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Beneath the Surface: Argentine-United States Relations As Perón Assumed the Presidency
Beneath the Surface: Argentine-United States Relations as Perón Assumed the Presidency Vivian Reed June 5, 2009 HST 600 Latin American Seminar Dr. John Rector 1 Juan Domingo Perón was elected President of Argentina on February 24, 1946,1 just as the world was beginning to recover from World War II and experiencing the first traces of the Cold War. The relationship between Argentina and the United States was both strained and uncertain at this time. The newly elected Perón and his controversial wife, Eva, represented Argentina. The United States’ presence in Argentina for the preceding year was primarily presented through Ambassador Spruille Braden.2 These men had vastly differing perspectives and visions for Argentina. The contest between them was indicative of the relationship between the two nations. Beneath the public and well-documented contest between Perón and United States under the leadership of Braden and his successors, there was another player whose presence was almost unnoticed. The impact of this player was subtlety effective in normalizing relations between Argentina and the United States. The player in question was former United States President Herbert Hoover, who paid a visit to Argentina and Perón in June of 1946. This paper will attempt to describe the nature of Argentine-United States relations in mid-1946. Hoover’s mission and insights will be examined. In addition, the impact of his visit will be assessed in light of unfolding events and the subsequent historiography. The most interesting aspect of the historiography is the marked absence of this episode in studies of Perón and Argentina3 even though it involved a former United States President and the relations with 1 Alexander, 53. -
Krt Madonna Knight Ridder/Tribune
FOLIO LINE FOLIO LINE FOLIO LINE “Music” “Ray of Light” “Something to Remember” “Bedtime Stories” “Erotica” “The Immaculate “I’m Breathless” “Like a Prayer” “You Can Dance” (2000; Maverick) (1998; Maverick) (1995; Maverick) (1994; Maverick) (1992; Maverick) Collection”(1990; Sire) (1990; Sire) (1989; Sire) (1987; Sire) BY CHUCK MYERS Knight Ridder/Tribune Information Services hether a virgin, vamp or techno wrangler, Madon- na has mastered the public- image makeover. With a keen sense of what will sell, she reinvents herself Who’s That Girl? and transforms her music in Madonna Louise Veronica Ciccone was ways that mystify critics and generate fan interest. born on Aug. 16, 1958, in Bay City, Mich. Madonna staked her claim to the public eye by challenging social norms. Her public persona has Oh Father evolved over the years, from campy vixen to full- Madonna’s father, Sylvio, was a design en- figured screen siren to platinum bombshell to gineer for Chrysler/General Dynamics. Her leather-clad femme fatale. Crucifixes, outerwear mother, Madonna, died of breast cancer in undies and erotic fetishes punctuated her act and 1963. Her father later married Joan Gustafson, riled critics. a woman who had worked as the Ciccone Part of Madonna’s secret to success has been family housekeeper. her ability to ride the music video train to stardom. The onetime self-professed “Boy Toy” burst onto I’ve Learned My Lesson Well the pop music scene with a string of successful Madonna was an honor roll student at music video hits on MTV during the 1980s. With Adams High School in Rochester, Mich. -
Eva Perón: El Poder Del Deseo
Nuevo Itinerario Revista Digital de Filosofía ISSN 1850-3578 2015 – Vol. 10 – Número X – Resistencia, Chaco, Argentina Eva Perón: el poder del deseo Teresa Rinaldi College of Arts and Sciences National University, San Diego (USA) [email protected] Recibido: 10/06/2015 Aceptado: 22/08/2015 Resumen: El estudio del cuerpo y en sus diversas formas y contextos debe abordarse desde una perspertiva interdisiplinaria que incluye desde el arte y la literatura hasta la medicina y las artes plásticas en búsqueda constante de la significación social del mismo. María Eva Duarte de Perón (1919-1952) fue el centro de una serie de eventos que no solo cambiaron el rumbo de su vida sino también el del mundo político y social de Argentina. Su vida se llama a la observación, el análisis y la búsqueda de respuestas a cómo una simple e ilegítima niña logró llegar a las más altas cumbres de la sociedad argentina. La capacidad de Eva para adaptarse y sobrepasar contratiempos conjuntamente con su estilo único y astucia la catapultaron al estrellato marcando la memoria del pueblo argentino y la comunidad internacional. Dentro de vasto material literario y artístico sobre la vida y obra de Eva, se pueden mencionar: Eva Perón (1970) de Otelo Borroni y Roberto Vacca, La pasión según Eva (1994) de Abel Posse, Eva Perón, the bibliography (1995) de Alicia Dujovne Ortíz, El misterio de Eva Perón (1988,documental) de Tulio Demicheli, Evita Pre-Madonna (1995, documental) de Claudia Nie, Santa Evita (1995) de Tomás Eloy Martínez, Evita (1996, film) de Alan Parker y Evita: Santa o Demonio (1996, film) de Juan Carlos de Sanzo. -
Papal Visit Philippines 2014 and 2015 2014
This event is dedicated to the Filipino People on the occasion of the five- day pastoral and state visit of Pope Francis here in the Philippines on October 23 to 27, 2014 part of 22- day Asian and Oceanian tour from October 22 to November 13, 2014. Papal Visit Philippines 2014 and 2015 ―Mercy and Compassion‖ a Papal Visit Philippines 2014 and 2015 2014 Contents About the project ............................................................................................... 2 About the Theme of the Apostolic Visit: ‗Mercy and Compassion‘.................................. 4 History of Jesus is Lord Church Worldwide.............................................................................. 6 Executive Branch of the Philippines ....................................................................... 15 Presidents of the Republic of the Philippines ....................................................................... 15 Vice Presidents of the Republic of the Philippines .............................................................. 16 Speaker of the House of Representatives of the Philippines ............................................ 16 Presidents of the Senate of the Philippines .......................................................................... 17 Chief Justice of the Supreme Court of the Philippines ...................................................... 17 Leaders of the Roman Catholic Church ................................................................ 18 Pope (Roman Catholic Bishop of Rome and Worldwide Leader of Roman -
Lyrics by Tim Rice Music by Andrew Lloyd Webber Directed by Rob Ruggiero
2018–2019 SEASON EVITA LYRICS BY TIM RICE MUSIC BY ANDREW LLOYD WEBBER DIRECTED BY ROB RUGGIERO CONTENTS 2 The 411 3 A/S/L, HTH 4 FYI 6 B4U 7 IRL 8 RBTL At The Rep, we know HOW TO BE THE BEST AUDIENCE EVER! that life moves fast— TAKE YOUR SEAT okay, really fast. But An usher will seat your class as a group, and often we have we also know that a full house with no seats to spare, so be sure to stick with some things are your school until you have been shown your section in the worth slowing down theatre. for. We believe that live theatre is one of those pit stops worth making and are excited that you are going to stop SILENCE IS GOLDEN by for a show. To help you get the most bang for your buck, Before the performance begins, be sure to turn off your cell we have put together WU? @ THE REP—an IM guide that will phone and watch alarms. If you need to talk or text during give you everything you need to know to get at the top of your intermission, don’t forget to click off before the show theatergoing game—fast. You’ll find character descriptions resumes. (A/S/L), a plot summary (FYI), biographical information (F2F), BREAK TIME historical context (B4U), and other bits and pieces (HTH). Most This performance includes an intermission, at which time importantly, we’ll have some ideas about what this all means you can visit the restrooms in the lobby. -
Multilevel Censorship As Media Repression in the Philippines
PSSR 65/2 (2013): 45-72 Teresa Lorena A. Jopson University of the Philippines Manila Silent Assault: Multilevel Censorship as Media Repression in the Philippines Abstract This article examines media repression as experienced by independent media practitioners. It explores two cases of media repression through interviews: the termination of the radio program Ngayon Na, Bayan! (Right Now, People!) in 2006; and the censorship of Rights, a series of public service advertisements in 2007. State censorship through laws, review and regulatory boards, and the military, together with self-censorship among media practitioners due to pressures in the media industry, constitute multilevel media repression. The silencing of alternative voices is a form of everyday violence (Scheper-Hughes, 2003; Kleinman, 2003). As multilevel repression exposes the insecurity of a government in a state of crisis (Wieviorka 2003), a counter discourse to silence (Greene, 2003) is created in the process. Keywords multilevel censorship, media repression, state censorship, self-censorship, culture of silence, counter discourse Teresa Lorena A. Jopson is Senior Lecturer in the Department of Social Sciences, UP Manila. She has a BA in Anthropology from UP Diliman and an MA in Development Studies, Major in Human Rights, Development and Social Justice from the International Institute of Social Studies of Erasmus University Rotterdam. Jopson.pmd 45 6/24/2014, 9:33 AM PSSR 65/2 (2013): 45-72 Teresa Lorena A. Jopson University of the Philippines Manila Silent Assault: Multilevel Censorship as Media Repression in the Philippines Introduction The contrast in the freedom of the press before and during Martial Law (1972-1986) – from the freest to the most censored, notorious for killing and jailing journalists – has been underscored in literature on censorship in the country (Lent, 1974). -
Madonna's Postmodern Revolution
Journal of Literature and Art Studies, January 2021, Vol. 11, No. 1, 26-32 doi: 10.17265/2159-5836/2021.01.004 D DAVID PUBLISHING The Rebel Madame: Madonna’s Postmodern Revolution Diego Santos Vieira de Jesus ESPM-Rio, Rio de Janeiro, Brazil The aim is to examine Madonna’s revolution regarding gender, sexuality, politics, and religion with the focus on her songs, videos, and live performances. The main argument indicates that Madonna has used postmodern strategies of representation to challenge the foundational truths of sex and gender, promote gender deconstruction and sexual multiplicity, create political sites of resistance, question the Catholic dissociation between the physical and the divine, and bring visual and musical influences from multiple cultures and marginalized identities. Keywords: Madonna, postmodernism, pop culture, sex, gender, sexuality, politics, religion, spirituality Introduction Madonna is not only the world’s highest earning female entertainer, but a pop culture icon. Her career is based on an overall direction that incorporates vision, customer and industry insight, leveraging competences and weaknesses, consistent implementation, and a drive towards continuous renewal. She constructed herself often rewriting her past, organized her own cult borrowing from multiple subaltern subcultures, and targeted different audiences. As a postmodern icon, Madonna also reflects social contradictions and attitudes toward sexuality and religion and addresses the complexities of race and gender. Her use of multiple media—music, concert tours, films, and videos—shows how images and symbols associated with multiracial, LGBT, and feminist groups were inserted into the mainstream. She gave voice to political interventions in mass popular culture, although many critics argue that subaltern voices were co-opted to provide maximum profit. -
Faces De Eva Estudos Sobre a Mulher FACES DE EVA Revista De Estudos Sobre a Mulher N.º Extra – 2019
ANO 2019 NÚMERO EXTRA Estudos sobre a Mulher sobre Estudos Faces deEva Faces Faces de Eva Estudos sobre a Mulher FACES DE EVA Revista de Estudos sobre a Mulher N.º Extra – 2019 Primeira Directora: Zília Osório de Castro Direcção: Zília Osório de Castro • Isabel Henriques de Jesus Coordenação: Aida Rechena, Ana Lúcia Teixeira, Teresa Veiga Furtado, Manuel Lisboa, Paulo Simões Rodrigues Assessora de Direcção: Natividade Monteiro Secretária de Edição: Maria do Céu Borrêcho Redacção: Alexandra Alves Luís, Ana Cristina Oliveira, Ana Ribeiro da Silva, Ana Rosa Mota, Catarina Inverno, Cristina L. Duarte, Elisabeth Évora Nunes, Ilda Soares de Abreu, Isabel Henriques de Jesus, João Esteves, Maria do Céu Borrêcho, Maria do Rosário Barardo, Maria José Remédios, Maria Reynolds de Souza (membro honorária), Natividade Monteiro, Regina Tavares da Silva (membro honorária), Rita Mira, Sandra Leandro, Susana Cámara Marín, Zília Osório de Castro. Conselho Editorial: Ana Guil Bozal (Universidade de Sevilha), Ana Isabel Buescu (Universidade NOVA de Lisboa), Ana Pires Pessoa (Instituto Politécnico de Setúbal), Anne Cova (Universidade de Lisboa), Bernardo Vasconcelos e Sousa (Universidade NOVA de Lisboa), Carla Cibele Figueiredo (Instituto Politécnico de Setúbal), Consuelo Flecha García (Universidade de Sevilha), Dalila Cerejo (Universidade NOVA de Lisboa), Deolinda Adão (Universidade da Califórnia - Berkeley), Esther Martínez Quinteiro (Universidade de Salamanca), Eugénia Vasques (Instituto Politécnico de Lisboa), Fernando Ribeiro (Universidade NOVA de Lisboa), -
Intellectual Property Center, 28 Upper Mckinley Rd. Mckinley Hill Town Center, Fort Bonifacio, Taguig City 1634, Philippines Tel
Intellectual Property Center, 28 Upper McKinley Rd. McKinley Hill Town Center, Fort Bonifacio, Taguig City 1634, Philippines Tel. No. 238-6300 Website: http://www.ipophil.gov.ph e-mail: [email protected] Publication Date < 02 October 2019 > Registered National Marks as of July 2019 Registration / Nice No. Registration Date Mark Applicant Application No. class(es) 1 4/2009/00005623 14 January 2010 LIVE TO BE SPOILED LABEL CAROLINE TY CUA [PH] 25 MARRIOTT WORLDWIDE 2 4/2011/00001686 2 June 2019 FAIRFIELD 39 and 43 CORPORATION [US] MUNCHY FOOD INDUSTRIES SDN. 3 4/2011/00008985 15 January 2017 MUNCHY`S LEXUS 30 BHD. [MY] AGUAS CLARAS DEVELOPMENT 4 4/2013/00000722 27 June 2019 MOMOBEACHHOUSE AN 43 CORPORATION [PH] EAGLE CEMENT CORPORATION 5 4/2013/00010042 31 August 2018 EAGLE CEMENT HARD WALL 19 [PH] EAGLE CEMENT CORPORATION 6 4/2013/00010043 31 August 2018 EAGLE CEMENT PALITADA MAX 19 [PH] EAGLE CEMENT CORPORATION 7 4/2013/00010044 31 August 2018 EAGLE CEMENT SUPER MASON 19 [PH] 8 4/2015/00013217 8 June 2017 WAGYU SAMURAI MEAT-COMPANION CO., LTD. [JP] 29 RICH STAR-ULTIMATE RICHSTAR PETROLEUM OIL INC. 9 4/2016/00010567 16 March 2017 4 LUBRICANT SYSTEM [PH] 10 4/2016/00011150 31 August 2017 DESIGN DISTRICT ALLHOME CORPORATION [PH] 35 11 4/2016/00011151 4 May 2017 ALLHOME APPLIANCES ALLHOME CORPORATION [PH] 35 12 4/2016/00011152 31 August 2017 BEYOND BASIC ALLHOME CORPORATION [PH] 35 GENUINE EFFICASCENT YOUR INTERNATIONAL 13 4/2016/00011593 14 July 2017 3 and 5 TRUSTED BRAND PHARMACEUTICALS, INC. [PH] 14 4/2016/00015545 18 May 2017 MEIJI CO., LTD. -
Championship Show
Championship Show Saturday 12th December 2020 Dogs Queensland Sports Grounds, King Ave Durack These shows are conducted under the rules of the Dogs (Qld). A copy of these rules may be perused at the Secretary’s Office. Championship Show SHOW START TIME 5:00 PM Judges & Judging order: Mr M Watt (QLD) .............................................................................. Group 1 Mr V Jones (QLD) .............................................................................. Group 2 Mrs L Trotter (QLD) .............................................................................. Group 3 Mr A Brown (QLD) .............................................................................. Group 4 Mrs M Starkey (QLD) .............................................................................. Group 5 Mr J Mitchell (QLD) .............................................................................. Group 6 Ms K Mangan (QLD) .............................................................................. Group 7 Mr T Thomas (QLD) ....................................................................... General Specials Show Managers: ............................... David Weil & Ainslie Carius Covid Co-ordinators: ...................... Bill Smith & Andrew Greenwood Stewards Writers Nathan McGreevy Graeme Kerr Bronwyn Dickson Brian Dowse Reece Fry Judy Langton Wendy Pleydell-Fry Margaret Alderton Russell Williams Imelda Lines Duncan McAllister Anthea Adamopolous Charlotte Holman Jessie James Roving Writer .................................... Andrew -
Evita Music: Andrew Lloyd Webber Lyrics: Tim Rice Premiere: Wednesday, June 21, 1978
-------------------------------------------------------------------------------- Evita Music: Andrew Lloyd Webber Lyrics: Tim Rice Premiere: Wednesday, June 21, 1978 -------------------------------------------------------------------------------- * ACT ONE * 1. A CINEMA IN BUENOS AIRES, 26 JULY 1952 (An audience is watching a less than distinguished movie [in both the original London and New York productions of EVITA a clip from one of Eva Peron's own movies was used]. The soundtrack dialogue is in Spanish, the music melodramatic. Suddenly the film grinds to a halt. The people in the cinema begin to protest but are silenced by an announcement) THE VOICE OF THE SECRETARY OF THE PRESS (in Spanish) It is the sad duty of the Secretary of the Press... (in English) ...to inform the people of Argentina that Eva Peron, spiritual leader of the nation, entered immortality at 20.25 hours today. 2. REQUIEM FOR EVITA / OH WHAT A CIRCUS (EVA's funeral. CHE is the only non-participant. He moves through the mourners, apparently unseen.) CROWD Requiem aeternum dona Evita Requiem Evita Evita Evita CHE Oh what a circus! Oh what a show! Argentina has gone to town Over the death of an actress called Eva Peron We've all gone crazy Mourning all day and mourning all night Falling over ourselves to get all of the misery right Oh what an exit! That's how to go! When they're ringing your curtain down Demand to be buried like Eva Peron It's quite a sunset And good for the country in a roundabout way We've made the front page of all the world's papers today But who -
LIVIN'evita LOCA
FROM THE BALCONY, seniors Avery LaRue and Curtis Faulkner emerge as the new leaders of Argentina. The musical offered the actors new opportunities. “I was excited to work with Avery because we have worked with each other, but not as closely as characters who are interacting in a very deep and complicated relationship,” Faulkner said. PHOTO BY LIZ LOPEZ LIVIN’ EVITA LOCA 10 years later, the Starlight Theatre Company relives Evita Without a doubt, the Starlight Theatre production of Evita has changed immensely since the last time the musical was put on 10 years ago. W ”The biggest change in this production of Evita as compared to the last one was that we had three ‘Evitas,’ and they each had three performances, but they played Evita the entire way through. We came up with this concept of having three different Evitas every night as a way to give more people an opportunity and kind of just change it up,“ Director Marco Bazan said. The production has grown in the size of cast members, incorporated a larger, two story set, and has even doubled the amount of directors. “The combination of students we had and the challenge level of the music. There are always so many factors that Shannon Ross, Nicole Chenevert, Sofia Hutton and Katie Norris Sofia Hutton Chenevert, Nicole Shannon Ross, we consider, before we choose the musical,” Director Ms. Betsy Cornwell said. The show’s huge success was due to the hard work put in by the large cast and new directors. ”I think that the newer directors brought a new, inspired kind of energy to the production,” Bazan said.