides these near-real-time air quality products that will be made publicly available. TEMPO will launch at a prime time to be the North American component of the global geostationary constellation of pollution monitoring together with the European Sentinel-4 (S4) and Korean Geostationary Environment Monitoring Spectrometer (GEMS) instruments.
•TEMPO is under development to collect geostationary air quality measurements.•TEMPO will measure every hour during daylight over greater North America.•TEMPO will have the spatial resolution to measure sub-urban variability.•The mission’s primary data products include tropospheric ozone and related species.•TEMPO’s time-resolved observations form a revolutionary data set for air quality.
Cuba's geographic proximity to the United States and its centrality to U.S. imperial designs following the War of 1898 led to the creation of a unique relationship between Afro-descended populations ...in the two countries. InForging Diaspora, Frank Andre Guridy shows that the cross-national relationships nurtured by Afro-Cubans and black Americans helped to shape the political strategies of both groups as they attempted to overcome a shared history of oppression and enslavement.Drawing on archival sources in both countries, Guridy traces four encounters between Afro-Cubans and African Americans. These hidden histories of cultural interaction--of Cuban students attending Booker T. Washington's Tuskegee Institute, the rise of Garveyism, the Havana-Harlem cultural connection during the Harlem Renaissance and Afro-Cubanism movement, and the creation of black travel networks during the Good Neighbor and early Cold War eras--illustrate the significance of cross-national linkages to the ways both Afro-descended populations negotiated the entangled processes of U.S. imperialism and racial discrimination. As a result of these relationships, argues Guridy, Afro-descended peoples in Cuba and the United States came to identify themselves as part of a transcultural African diaspora.
Statistik im Sozialismus Krämer, Walter; Leciejewski, Klaus
Wirtschafts- und Sozialstatistisches Archiv,
2021, 20210101, Letnik:
15, Številka:
2
Journal Article
Odprti dostop
Dieser Beitrag dokumentiert eine Tendenz totalitärer Gesellschaftssysteme, die Statistik und insbesondere Daten der Amtsstatistik als Stütze von Ideologien zu missbrauchen. Dieser Missbrauch wird oft ...durch westliche Medien unterstützt, die allzu blauäugig auf dergleichen Lügen hereinfallen. Hier versprechen das Internet und die leichte Verfügbarkeit von Massendaten aller Art, ein mögliches Gegengewicht zu werden.
Agrarian History of the Cuban Revolution explains the challenges and paradoxes of the agrarian change in revolutionary Cuba, considering the tensions between land tenure, crop system, agrarian labour ...regime and the Cold War geopolitical conditions. The notion of Peripheral Socialism is still a powerful synthesis to Cuban agrarian dilemmas.
We explore the organizational consequences that different authenticity claims carry for products and the firms that produce them. To do so, we build on the notion of an authenticity paradox—the idea ...that seeking to capture demand that is created by perceived authenticity can undermine the very authenticity that generated the demand in the first place. Using an experimental approach, we argue and show that provenance-based claims of authenticity (e.g., location of origin) constrain a firm spaciotemporally, limiting their ability to expand production in ways that might be economically rational but would undermine this authenticity claim. We further show there is no penalty (or there is a reduced penalty) when the claim is not explicitly spaciotemporal, and is instead based on an association to an iconic individual broadly connected to that place. We show how these types of connections help firms respond to the authenticity paradox by allowing them more freedom to expand production to meet the increased demand without undermining the original claims to authenticity. As a result, this paper’s key contribution is in moving beyond explaining how perceived authenticity benefits organizations and instead, explores how different claims to authenticity can constrain a firm’s ability to capture the value that it has created from authenticity.
History:
This paper has been accepted for the
Organization Science
Special Issue on Experiments in Organizational Theory.
Supplemental Material:
The online appendix is available at
https://doi.org/10.1287/orsc.2022.1574
.
Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polémica de la Revolución, 1951-1962 examina la historia estética y las relaciones entre la producción cinematográfica cubana y ...el neorrealismo italiano. El recorrido histórico comienza en 1951, antes del triunfo de la Revolución, y termina en 1962, año que marca la ruptura entre los cineastas cubanos y la estética neorrealista italiana. Las colaboraciones principales sucedieron entre los directores de cine Tomás Gutiérrez Alea y Julio García Espinosa y el cineasta neorrealista italiano Cesare Zavattini. Las circunstancias que llevaron al fin de las relaciones entre Zavattini y los cineastas cubanos están conectadas a la película El joven rebelde, dirigida por García Espinosa y estrenada por primera vez en 1961. La ruptura se dio por divergencias creativas e ideológicas sobre la manera en que se quería retratar al protagonista del largometraje. Este detalle, que aparentemente puede parecer de menor importancia, tuvo repercusiones importantes que llevaron a un distanciamiento de García Espinosa, de Gutiérrez Alea, así como del resto de los cineastas cubanos que estaban trabajando en el Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) a partir de 1959, para buscar sus propias estrategias creativas con el fin de moldear una producción cinematográfica nacional. Sin embargo, cabe señalar que los cineastas cubanos no habrían encontrado la gramática necesaria para reescribir su cine revolucionario sin las colaboraciones y sobre todo sin la ruptura con Zavattini. Este nuevo lenguaje cinematográfico no habría podido existir sin las varias pausas y distancias que caracterizaron la relación cubana con el neorrealismo. En otras palabras, el intercambio fragmentado entre García Espinosa, Gutiérrez Alea y Zavattini creó nuevos espacios dentro de los cuales los cubanos pudieron encontrar oportunidades creativas para expresar su propia visión cinematográfica. Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polémica de la Revolución, 1951–1962 Neorealism and Cinema in Cuba: History and Discourse on the First Polemic of the Revolution, 1951–1962 examines the aesthetic history and relations between Cuban film production and Italian Neorealism. The historical framework begins in 1951 before the triumph of the Cuban Revolution and ends in 1962, a year that marks a rupture between Cuban filmmakers and the Italian neorealist aesthetic. The main collaborations happened between Cuban directors Tomás Gutiérrez Alea and Julio García Espinosa and Italian neorealist filmmaker Cesare Zavattini. The circumstances that led to the end of the relationship between Zavattini and the Cuban filmmakers are connected to the film El joven rebelde The Young Rebel , directed by García Espinosa and screened for the first time in 1961. The rupture centered on creative and ideological differences regarding the way in which the protagonist was to be portrayed in the movie. This seemingly minor disagreement had considerably larger repercussions, the end result of which was that García Espinosa and Gutiérrez Alea, as well as the rest of the Cuban filmmakers who worked within the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) after 1959, were driven to find their own creative strategies to craft a national film production. However, the Cuban filmmakers would not have found the necessary grammar to rewrite their own revolutionary cinema without the rupture with Zavattini. This new cinematographic language could not have existed without the various pauses and the distances that characterized the Cuban relationship with Neorealism. In other words, the fragmentary interchange between García Espinosa, Gutierrez Alea, and Zavattini created new spaces in which the Cubans could find creative opportunities to express their own cinematic vision.
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