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Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930S
Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930s Ariel Mae Lambe Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Ariel Mae Lambe All rights reserved ABSTRACT Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930s Ariel Mae Lambe This dissertation shows that during the Spanish Civil War (1936–1939) diverse Cubans organized to support the Spanish Second Republic, overcoming differences to coalesce around a movement they defined as antifascism. Hundreds of Cuban volunteers—more than from any other Latin American country—traveled to Spain to fight for the Republic in both the International Brigades and the regular Republican forces, to provide medical care, and to serve in other support roles; children, women, and men back home worked together to raise substantial monetary and material aid for Spanish children during the war; and longstanding groups on the island including black associations, Freemasons, anarchists, and the Communist Party leveraged organizational and publishing resources to raise awareness, garner support, fund, and otherwise assist the cause. The dissertation studies Cuban antifascist individuals, campaigns, organizations, and networks operating transnationally to help the Spanish Republic, contextualizing these efforts in Cuba’s internal struggles of the 1930s. It argues that both transnational solidarity and domestic concerns defined Cuban antifascism. First, Cubans confronting crises of democracy at home and in Spain believed fascism threatened them directly. Citing examples in Ethiopia, China, Europe, and Latin America, Cuban antifascists—like many others—feared a worldwide menace posed by fascism’s spread. -
Robert Rauschenberg and James Rosenquist Graphics Rosenquist
RAUSCHENBERG PAST POP: ROBERT RAUSCHENBERG AND JAMES ROSENQUIST GRAPHICS ROSENQUIST KEAN UNIVERSITY !CKNOWLEDGEMENTS We would like to recognize the many individuals and institutions who generously provided assistance in this process. Bard Graduate Center: Olga Valle Tetkowski; Graebel Movers International Inc.: Jim Wilderotter; Kean University: Dr. Dawood Farahi, Holly Logue, John Maso, and Kenneth Kimble; The Montclair Art Museum: Gail Stavitsky and Erica Boyd; The Newark Museum: Amber Woods Germano, Olivia Arnone; O’Hara Gallery: Ruth O’Hara and Lauren Yen; Prudential Insurance Company of America: Carol Skuratofsky and Joseph Sabatino; the Estate of Robert Rauschenberg: Gina C. Guy and Thomas Buehler; James Rosenquist and Beverly Coe at the Rosenquist Studio; Universal Limited Art Editions: Bill Goldston and Marie Allen; The Whitney Museum of American Art: Donna DeSalvo, Barbie Spieler and Matt Heffernan; Visual Artists and Galleries Association (VAGA): Robert Panzer and Kimberly Tishler. Rich Russo for the photographs of prints in the Kean and Prudential collections. Special thanks to Barbara Burn for her remarkable editing ability and unique kindness. Without her diligence, this catalog would not have been possible. Copyright © 2009 by Kean University, Union, New Jersey Catalog essay, Past Pop: Robert Rauschenberg and James Rosenquist Graphics of the 1970s © 2009 Lewis Kachur All rights reserved. No part of this book may be reproduced in any form including electronic or mechanical means, photocopying, information storage and retrieval systems, except in the case of brief extracts for the purpose of critical articles and reviews, without permission in writing from Kean University. Art © James Rosenquist /Licensed by VAGA, New York, NY Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY U.L.A.E. -
CCAR Journal the Reform Jewish Quarterly
CCAR Journal The Reform Jewish Quarterly Halachah and Reform Judaism Contents FROM THE EDITOR At the Gates — ohrgJc: The Redemption of Halachah . 1 A. Brian Stoller, Guest Editor ARTICLES HALACHIC THEORY What Do We Mean When We Say, “We Are Not Halachic”? . 9 Leon A. Morris Halachah in Reform Theology from Leo Baeck to Eugene B . Borowitz: Authority, Autonomy, and Covenantal Commandments . 17 Rachel Sabath Beit-Halachmi The CCAR Responsa Committee: A History . 40 Joan S. Friedman Reform Halachah and the Claim of Authority: From Theory to Practice and Back Again . 54 Mark Washofsky Is a Reform Shulchan Aruch Possible? . 74 Alona Lisitsa An Evolving Israeli Reform Judaism: The Roles of Halachah and Civil Religion as Seen in the Writings of the Israel Movement for Progressive Judaism . 92 David Ellenson and Michael Rosen Aggadic Judaism . 113 Edwin Goldberg Spring 2020 i CONTENTS Talmudic Aggadah: Illustrations, Warnings, and Counterarguments to Halachah . 120 Amy Scheinerman Halachah for Hedgehogs: Legal Interpretivism and Reform Philosophy of Halachah . 140 Benjamin C. M. Gurin The Halachic Canon as Literature: Reading for Jewish Ideas and Values . 155 Alyssa M. Gray APPLIED HALACHAH Communal Halachic Decision-Making . 174 Erica Asch Growing More Than Vegetables: A Case Study in the Use of CCAR Responsa in Planting the Tri-Faith Community Garden . 186 Deana Sussman Berezin Yoga as a Jewish Worship Practice: Chukat Hagoyim or Spiritual Innovation? . 200 Liz P. G. Hirsch and Yael Rapport Nursing in Shul: A Halachically Informed Perspective . 208 Michal Loving Can We Say Mourner’s Kaddish in Cases of Miscarriage, Stillbirth, and Nefel? . 215 Jeremy R. -
Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level. -
A Case Study of the Tea Plantation Industry in Himalayan and Sub - Himalayan Region of Bengal (1879 – 2000)
RISE AND FALL OF THE BENGALI ENTREPRENEURSHIP: A CASE STUDY OF THE TEA PLANTATION INDUSTRY IN HIMALAYAN AND SUB - HIMALAYAN REGION OF BENGAL (1879 – 2000) A THESIS SUBMITTED TO THE UNIVERSITY OF NORTH BENGAL FOR THE AWARD OF DOCTOR OF PHILOSOPHY IN HISTORY BY SUPAM BISWAS GUIDE Dr. SHYAMAL CH. GUHA ROY CO – GUIDE PROFESSOR ANANDA GOPAL GHOSH DEPARTMENT OF HISTORY UNIVERSITY OF NORTH BENGAL 2015 JULY DECLARATION I declare that the thesis entitled RISE AND FALL OF THE BENGALI ENTREPRENEURSHIP: A CASE STUDY OF THE TEA PLANTATION INDUSTRY IN HIMALAYAN AND SUB - HIMALAYAN REGION OF BENGAL (1879 – 2000) has been prepared by me under the guidance of DR. Shyamal Ch. Guha Roy, Retired Associate Professor, Dept. of History, Siliguri College, Dist – Darjeeling and co – guidance of Retired Professor Ananda Gopal Ghosh , Dept. of History, University of North Bengal. No part of this thesis has formed the basis for the award of any degree or fellowship previously. Supam Biswas Department of History North Bengal University, Raja Rammuhanpur, Dist. Darjeeling, West Bengal. Date: 18.06.2015 Abstract Title Rise and Fall of The Bengali Entrepreneurship: A Case Study of The Tea Plantation Industry In Himalayan and Sub Himalayan Region of Bengal (1879 – 2000) The ownership and control of the tea planting and manufacturing companies in the Himalayan and sub – Himalayan region of Bengal were enjoyed by two communities, to wit the Europeans and the Indians especially the Bengalis migrated from various part of undivided Eastern and Southern Bengal. In the true sense the Europeans were the harbinger in this field. Assam by far the foremost region in tea production was closely followed by Bengal whose tea producing areas included the hill areas and the plains of the Terai in Darjeeling district, the Dooars in Jalpaiguri district and Chittagong. -
TEA HOLIDAYS ASSAM- DARJEELING- SIKKIM 12 Nights/ 13 Days Best Travel Period: Mid October to Mid May
TEA HOLIDAYS ASSAM- DARJEELING- SIKKIM 12 Nights/ 13 Days Best Travel Period: Mid October to Mid May PURVIDISCOVERY.COM TOUR HIGHLIGHTS • Tour through the lush tea estates of Upper Assam, Darjeeling and Gangtok. Learn how different varieties of tea are processed in surrounding plantations and regions. • Experience a tea tasting session with a professional planter. • Live in colonial splendour. • Visit Mukul Organic Tea Plantation. • Visit the Singpho tribal village known for its traditional organic tea. • Visit Tocklai Tea Research Station at Jorhat. • Enjoy a local dance performance. • Visit Majuli – the largest inhabited river island in the world. • Visit Kaziranga National Park – home to the Great Indian One Horned Rhinoceros. DAY 01- BAGDOGDRA- DARJEELING Receive at Bagdogra airport and later drive to Darjeeling (72 kms / 3.5 hours). On arrival check in at Windamere hotel for 03 nights. Evening leisurely walk around the Mall/Chowrasta which is the centre of Darjeeling. DAY 02- DARJEELING Today we do for day tour to Makaibari Tea Estate (40 kms / 02 hrs). Enjoy tea plantation tour, factory visit for tea processing and tea tasting. Later in the afternoon drive back to hotel. Or Alternatively Post breakfast, visit Happy Valley Tea Estate (05 kms) to see the tea processing, tea tasting and garden tour. Later take a Joy Ride in the famous Darjeeling Himalayan Steam Train (approximately 02 hrs journey to and from Darjeeling Railway Station). Evening visit local market. Or Alternatively Post breakfast, visit Happy Valley Tea Estate (05 kms) to see the tea processing, tea tasting and garden tour. Later visit Rock Garden (11 kms) which falls amidst tea bushes and has a natural and scenic water fall along with small rivers around. -
Chemical Unfolding of Protein Domains Induces Shape Change in Programmed Protein Hydrogels
ARTICLE https://doi.org/10.1038/s41467-019-13312-0 OPEN Chemical unfolding of protein domains induces shape change in programmed protein hydrogels Luai R. Khoury1* & Ionel Popa 1* Programmable behavior combined with tailored stiffness and tunable biomechanical response are key requirements for developing successful materials. However, these properties are still an elusive goal for protein-based biomaterials. Here, we use protein-polymer interactions to 1234567890():,; manipulate the stiffness of protein-based hydrogels made from bovine serum albumin (BSA) by using polyelectrolytes such as polyethyleneimine (PEI) and poly-L-lysine (PLL) at various concentrations. This approach confers protein-hydrogels with tunable wide-range stiffness, from ~10–64 kPa, without affecting the protein mechanics and nanostructure. We use the 6-fold increase in stiffness induced by PEI to program BSA hydrogels in various shapes. By utilizing the characteristic protein unfolding we can induce reversible shape-memory behavior of these composite materials using chemical denaturing solutions. The approach demonstrated here, based on protein engineering and polymer reinforcing, may enable the development and investigation of smart biomaterials and extend protein hydrogel capabilities beyond their conventional applications. 1 Department of Physics, University of Wisconsin-Milwaukee, 3135 North Maryland Ave., Milwaukee, WI 53211, USA. *email: [email protected]; [email protected] NATURE COMMUNICATIONS | (2019) 10:5439 | https://doi.org/10.1038/s41467-019-13312-0 | www.nature.com/naturecommunications 1 ARTICLE NATURE COMMUNICATIONS | https://doi.org/10.1038/s41467-019-13312-0 olymer-based hydrogels have found broad applications in domains. Using this interaction between BSA and polymers, in tissue engineering, drug delivery, soft robotics, and combination with the unfolding response of protein domains in P 1,2 actuators , and their viscoelasticity can drive stem cell fate chemical denaturants, we formulate protein-based hydrogels to and activity3. -
Outdoor Environments Benches, Bike Racks, Litter & Recycling, Lighting, Café and Railings
Outdoor Environments Benches, Bike racks, Litter & recycLing, Lighting, café and raiLings shaping life in public spaces outdoor environments Forms+Surfaces products bring inspiration to public spaces of all kinds and are designed to meet the needs of outdoor environments worldwide. By putting people at the center of our vision, and thoughtfully considering our designs and materials against the challenges they’re intended to address, we’ve built an integrated product line shaped by sophisticated designs, green materials and finishes, superior construction, and competitive pricing. You’ll find our products around the world in airports, train stations, city centers, parks, waterfronts, corporate campuses, hotels, healthcare facilities, shopping malls, stadiums, universities, restaurants and more. Select site furnishings are available for Forms+Surfaces is an FSC® Certified Supplier shipment within 7 days through our QuickShip (FSC C004453). All of our wood slat benches are made program – just look for the QuickShip logo. with FSC Pure wood. 1 | FORMS+SURFACES FORMS+SURFACES | 2 benches Forms+Surfaces benches are recognized worldwide for their distinctive designs and high-performance green materials and finishes. Rugged enough to face the challenges of real-world use, our benches are ideal for a wide variety of indoor and outdoor public spaces. 3 | FORMS+SURFACES FORMS+SURFACES | 4 Trio Bench Hudson Bench Camber Bench + Backed and backless benches in nominal 6 foot seat lengths + Backless benches standard in 6 foot and 8 foot lengths + Backed -
Clear Black Smoke Mohammed Qasim Ashfaq
CLEAR 1 BLACK 1 2 2 3 SMOKE 3 4 4 5 MOHAMMED 5 6 QASIM 6 7 7 8 ASHFAQ 8 9 9 10 10 11 11 12 12 13 13 14 14 15 15 16 16 17 17 18 18 19 19 20 20 21 21 22 22 23 23 24 24 25 25 26 26 27 27 28 28 CLEAR 1 BLACK 1 2 2 3 SMOKE 3 4 4 5 MOHAMMED 5 6 QASIM 6 7 7 8 ASHFAQ 8 9 9 10 10 11 11 12 12 13 13 14 14 15 15 16 16 17 First Edition 2017 17 18 18 19 Editor Shanay Jhaveri 19 20 Concept Shanay Jhaveri and Hannah Barry 20 21 Coordination Diana Córdoba Barrios 21 22 Photography Damian Griffiths 22 23 Studio photos Mohammed Qasim Ashfaq 23 24 ©The Isamu Noguchi Foundation and Garden Museum 24 25 / ARS, New York + DACS, London 25 26 Design Victoria Bridal 26 27 Typefaces Circular and Palatino Edited by 27 28 Printed by Ex Why Zed, Cambridge, United Kingdom Shanay Jhaveri 28 1 1 2 2 3 3 4 4 5 SCALING UP, TO SHIFT 5 5 6 Shanay Jhaveri 6 7 7 8 BLACK 9 8 9 Alexis Lowry 9 10 10 11 THINKING THROUGH PERFECT 13 11 12 WITH DONATIEN GRAU 12 13 13 14 MULTIPLE PERSPECTIVES: 33 14 15 ISAMU NOGUCHI AND THE JANTAR MANTAR 15 16 Devika Singh 16 17 17 18 POTENTIAL ART 39 18 19 Ben Eastham 19 20 20 21 PERFECTION 45 21 22 Charlie Clarke 22 23 23 24 SHIFT 51 24 25 Paul Hobson 25 26 26 27 27 28 28 SCALING UP, 1 TO SHIFT 2 3 4 SHANAY JHAVERI 5 6 7 8 9 Mohammed Qasim Ashfaq’s is a nascent practice, one that 10 is still revealing itself. -
The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020
The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020 The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020 edited by Dr. Redell Hearn Mississippi Museum of Art Jackson in partnership with Tougaloo College Art Collections Turry M. Flucker, Director Tougaloo made possible by the Henry Luce Foundation The Art and Civil Rights Initiative is a partnership between the Mississippi Museum of Art and Tougaloo College, supported by the Henry Luce Foundation. The Mississippi Museum of Art and its programs are sponsored in part by the city of Jackson and Visit Jackson. Support is also provided in part by funding from the Mississippi Arts Commission, a state agency, and by the National Endowment for the Arts, a federal agency. Tougaloo College is a private, coeducational, historically black four-year liberal arts, church related, but not church-controlled institution. Copyright © 2020 Mississippi Museum of Art 380 South Lamar Street, Jackson, MS 39201 / www.msmuseumart.org and Tougaloo College 500 County Line Rd, Tougaloo, MS 39174 / https://www.tougaloo.edu/ All rights reserved. No part of this publication may be reproduced or transmitted in any form without written permission from the publisher. Artwork dimensions are given in inches; height precedes width precedes depth. MMA collection numbers 1966.001, 1966.018, 1972.006, and 2005.029 photographed by Gil Ford Photography; 2005.029 photographed by Roland L. Freeman. All other photography of artwork from MMA and Tougaloo collections is by Mark Geil. Creative director for the exhibitions A Tale of Two Collections and The Prize is Latrice Lawson. -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
Drapo Vodou: Sacred Standards of Haitian Vodou
UC Santa Barbara UC Santa Barbara Previously Published Works Title Drapo Vodou: Sacred Standards of Haitian Vodou Permalink https://escholarship.org/uc/item/5mc5w4g2 Journal Flag Research Quarterly, 2(3-4) Author Platoff, Anne M. Publication Date 2015-08-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California FLAG RESEARCH QUARTERLY REVUE TRIMESTRIELLE DE RECHERCHE EN VEXILLOLOGIE AUGUST / AOÛT 2015 No. 7 ARTICLE A research publication of the North American Vexillological Association / Une publication de recherche de Drapo Vodou: Sacred l‘Association nord-américaine de vexillologie Standards of Haitian Vodou By ANNE M. PLATOFF* Introduction The field of vexillology is, by nature, a multidisciplinary one. It is difficult to understand the significance of an individual flag or group of flags without exam- ining the context within which those objects were created and are used. This paper will present a case study of a multidisciplinary investigation of one type of flags. Haitian Vodou flags (drapo Vodou) are little known to vexillologists, but have been studied by scholars in the fields of art, anthropology, African-American studies, and other disciplines. An investigation of prior scholarship from these areas demon- strates that this category of flags is not only significantly different than the flags usually examined by vexillologists, but they also have much to teach us about the study of flags as a multidisciplinary exercise. There are several books that are focused on Vodou flags. Patrick Arthur Polk, a prolific researcher on the topic, has produced a colorful and informative book titled Haitian Vodou Flags (1999). In his book, Polk summarizes information compiled in the preparation of his Ph.D.