Maids and Madams: a Study in the Politics of Exploitation
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Somebody Told Me You Died
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2020 Somebody Told Me You Died Barry E. Maxwell Follow this and additional works at: https://scholarworks.umt.edu/etd Part of the Nonfiction Commons Let us know how access to this document benefits ou.y Recommended Citation Maxwell, Barry E., "Somebody Told Me You Died" (2020). Graduate Student Theses, Dissertations, & Professional Papers. 11606. https://scholarworks.umt.edu/etd/11606 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. SOMEBODY TOLD ME YOU DIED By BARRY EUGENE MAXWELL Associate of Arts in Creative Writing, Austin Community College, Austin, TX, 2015 Bachelor of Arts with Honors, The University of Texas at Austin, Austin, TX, 2017 Thesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts in Nonfiction The University of Montana Missoula, MT May 2020 Approved by: Scott Whittenburg Dean of The Graduate School Judy Blunt Director, Creative Writing Department of English Kathleen Kane Department of English Mary-Ann Bowman Department of Social Work Maxwell, Barry, Master of Fine Arts, Spring 2020 Creative Writing, Nonfiction Somebody Told Me You Died Chairperson: Judy Blunt Somebody Told Me You Died is a sampling of works exploring the author’s transition from “normal” life to homelessness, his adaptations to that world and its ways, and his eventual efforts to return from it. -
A JOURNAL of LIBERAL and RADICAL OPINION Vol
«~*~»^, %!.:•,'./* WMI^MSffm Kiiil :maimm V::^W' ...\'.^' • ^WV-W^:& a z A JOURNAL OF LIBERAL AND RADICAL OPINION Vol. 21 No. 6 ISSN 0034 0979 November 1989 in this issue... EDITORIALS BEGINNING OF THE END OF THE BANTUSTANS 2 DE KLERK'S FIRST DAYS 3 UNDER THE RED FLAG 3 BILL AINSLIE - A Tribute 4 THE BATTLE FOR TUYNHUYS AND ALL THAT by Ralph Lawrence 6 THE METEORITE AT THE END OF THE LENSby Dorian Haarhoff 9 POPULARISING THE PAST: A review of Edgar's Because they chose the plan of God and Witz's Write your own History by Ruth Edgecombe 12 THE CURRENT MACRO ECONOMIC CRISIS by Gordon Smith 15 CAN THE TRUE EXODUS STOP AT DAMASCUS: A review of The Road to Damascus by Martin Prozesky COVER PICTURES: Aron Maze!. Articles printed in Reality do not necessarily reflect the opinion of the Editorial Board EDITORIALS 1. Beginning of the end of the Bantustans? It is not often that a military coup brings much good to even discover what threats and what bribes those were those upon whom it is inflicted, but it begins to look as if that first brought the Matanzimas to power. For it could the Transkei might be different. Since General Holomisa hardly be coincidence that, at the Transkei Legislative took over that sad state he has had most of his time taken Assembly's first session, after Sabata's anti-indepen up with exposing and rooting out the corruption of the dence Democratic Party had swept the board in all but two Matanzima's. -
Africa 2010 X Brasil 2014
OS ONZE FUTEBOL E ARTE – AFRICA 2010 X BRASIL 2014 THE ELEVEN FOOTBALL AND ART - AFRICA 2010 X BRAZIL 2014 “O que conta mesmo é a bola e o moleque, o moleque e a bola, e por bola pode-se entender um coco, uma laranja ou um ovo, pois já vi fazerem embaixada com ovo. Se a bola de futebol pode ser considerada a sublimação do coco, ou a reabilitação do ovo, o campo oficial às vezes não passa de um retângulo chato. Por isso mesmo, nas horas de folga, nossos profissionais correm atrás dos rachas e do futevôlei, como Garrincha largava as chuteiras no Maracanã para bater bola em Pau Grande. É a bola e o moleque, o moleque e a bola.” Chico Buarque de Holanda Pele Photo: Ricardo Apparicio Realização | Productor Patrocínio | Sponsor Associação para o Progresso e Desenvolvimento da Arte e da Cultura Apoio | Supporter Ministério da Cultura Produção na Africa do Sul | Production in South Africa ANTONIO HÉLIO CABRAL ANTONIO PETICOV CLÁUDIO TOZZI 11 GREGÓRIO GRUBER IVALD GRANATO OS ONZE FUTEBOL E ARTE AFRICA 2010 X BRASIL 2014 JOSÉ ROBERTO AGUILAR JOSÉ ZARAGOZA De 01 de junho a 31 de julho de 2010, das 9h às 16h30 LUIZ ÁQUILA Espaço Cultural Commerzbank LUIZ BARAVELLI 5 Keyes Avenue 2196 - Rosebank + RUBENS GERCHMAN Johannesburg – South Africa TOMOSHIGE KUSUNO ZÉLIO ALVES PINTO E QUE GOOOOOOOOL, TORCIDA BRASILEIRA! Nossos grandes artistas são craques de bola, ou os nossos craques de bola são grandes artistas? Isto cá sendo o Brasil, as duas alter- bola que joga bem até de olhos fechados, ele que retrata como ninguém as cenas e personagens do jogo. -
12. JE Spence
REVIEW ARTICLE A Review of Opening Men’s Eyes by Michael Cardo JE Spence OBE Peter Brown: A Personal was educated at the University of the Memoir Witwatersrand and Let me declare an interest: Peter Brown was a friend and mentor to me the London School of Economics. He is over a forty year period and I owe him much. His benign influence on a Visiting Professor in me (and I know I speak for many others) was such that whenever I had the Department of War a difficult professional or personal decision to make I would ask myself, Studies, King’s College, “What would Brown have done?” His moral authority was absolute London. He taught at the – blended with courage and a consuming belief in liberal principle. University of Leicester where he was Pro-Vice- Thus, “the quiet influence … that he had exerted over a large number of 1 Chancellor (1981-85). He people”. was Director of Studies at the Royal Institute The Maritzburg Scene of International Affairs Those of us who lived in Pietermaritzburg at the end of the 1950s and early (1991-97); Academic 1960s had the inestimable advantage of working closely with Peter in his role as Advisor to the Royal chairman of the Liberal Party. There was a happy blend of young and old in the College of Defence party’s membership, reinforced by an exciting intellectual atmosphere at the local Studies, London (1997- centre of the University of Natal. Those of us who were fortunate to be colleagues 2008); and is currently or students sat at the feet of some of the country’s most distinguished academics: Senior Visiting Fellow, Edgar Brookes, Arthur Keppel Jones (both liberals to their fingertips); Mark Defence Academy of the Prestwich (a wise Burkean conservative and a witty and penetrating leader writer United Kingdom. -
Academic All-America All-Time List
Academic All-America All-Time List Year Sport Name Team Position Abilene Christian University 1963 Football Jack Griggs ‐‐‐ LB 1970 Football Jim Lindsey 1 QB 1973 Football Don Harrison 2 OT Football Greg Stirman 2 OE 1974 Football Don Harrison 2 OT Football Gregg Stirman 1 E 1975 Baseball Bill Whitaker ‐‐‐ ‐‐‐ Football Don Harrison 2 T Football Greg Stirman 2 E 1976 Football Bill Curbo 1 T 1977 Football Bill Curbo 1 T 1978 Football Kelly Kent 2 RB 1982 Football Grant Feasel 2 C 1984 Football Dan Remsberg 2 T Football Paul Wells 2 DL 1985 Football Paul Wells 2 DL 1986 Women's At‐Large Camille Coates HM Track & Field Women's Basketball Claudia Schleyer 1 F 1987 Football Bill Clayton 1 DL 1988 Football Bill Clayton 1 DL 1989 Football Bill Clayton 1 DL Football Sean Grady 2 WR Women's At‐Large Grady Bruce 3 Golf Women's At‐Large Donna Sykes 3 Tennis Women's Basketball Sheryl Johnson 1 G 1990 Football Sean Grady 1 WR Men's At‐Large Wendell Edwards 2 Track & Field 1991 Men's At‐Large Larry Bryan 1 Golf Men's At‐Large Wendell Edwards 1 Track & Field Women's At‐Large Candi Evans 3 Track & Field 1992 Women's At‐Large Candi Evans 1 Track & Field Women's Volleyball Cathe Crow 2 ‐‐‐ 1993 Baseball Bryan Frazier 3 UT Men's At‐Large Brian Amos 2 Track & Field Men's At‐Large Robby Scott 2 Tennis 1994 Men's At‐Large Robby Scott 1 Tennis Women's At‐Large Kim Bartee 1 Track & Field Women's At‐Large Keri Whitehead 3 Tennis 1995 Men's At‐Large John Cole 1 Tennis Men's At‐Large Darin Newhouse 3 Golf Men's At‐Large Robby Scott #1Tennis Women's At‐Large Kim -
H Ild a B E Rn S Te in /$G^>^Uncwv7april
hilda bernstein 'IM AG ES OF T O D A Y ' you <sr& inv/{e.cf -/o a PRIVATE VIEW /$g^>^uncWV7 April ,W 7 W 5pm+o7pm OLD MAYOR’S PARLOUR GALLERY j0 ^ 0 .3 CHURCH ST: i / L HHRHFOPX) gXH lBlTiO M OP EH DAILY 18-13 APRIL IO aw\ - ^-p rr - f o r sale- R-S-V-P PART PROCEEDS JUDY DIKOH io OXFAfA HEREFORD S outherh African Zfe9 9 9 8 PROJECTS 15 KUNSTLERINNEN in der . f . ^ GALERIE Hohe StraGe DIEBURG 16. Januar - 6. Februar 1987 Zu der Eroffnung der Ausstellung am Freitag, dem 16. Januarl987, um 20.00 Uhr laden wir Sie und Ihre Freunde hwrzlich ein. HILDA BERNSTEIN G ALERIE HoheStraBe DIEBURG 15 KUNSTLERINNEN i n d e r GALERIE Hohe StroBe DIEBURG HILDA BERNSTEIN Radierungen I terefoid/Englarid V ER O N IK A EMENDORFER Aquarelle Gottingen CLAIRE KILBER-BROSSOW Zeichnungen, Gouochen Frankfurt MARUS KRAUSE Mischfecbniken, Collagen Kloin-Zimmem LUCIA MAKEIIS Zeichnung&vMalerialbilder Frankfurt b a r b e l g . mcjhlschlegel Aquarelle Taunussteit> JULIA ROSELER Paslelle, Kleinplastiken Dieburg HEIDI SCHIMPKE Acryl quf Papier, Collagen Juqmiheim DOROTHEA-SCHNEIDER Olbllcler W ie n MARIANNE SCHRADER-BODI Aquarelle Otfenboch ERIKA SCHREITER Aquarelle, Mischiecliniken RoBdorf HEIDI STIEGLER Aquarellejusche MOnslhgen MARIA STIEHL Sandbilder, Obiekte Kroriberg MARIANNE WAGNER Bildhauerorbeiten Geofgenhouasn JA N IT H WIELER Mischtechnlken D a trm io d t Hohe Strafie 11 (gegertuber der Fachhochschule der DBP) GALERIE 6110 Dieburg HoheSlraBe DIEBURG *06071/1515 OflnyngsjeiK’ n. frwicgs und sonntags 16.00— 1900 Uhr Heiner Berflmcinn, * 06073/4349 Reinhurd Icillemann. S 06151/148538 06151/146634 CA GALLERIES William Wegman Retrospective Lower and There is a dog whose handsome yet dolorous features hang on Concourse the walls of numerous museums, have graced the covers of a Galleries variety of art magazines, and appeared on the Johnny Carson W ed 18 July show. -
The Social Life of Slurs
The Social Life of Slurs Geoff Nunberg School of Information, UC Berkeley Jan. 22, 2016 To appear in Daniel Fogal, Daniel Harris, and Matt Moss (eds.) (2017): New Work on Speech Acts (Oxford, UK: Oxford University Press). Chaque mot a son histoire. —Jules Gilliéron A Philological Caution The Emergence of Slurs We wear two hats when we talk about slurs, as engaged citizens and as scholars of language. The words had very little theoretical interest for philosophy or linguistic semantics before they took on a symbolic role in the culture wars that broke out in and around the academy in the 1980s.1 But once scholars’ attention was drawn to the topic, they began to discern connections to familiar problems in meta-ethics, semantics, and the philosophy of language. The apparent dual nature of the words—they seem both to describe and to evaluate or express— seemed to make them an excellent test bed for investigations of non-truth-conditional aspects of meaning, of certain types of moral language, of Fregean “coloring,” and of hybrid or “thick” terms, among other things. There are some writers who take slurs purely as a topical jumping-off point for addressing those issues and don’t make any explicit effort to bring their discussions back to the social questions that drew scholars’ attention to the words in the first place. But most seem to feel that their research ought to have some significance beyond the confines of the common room. That double perspective can leave us a little wall-eyed, as we try to track slurs as both a social and linguistic phenomenon. -
ACASA Newsletter 113, Fall 2019 Welcome to ACASA
Volume 113 | Fall 2019 ACASA Newsletter 113, Fall 2019 Welcome to ACASA President's Welcome Dear ACASA Members, We are moving into the final months of 2019 and our triennial organizing and programming committees are busy planning and preparing for the many guests who will join us in Chicago next June. Now is the time to visit our ACASA website to register for the conference, book your hotel, submit an award’s application, and send your ideas for papers and panels. Deadlines for all are fast approaching so don’t delay. In addition to our book, dissertation, curatorial, and leadership awards, we will be recognizing outstanding teaching with our new Award for Teaching Excellence. If you haven’t already, please help support our triennial fund and travel endowment. ACASA relies on your donations and membership to create unforgettable conferences. You can reach out to me or Silvia Forni, past ACASA president and our fundraising committee chair. Wishing you a bountiful October. Peri Klemm, President ACASA website From the Editor Dear ACASA members, As usual, the fall issue of our newsletter turns out more voluminous than in the rest of the year - you will find many exciting award, fellowship and job opportunities as well as news from the African art and art scholarship world. Most importantly, we introduce a new section dedicated exclusively to the ACASA Triennial 2020. You will find it immediately after these editorial notes. There, we will keep you updated on the run-up to the triennial in this and the next two newsletters.Note that deadlines are fast a p p r o a c h i n g and don't wait to check o u r webs ite for important information on Tri20 and our triennial awards (see Opportunities section). -
Thupelo Cape Town Assembly
ThupeloThupelo Cape Cape Town Town Assembly Assembly forfor TriangleMembers Network of Triangle Network Contact us: [email protected] / www.thupelo.com Thupelo – Cape Town Trust P O Box 250 Woodstock Cape Town 7915 This publication is made possible through the generous support of The Bertha Foundation, The Swiss Arts Council and many private donors. We are grateful for the assistance which enabled us to arrange the Thupelo Assembly and production of this resource. Table of Contents Table Introduction by Jill Trappler Page1 Essay by Lionel Davis Page 5 Essay byTembinkosi Goniwe Page 9 Essay by Pamella Dlungwana Page 12 Organizational Profiles 32° East, Ugandan Arts Trust Page 14 Thupelo Cape Town Trust, South Africa Page 17 Triangle Arts, New York Page 20 Njelele Art Station, Zimbabwe Page23 IS’ Art, Madagascar Page 27 Triangle Canada Page 30 Britto Arts Trust, Bangladesh Page34 National Art Gallery of Zimbabwe, Bulawayo Page 36 Gasworks & Triangle UK Page 38 Nafasi Art Space, Tanzania Page 41 Thapong Visual Arts, Botswana Page 44 Triangle Bolivia Page 47 Vasl Arts Collective, Karachi Pakistan Page 50 Insaka Arts Trust, Zambia Page 53 Triangle France Page 56 Greatmore Studios, South Africa Page 61 Kuona Trust, Centre for Visual Arts, Kenya Page 64 Lugar a Dudas, Colombia Page 67 Village Unhu, Zimbabwe Page 70 Bag Factory, South Africa Page 73 pARTage Workshop, Mauritius Page 76 Popty, Wales Page 79 Art In The House, Namibia Page 82 Overview by Commitee Page 84 & Conclusion Mindmap Page 87 Above, right - Thupelo Assembly delegates artist, project administrators and directors as it is THUPELO ASSEMBLY FOR TRIANGLE our way to learn/teach by working together and in PARTICIPANTS conversation. -
The Democratisation of Art: Cap As an Alternative Art Space In
THE DEMOCRATISATION OF ART: CAP AS AN ALTERNATIVE ART SPACE IN SOUTH AFRICA BY EBEN LOCHNER SUBMITTED IN FULFILMENT OF THE REQUIREMENT FOR MASTER OF ARTS AT RHODES UNIVERSITY. 02 JUNE 2011 SUPERVISOR: PROF. RUTH SIMBAO. Declaration of originality. I declare that this thesis is my own work and that all the sources I have used have been acknowledged by complete references. This thesis is being submitted in fulfilment of the requirement for Master of Art at Rhodes University. I declare that it has not been submitted before for any degree or examination at another university. __________________ __________________ Signature Date This thesis is dedicated to the late Dr. Michael Herbst who made me enthusiastic about Art History during my 1st year at university. He supported me with his time and his advice and his presence is sorely missed. Abstract While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003). -
Encounters with the Controversial Teaching Philosophy of the Johannesburg Art Foundation in the Development of South African Art During 1982 - 1992
MASTER OF ARTS IN FINE ARTS ELIZABETH CASTLE Encounters With the Controversial Teaching Philosophy of the Johannesburg Art Foundation in the Development of South African Art During 1982 - 1992 Student number 739110 COPYRIGHT © E CASTLE 0 DECLARATION I Elizabeth Castle hereby declare that all the research is my own and to my knowledge has not been done before in this format. I also declare that all the interviews with artists and Council Members of the Johannesburg Art Foundation have been conducted by me. The work on the exhibition Controversial ways of seeing had written consent from the artists and owners. Finally the display of original archive material and the inserts in the paper have written consent from the custodian of the archive. Signed by Candidate Elizabeth Castle …………………………………. Signed by Supervisor David Andrew……………………………………. 1 TABLE OF CONTENTS DECLARATION 1 ABSTRACT 3 INTRODUCTION 4 CHAPTER 1: CONTEXTUALISING THE JAF WITHIN A DISLOCATED SOCIETY 6 CHAPTER 2: ANOMALIES IN THE TEACHING PHILOSOPHY 21 CHAPTER 3: VISIONS FOR A DIVIDED SOCIETY 35 CHAPTER 4: REFLECTIONS ON THE EXHIBITION 46 Controversial ways of seeing CONCLUSION 68 BIBLIOGRAPHY 71 INTERVIEWS 74 ABBREVIATIONS 75 LIST OF ILLUSTRATIONS 75 APPENDIX A: Questions for interviews 76 APPENDIX B: Key newspaper articles (Insert) APPENDIX C: Ainslie’s personal notes and correspondence (Insert) APPENDIX D: Interview transcripts 77 APPENDIX E: Catalogue (Insert) APPENDIX F Attached: Video of interviews and artists works 2 Abstract The Johannesburg Art Foundation (JAF), founded in 1982 by Bill Ainslie, maintained a teaching philosophy which opposed any form of discrimination and stressed that art education should be a possibility for everyone. -
THE TRIANGLE ARTS NETWORK – Contemporary Art and Transnational Production
THE TRIANGLE ARTS NETWORK – Contemporary Art and Transnational Production by Miriam Aronowicz A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto © Copyright by Miriam Aronowicz 2016 The Triangle Arts Network: Contemporary Art and Transnational Production Miriam Aronowicz Doctor of Philosophy Department of Art University of Toronto 2016 Abstract This dissertation presents a historical overview and contemporary analysis of the Triangle Arts Network, an international network of artists and arts organizations that promotes the exchange of ideas and innovation within the contemporary arts. It was established in 1982 through a workshop held in Pine Plains, New York and quickly grew into an international network of artist led workshops around the world. More than twenty years later the network continues to grow and includes a roster of ongoing workshops as well as artist led organizations and centres. This dissertation situates Triangle as a major global phenomenon, yet one that operates outside the mainstream artscapes. My research follows the network’s historical links from Saskatchewan, Canada, to New York and onto South Africa. This web-like evolution demonstrates the complexity of global art networks and the fluidity of boundaries needed for contemporary art discourse. This research explores how the movement of ideas, artists and infrastructures complicate our understanding of clearly defined boundaries within contemporary ii art and globalization. Using Actor-Network Theory (ANT) as a metaphor for the Triangle Network, I attempt to unpack the complexities of an art system without objects, a process without product and the entangled relationships between artists, workshops and grassroots models of production.