One Hundred Eighteenth Commencement and the Inauguration of James P Clements, Phd
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Exploring the Relationship Between Skin Tone and Self-Esteem Among Females in South Asian Families in India: a Multigenerational Comparison
Exploring the Relationship between Skin Tone and Self-Esteem Among Females in South Asian Families in India: A Multigenerational Comparison by Priya Lena Sharda A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Social Justice Education Ontario Institute for Studies in Education University of Toronto © Copyright by Priya Lena Sharda, 2020 i Exploring the Relationship Between Skin Tone and Self-Esteem Among Females in South Asian Families in India: A Multigenerational Comparison Priya Lena Sharda Doctor of Philosophy Graduate Department of Social Justice Education University of Toronto 2020 Abstract Colourism or skin colour stratification is a persistent dilemma for people in India. Socially and culturally constructed definitions of beauty based on skin tone, represent Western realities and continue to sustain beauty ideals that shape the beliefs and practices around fair skin for women. The study of skin tone and its relationship to self-esteem is essential in expanding upon the limited research examining the intersections between body image and the sociocultural experiences of South Asian Indian women. Against the backdrop of Western hegemony, the research discusses how a fair skin beauty ideal impacts different generations of women in New Delhi. More specifically, investigating the relationship between skin tone and self-esteem among women in South Asian families through a multigenerational comparison, provides a deeper understanding of how skin tone bias is perpetuated, while reinforcing and normalizing white heteropatriarchy. Skin tone bias is disseminated through the family, culture and media. The narratives highlight how skin tone bias manifests itself among adult women in different South Asian family units according to their life stage and membership in the family. -
Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
Working Draft Fm 2004
i. PART I. INTRODUCTION A. The Nature and Function of this Manual The Clemson University Faculty Manual is a compilation of information pertaining to the faculty member's participation in the governance of the university. It includes summaries of those university policies and procedures that are of major concern to faculty. The need to have a Manual of manageable size dictates that this document, though comprehensive, be less than complete. Consequently, in certain places the reader is directed to other documents or sources to obtain more detailed information. The first Manual for Clemson University faculty was distributed in 1960 and has undergone numerous revisions since. The guiding principle behind the current revision was the desire to record and codify the changes made in the principal governing instrument following campus reorganization and internal policy changes. The most current version of the Manual is available on the faculty senate’s World Wide Web page (http://www.lib.clemson.edu/fs/ ); additions and/or deletions are made there in a timely fashion between printings. B. Using this Manual The Faculty Manual is divided into nine parts and each part is paginated separately. There are also appendices and an index. Each part is fully described in the “Table of Contents.” The editors have tried to make the Manual as “user friendly” as possible and all suggestions for improvement are cheerfully accepted. C. Procedures for Updating the Manual Any person or group on campus may suggest a change to the Clemson University Faculty Manual by submitting a request to the President of the faculty senate. -
A Facilitator's Guide for Ngo Screenings
GIRL RISING A FACILITATOR’s Guide FOR NGO SCREENINGS TaBLE OF CONTENT SECTION 1 GIRL RISING CAMPAIGN 3 SECTION 4 DISCUSSION QUESTIONS 14 • About the Girl Rising Film 4 SECTION 5 CALL TO ACTION 22 • Special NGO Edition 4 ANNEXURES 23 SECTION 2 FOR THE FACILITATOR 8 1. Background on Making of • Objective of the Guide 8 Girl Rising: The Story behind • For the Facilitator 9 the Stories 23 • Facilitation Tips 10 2. About Empowering Next • The Dos and Don’ts of Generations to Advance Girls’ Facilitating 10 Education (ENGAGE) 25 3. Partnership with Save the SECTION 3 PLANNING FOR THE Children 26 SCREENING 13 • How to use the Girl Rising NGO Special Edition 13 • Who is the audience? 13 SECTION 1 GIRL RISING CAMPAIGN The Girl Rising India Campaign aims to reach girls and boys, their families, communities, and other decision-makers to raise awareness about the power and benefit of girls’ education. Through powerful story-telling, the campaign aims to generate public dialogue on gender and education issues as well as spark community-led change as individuals who are motivated by these stories choose to address barriers to girls’ education in their own communities. The Campaign’s vision is to change the way the girl child is valued in the society, to increase access to equitable, quality education for girls, reduce gender disparity in education in India through the medium of storytelling and films, and thereby increase investment in girls education and investment programs. 3 ABOUT THE GIRL RISING With this in mind, the film helps focus the audience on three very important facets. -
Richard C. Robbins, 1921-1980
FEATURES Shell Rings and Sea Turtles 10 With a click of your TV remote, you can explore the natural world with FALL 2006 Clemson experts. VOL. 59, NO. 4 Every nine seconds 12 DEPARTMENTS See what Clemson is doing to reverse the economic and social drain of high school PRESIDENT’S dropouts. VIEW PAGE 2 The ‘Brain Coach’ 16 WORLD VIEW Col. Rick Robbins was motivating PAGE 4 Clemson student athletes long before LIFELONG the era of academic advisers. CONNECTIONS PAGE 28 Passing it on 18 STUDENT LIFE Walter Cox’s Clemson legacy is PAGE 30 still going strong. CLASSMATES PAGE 32 Algae’s secret garden 20 NEWSMAKERS There’s more than green to this PAGE 44 great natural resource. COMMITMENT PAGE 46 ‘Place Makers’ 24 TAPS Discover a one-of-a-kind program to create PAGE 48 tomorrow’s most inspired communities. Cover photo: Newly renovated Gantt Circle in front of Clemson’s landmark Tillman Hall, by Patrick Wright On this page: fall semester orientation, photo by Craig Mahaffey President’s View Executive Editor Dave Dryden Art Director Reflections on national Judy Morrison Editor spotlight Liz Newall Classes Editor & Advertising Director “IT WAS THE BEST OF TIMES, IT WAS THE WORST OF TIMES, IT WAS THE AGE OF Sallie Leigh (864) 656-7897 WISDOM, IT WAS THE AGE OF FOOliSHNESS, IT WAS THE EPOCH OF BEliEF, IT Contributors WAS THE EPOCH OF inCREDUliTY. …” Dale Cochran Debbie Dunning Charles Dickens opened his great novel, A Tale of Two Cities, with these lines, which could Catherine Sams have been written in any era because they describe every age. -
Clemson Commencement Program, December 2006 Clemson University
Clemson University TigerPrints Clemson Commencement Programs Academic Affairs 12-1-2006 Clemson Commencement Program, December 2006 Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/comm_programs Materials in this collection may be protected by copyright law (Title 17, U.S. code). Use of these materials beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. For additional rights information, please contact Kirstin O'Keefe (kokeefe [at] clemson [dot] edu) For additional information about the collections, please contact the Special Collections and Archives by phone at 864.656.3031 or via email at cuscl [at] clemson [dot] edu Recommended Citation University, Clemson, "Clemson Commencement Program, December 2006" (2006). Clemson Commencement Programs. 140. https://tigerprints.clemson.edu/comm_programs/140 This Event Program is brought to you for free and open access by the Academic Affairs at TigerPrints. It has been accepted for inclusion in Clemson Commencement Programs by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Graduation Exercises December 21, 2006 Clemson, South Carolina CEREMONIAL MUSIC Prelude Impulse Dr. Dan Rash, Director of Choral Activities Dr. Chris Mathews, Assistant Director of Choral Activities How's It Going to Be - Third Eye Blind/arr. Richie Swiger Chasing Cars - Snow Patrol/arr. Jared Buchanan Boulevard of Broken Dreams - Green Day/arr. Nick Loder All These Things I Have Done- The Killers/arr. Kyle DeMent Ode to Clemson - Words and Music by Hugh H McGarity/arr. David A Conley Processional Traditional Marches and Trumpet Tunes Mr. -
Clemson Commencement Program, May 1978 Clemson University
Clemson University TigerPrints Clemson Commencement Programs Academic Affairs 5-1-1978 Clemson Commencement Program, May 1978 Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/comm_programs Materials in this collection may be protected by copyright law (Title 17, U.S. code). Use of these materials beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. For additional rights information, please contact Kirstin O'Keefe (kokeefe [at] clemson [dot] edu) For additional information about the collections, please contact the Special Collections and Archives by phone at 864.656.3031 or via email at cuscl [at] clemson [dot] edu Recommended Citation University, Clemson, "Clemson Commencement Program, May 1978" (1978). Clemson Commencement Programs. 195. https://tigerprints.clemson.edu/comm_programs/195 This Article is brought to you for free and open access by the Academic Affairs at TigerPrints. It has been accepted for inclusion in Clemson Commencement Programs by an authorized administrator of TigerPrints. For more information, please contact [email protected]. C. U. ARCHIVES I • I CLEMSON UNIVERSITY Eighty-second Commencement • May 12, 1978 Clemson, South Carolina Graduation Friday, May 12, 1978 11:00 a.m. Littlejohn Coliseum Order of Ceremonies (Audience will please stand as faculty and candidates march in and remain standing for the Invocation) Invocation The Reverend Ronald G. Luckey Team Pastor, University Lutheran Church Lutheran Campus Center Clemson. South Carolina Conferring of Degrees and Delivery of Diplomas President Robert C. Edwards Benediction Music by Clemson University Concert Band Dr. John H. Butler, Director The University Regalia The University mace is the symbolic representation of the whole of Clemson University and must be present at any convocation where the University, through its delegated members, is acting officially. -
Girl Rising India
GIRL RISING INDIA Building a Movement for Girls Through Powerful Storytelling Girl Rising uses the power of storytelling to inspire, shift attitudes and change behavior. In India, Girl Rising’s powerful media tools have made meaningful strides towards increasing the agency of girls and women, and inspiring community members to support the movement for gender equality. Girl Rising Film Comes To India After a close consultation with Prime Minister Narendra Modi and a partnership with the Ministry of Women and Child Development, the Girl Rising film was launched in India in August 2015 as Woh Padhegi, Woh Udegi (She Learns, She Rises) on Star television, which has a network of 450 million viewers across the country and a reach of 100+ countries. The film harnessed the talents of India’s biggest Bollywood stars including Priyanka Chopra, Freida Pinto, Parineeti Chopra, Kareena Kapoor Khan, Madhuri Dixit, Sushmita Sen, Amitabh Bachchan, Nandita Das, Farhan Akhtar, and Alia Bhatt, all of whom lent their voices to the film. Celebrities promoted the launch through their social media networks, and #IAMGirlRising trended No. 1 on Twitter India. Film Screenings To stir important conversations about girls’ education among corporations, communities, universities and neighborhoods, a screenings program was launched soon after the television broadcast of the film. Under this program, Woh Padhegi, Woh Udegi was re-purposed for NGO and corporate audiences. Each version consisted of 3 stories from Woh Padhegi, Woh Udegi and was complemented by a screenings toolkit that contained resources including discussion guides, Director’s Q&A, and promotional materials to help steer conversations around barriers to education. -
Thomas Green Clemson July 1, 1807-April 6, 1888 Thomas Green Clemson, the University’S Founder and Namesake, Was As Complex As the Times in Which He Lived
Thomas Green Clemson July 1, 1807-April 6, 1888 Thomas Green Clemson, the University’s founder and namesake, was as complex as the times in which he lived. In his 80 years, he achieved fame as a diplomat, an agriculturalist and a mining engineer. Clemson was a renaissance man whose hobbies included music, art and the classics of the ancient world. Clemson was also a Confederate officer and a plantation and slave owner. Clemson’s multifaceted life was influenced by the 19th century in which he lived. His diverse education encouraged him to establish Clemson University in his last will and testament. Early Years: 1807-1813 On July 1, 1807, Thomas Green Clemson IV was born in Philadelphia, the son of Thomas Green Clemson III, a Quaker merchant, and Elizabeth Baker, the daughter of a prominent Episcopalian family. In 1813, when Thomas Clemson was only six, his wealthy father died, leaving an estate of $100,000 to his widow, his son Thomas and his other five children: • John Baker, an Episcopal bishop who married four times to Margaret Bull, Phebe Lewis, Martha Smith and Hanna Gibbons; • William Frederick, who married Susan Dore; • Louisa, who married Dr. Samuel Walter Washington, a grand nephew of George Washington; • Catherine, who married George North of Philadelphia; and • Elizabeth, who married the Hon. Mr. George Washington Barton. Early Schooling: 1813-1823 Little is known about Clemson’s early education. Traditionally, he is believed to have attended schools in Philadelphia, possibly run by Quakers. Philadelphia in the early 19th century had a relatively large free African-American population; however, it is unclear if young Thomas had any interactions with this community. -
THE BUCHAREST UNIVERSITY of ECONOMIC STUDIES The
THE BUCHAREST UNIVERSITY OF ECONOMIC STUDIES The Faculty of International Business and Economics The Department of Modern Languages and Business Communication of ASE Iuliu Hațieganu University of Medicine and Pharmacy Cluj- Napoca 7th International Conference: Synergies in Communication Bucharest, Romania, 22 - 23 November 2018 BEHIND THE SCREENS: A STUDY OF THE FILMS OF THREE INDIAN WOMEN DIRECTORS Minouti NAIK1 Abstract Indian films, even after 76 years of independence and 105 years of Indian Cinema, are a predominantly male domain. The percentage of women film makers, in the industry, is a mere 9.1%. Despite this, the films directed by women have compelled audiences to take notice, because of the wide spectrum of issues they have touched upon. Three women directors, whose movies have left an indelible mark on the audiences, include Tanuja Chandra, Meghna Gulzar and Gauri Shinde. This paper analyses the work of these three women directors, for the uniqueness of their themes and the characters they have sketched, and attempts to find out, what has led to their films being etched deeply, into the consciousness of their audience. This will be analysed against the backdrop of the realities of the society from which these films emerge, and as a reflection of the gender dynamics existing in Indian society. Keywords: Indian cinema, women, themes, characters, uniqueness 1. Introduction Men have sight, women insight. - Victor Hugo Victor Hugo‟s observation, penned down in his memoirs, might be an apt point to begin with, when one reflects upon films made by Indian women filmmakers. Despite films forming a very important facet of the Indian society and the fact that India completed 105 years of cinema, this year, the number of women making films in India is very small. -
Don't You Mean 'Slaves,' Not 'Servants'?": Literary and Institutional Texts for an Interdisciplinary Classroom Susanna Ashton Clemson University, [email protected]
Clemson University TigerPrints Publications English 11-2006 "Don't You Mean 'Slaves,' Not 'Servants'?": Literary and Institutional Texts for an Interdisciplinary Classroom Susanna Ashton Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/english_pubs Part of the English Language and Literature Commons Recommended Citation Ashton, Susanna. 2006. "Texts of Our Institutional Lives: Don't You Mean 'Slaves,' Not 'Servants'?": Literary and Institutional Texts for an Interdisciplinary Classroom". College English. 69 (2): 156-172. This Article is brought to you for free and open access by the English at TigerPrints. It has been accepted for inclusion in Publications by an authorized administrator of TigerPrints. For more information, please contact [email protected]. 156 WTexts of Our Institutional JL Lives: "Don't You Mean 'Slaves/ Not 'Servants'?": Literary and Institu an tional Texts for Interdisciplinary Classroom Susanna Ashton a Editor's Note: This article begins semiregular feature in which contributors analyze "texts" that fig ure course in the daily lives of college English teachers: e.g., syllabi, descriptions, administrative decrees, are departmental bylaws, college Web sites. Your proposals invited. Here, Susanna Ashton describes how on undergraduates in her class representations of slavery studied the words, sounds, and images they a on encountered at historical site her campus: the former slave plantation of leading antebellum racist on John C. Calhoun. She also analyzes how her school depicts this site theWeb. In effect, she raises the issue of how any college might teach about ignoble aspects of its past. I teach at Clemson University in Clemson, South Carolina, a fairly large pub are a lic research university with a land-grant mission. -
Clemson University’S Facility Asaprofessional Campusserves Roadhouse, Hosting County
EDUCATION AND FESTIVALS, FAIRS, OUTDOOR AND ARTS POLITICS AND VOTING SERVICE CLUBS RESOURCES AND SERVICES ENRICHMENT AND MARKETS ENVIRONMENTAL EA IN R S E A OUNTY C ORTUNITI - BOOK RI PP T O E E TH ND A S E UID OMMUNITY ROUND A SOURC E C G ND R A WELCOME TO THE CLEMSON COMMUNITY GUIDEBOOK A PUBLICATION OF THE CITY OF CLEMSON ADMINISTRATION This Community Guidebook is intended to highlight a variety of groups, resources, and services for residents, students, and visitors in and around the Clemson area. For some, this may mean access to resources to help them through difficult times, while for others that may mean knowledge of local events and experiences to enhance their time in the area, whether for a short visit or an extended residency. Hopefully, this encourages involvement in all aspects of our community and maybe shed some light on some lesser known groups and organizations in the area. This guide includes resources and organizations in Oconee, Pickens, Anderson, and Greenville counties, which are shown in the map below. Clemson is marked by the City logo on the map, hiding in the bottom corner of Pickens County, right on the border of both Anderson and Oconee counties. (These three counties are collectively known as the Tri-County area.) Clemson is also just a short drive from Greenville, which is a larger, more metropolitan area. The City of Clemson is a university town that provides a strong sense of community and a high quality of life for its residents. University students add to its diversity and vitality.