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Diplomarbeit / Diploma Thesis
DIPLOMARBEIT / DIPLOMA THESIS Titel der Diplomarbeit / Title of the Diploma Thesis „Representation of Kinship in Suzanne Collins’ The Hunger Games Trilogy“ verfasst von / submitted by Katharina Moritz angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magistra der Philosophie (Mag. phil) Wien, 2017 / Vienna, 2017 Studienkennzahl lt. Studienblatt / A 190 344 313 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Lehramt UF Englisch UF Geschichte, Sozialkunde, degree programme as it appears on Polit.Bildg. the student record sheet: Betreut von / Supervisor: Univ.-Prof. Mag. Dr. Alexandra Ganser-Blumenau Acknowledgements Firstly, I would like to thank Univ.-Prof. Mag. Dr. Alexandra Ganser-Blumenau, who supervised this thesis. She was always there with helpful advice whenever I felt stuck. Secondly, I could not have done it without the support of my parents, siblings, friends and my love. Thank you for putting up with me and encouraging me when I was on the verge of giving up. Lastly, I want to thank YouTube for ending my agony by providing essential tutorials for Microsoft Word amateurs such as myself. Table of Contents 1 Introduction 1 2 Theoretical background 4 2.1 Young Adult Literature 4 2.2 Dystopian Literature 7 2.3 Kinship 12 2.3.1 Kinship trough time 13 2.3.2 Traditional notion of kinship 13 2.3.3 Current notion of kinship 15 2.3.4 Kinship and Gender 16 3 The Hunger Games trilogy by Suzanne Collins 18 3.1 The Hunger Games and media 18 3.2 Origin of The Hunger Games – Greek and Roman Mythology 20 3.3 Characters 26 3.3.1 Katniss Everdeen 26 3.3.2 Peeta Mellark 28 3.3.3 Gale Hawthorne 30 3.3.4 Primrose Everdeen 31 3.3.5 Mrs. -
Press Release Corita Kent and the Language of Pop Opens
Press Release Corita Kent and the Language of Pop Opens September 3, 2015, at the Harvard Art Museums Corita Kent, the juiciest tomato of all, 1964. Screenprint. Collection of Jason Simon, New York. © Corita Art Center, Immaculate Heart Community, Los Angeles. Cambridge, MA June 18, 2015 (updated August 14, 2015) The Harvard Art Museums present Corita Kent and the Language of Pop, a special exhibition on display September 3, 2015 to January 3, 2016 at Harvard before travelling to the San Antonio Museum of Art, where it will be on view February 13 to May 8, 2016. The exhibition is curated by Susan Dackerman, the former Carl A. Weyerhaeuser Curator of Prints at the Harvard Art Museums (2005– 2014) and current consultative curator of prints. Corita Kent was an activist nun who juxtaposed spiritual, pop cultural, literary, and political writings alongside symbols of consumer culture and modern life in order to create bold images and prints during the 1960s. Also known as Sister Mary Corita, Kent is often seen as a curiosity or an “anomaly” in the pop art movement. Corita Kent and the Language of Pop positions Kent and her work within the pop art idiom, showing how she is an innovative contemporary of Andy Warhol, Ed Ruscha, and other pop art icons. The exhibition also expands the current scholarship on Kent’s art, elevating the role of her artwork by identifying its place in the artistic and cultural movements of her time. Corita Kent (American, 1918–1986) was a Roman Catholic nun, an artist, and an educator. From 1936 to 1968 she lived, studied, and taught at the Immaculate Heart of Mary in Los Angeles, and she headed the art department at the college there from 1964 to 1968. -
Dilexi Gallery: Disparate Ontologies “The 1960S Dilexi Gallery, Raw and Radical, Gets Brought Back to Life” by Leah Ollman 30 July 2019
Dilexi Gallery: Disparate Ontologies “The 1960s Dilexi Gallery, raw and radical, gets brought back to life” by Leah Ollman 30 July 2019 The Landing Gallery in L.A., which is part of a retrospective on the midcentury Dilexi Gallery.(Joshua White / The Landing) Retrospective exhibitions typically trace the career of an individual artist, but the format applies equally well to the lifespan of a gallery, as evidenced by “Dilexi Gallery: Disparate Ontologies” at the L.A. gallery the Landing. Organized by independent curator Laura Whitcomb, the show is part of a six-venue pro- gram examining the evolution and character of Dilexi, which operated in San Francisco from 1958 to 1969 as well as in Los Angeles briefly in the early ‘60s. The Landing’s show, like the project as a whole (a comprehensive catalog is forthcoming), is a vibrant lesson in art history-cum-astronomy, a tale of radiant bodies, constellations and orbits. 5118 w Jefferson Boulevard, Los Angeles, CA 90016, 323 272 3194 The first revelatory big bang came in 1950, when music student Jim Newman met fellow Stanford freshman Walter Hopps. Friendship and collaboration ensued. Hopps launched the legendary Ferus Gallery in L.A. in 1957, and the next year Newman (with poet, artist and activist Bob Alexander) opened Dilexi above a jazz club. Newman later described the venture as “performing more of a missionary or even maybe a political function” than a commercial one. He was drawn to artists — largely Californians — whom he perceived as radical in intent and bold with materials. A New York Times critic called the gallery “a springboard for the hairy avant-garde.” Professional nonconformism seems to have been the gallery’s ethos. -
Historical Society of Southern California Webinar: “Public Los Angeles.” a Book Talk About Housing, Popular Politics, and the Formation of Modern LA
H-Announce Historical Society of Southern California Webinar: “Public Los Angeles.” A book talk about housing, popular politics, and the formation of modern LA. Announcement published by Amy Essington on Monday, August 17, 2020 Type: Event Date: August 19, 2020 Location: United States Subject Fields: Local History, Urban History / Studies, American History / Studies “Public Los Angeles.” A book talk about housing, popular politics, and the formation of modern LA. Wednesday, August 19, 2020, at 6pm PDT on Zoom Public Los Angeles: A Private City’s Activist Futures is a collection of unpublished work by the late Los Angeles historian and urban scholar Don Parson presenting insights into the collectivism, networks of solidarity, and government policy in early to mid-twentieth century LA. The book also contains essays by twelve friends and mentors that contextualize how Public Los Angeles can help shape our understanding of public housing, judicial activism, gender and housework, and the geography of race and class in modern-day Los Angeles. The publication was supported by a grant from the HSSC/Ahmanson Foundation. Please join us on Zoom for a conversation with the book’s co-editors Judy Branfman (UCLA) and Roger Keil (York), Rachael Baker (Detroit Renter City), Mike Davis, Sue Ruddick (University of Toronto), and Marques Vestal (UCLA) to discuss the region’s complex political and cultural history, Parson’s legacy, and visions for the future. Click Here to register for the webinar. Send questions about the event or for the panel to Donna Schuele, HSSC President, at [email protected] by Wednesday, August 19 at 6pm PDT. -
Violence Hits Cambridge
Today: Special State Tercentenary Salute Edition Weather DISTRIBUTION 7 sum. temperature 60. Mostly TODAY fair today, Ugh 70. Cloudy to- BED BANK night, low In the 50s. Tomorrow, 23,925 chance of scattered showers, high 70. Thursday, gradual clearing, cooler. See weather, page 2. I DIAL 741-0010 diUr, Monday through FrMir. Second Clu« Pettaft PAGE ONE VOL. 86, NO. 225 t Rd Bi ud Mi Aatltiaui Halliac OBICM. RED BANK, N. J., TUESDAY, MAY 12, 1964 7c PER COPY In the Wake of Wallace Speech Violence Hits Cambridge CAMBRIDGE, Md (AP)-An Democratic primary and was sent to the hospital for treat- which were called out at the outburst of violence in the wake Applauded more than 40 times ment of minor injuries. height of similar violence in of a presidential campaign during a 45-minute- speech at- Deputy Atty. Gen. Robert Cambridge last summer. A to- speech by Alabama Gov. tacking the civil rights bill pend- Murphy said charges to be filed ken force of 10 had been as- George C. Wallace left this cen- ing in the Senate. against some of those arrested signed to the uneasy city Use Tear Gas still were under study. throughout the winter, but there ter of racial strife in the grip had been no curfew or other re- of new tensions today. Balked by guardsmen wearing "It may be foolish, if the cli- gas masks and holding rifles mate stays as it is, to turn strictions similar to those im- Two demonstrators and five with fixed bayonets, the integra- them loose in this inferno down posed after an outbreak of National Guardsmen were in- tionists squatted in the street here," he said. -
Ebook Download Corita Kent and the Language of Pop Pdf Free Download
CORITA KENT AND THE LANGUAGE OF POP PDF, EPUB, EBOOK Susan Dackerman | 340 pages | 22 Sep 2015 | Yale University Press | 9780300214710 | English | United States Corita Kent and the Language of Pop PDF Book Flower Power: A Subversive Botanical More Details From to she lived, studied, and taught at the Immaculate Heart of Mary in Los Angeles, and she headed the art department at the college there from to , developing many aspects of her signature style while working alongside her students. Corita Kent Bequest. Be the first to ask a question about Corita Kent and the Language of Pop. This project is supported in part by an award from the National Endowment for the Arts and major corporate support from National Grid. Tensta Konsthall Stockholm, Sweden. Retrospective show of prints by Sister Mary Corita American Institute of Graphic Arts. Error rating book. But, at the end of the decade and at the height of her fame and prodigious work rate, she left the convent where she had spent her adult life. Artist, activist, teacher, and devout Catholic Corita Kent eloquently combined her passions for faith and politics during her rich and varied career. Average rating 4. Kauffman Galleries Houston, Texas. Museum on Main Pleasanton, California. Details if other :. Marjorie Kauffman Graphics Houston, Texas. Are you one of the following? With new material by art world heavyweights Susan Friel and Barbara Loste, Learning by Heart brings creative inspiration into the 21st century! Bay Printmakers Society Oakland, California. This is Now Exhibitors are required to cover costs of transportation both ways, framing, installation, and insurance. -
Donald Moffett
FOR IMMEDIATE RELEASE ! ! MEDIA CONTACT Connie McAllister ALWAYS FRESH Communications and Marketing Manager ALWAYS FREE Tel 713 284 8255 [email protected] The Contemporary Arts Museum Houston is pleased to present the first museum survey of work by New York-based artist Donald Moffett. Donald Moffett: The Extravagant Vein October 1, 2011 – January 8, 2012 Opening Reception Friday, September 30, 2011 6-7PM: Members’ Preview 7-9PM: Public Reception HOUSTON, TX (August 18, 2011)—The Contemporary Donald Moffett, Lot 121909 (18/o), 2009. Oil on linen with Arts Museum Houston is pleased to present the first wood panel support. 17 x 17 inches. Collection Mickey and comprehensive survey of work by New York-based Jeanne Klein, Austin painter Donald Moffett. Donald Moffett: The Extravagant Vein will provide viewers with insight ! into the breadth of the artist’s practice over the past twenty years. As a painter, Moffett extends the traditional two-dimensional frame by creating highly textured relief works in oil paint or sometimes turning monochrome surfaces into intricate illuminations by incorporating video projections. The subject matter of his paintings—from politics and history to landscape and nature—are poetic, provocative, and even at times humorous. Donald Moffett: The Extravagant Vein presents nine important bodies of work created over the last two decades, including painting, works on paper, photography, sound works, and Moffett’s light- loop paintings (paintings that incorporate video projections onto their surfaces). An astute and thoughtful painter, Moffett knows the power of the artist to critique the world at large. A founding member of Gran Fury, the artistic arm of the AIDS activist group ACT UP, Moffett has remained engaged with issues surrounding the presence of gays in historical and contemporary culture. -
Paul Robeson Galleries
Paul Robeson Galleries Exhibitions 1979 Green Magic April 9 – June 29, 1979 An exhibition consisting of two parts: Green Magic I and Green Magic II. Green Magic I displayed useful plants of northern New Jersey, including history, properties, and myths. Green Magic II displayed plant forms in art of the ‘70’s. Includes the work of Carolyn Brady, Brad Davis, Jim Dine, Tina Girouard, George Green, Hanna Kay, Bob Kushner, Ree Morton, Joseph Raffael, Ned Smyth, Pat Steir, George Sugarman, Fumio Yoshimura, and Barbara Zucker. Senior Thesis Exhibition May 7 – June 1, 1979 An annual exhibition of work by graduating Fine Arts seniors from Rutgers – Newark. Includes the work of Hugo Bastidas, Connie Bower, K. Stacey Clarke, Joseph Clarke, Stephen Delceg, Rose Mary Gonnella, Jean Hom, John Johnstone, Mathilda Munier, Susan Rothauser, Michael Rizzo, Ulana Salewycz, Carol Somers Kathryn M. Walsh. Jazz Images June 19 – September 14, 1979 An exhibition displaying the work of black photographers photographing jazz. The show focused on the Institute of Jazz Studies of Rutgers University and contemporary black photographers who use jazz musicians and their environment as subject matter. The aim of the exhibition was to emphasize the importance of jazz as a serious art form and to familiarize the general public with the Jazz Institute. The black photographers whose work was exhibited were chosen because their compositions specifically reflect personal interpretations of the jazz idiom. Includes the work of Anthony Barboza, Rahman Batin, Leroy Henderson, Milt Hinton, and Chuck Stewart. Paul Robeson Campus Center Rutgers – The State University of New Jersey 350 Dr. Martin Luther King, Jr. -
Annual Report 2018
2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach. -
Julian Wasser at Robert Berman/E6 Gallery
INTERNATIONAL ARTS AND CULTURE REVIEW MUCH ADO ABOUT MARCEL: JULIAN WASSER AT ROBERT BERMAN/E6 GALLERY JOHN HELD, JR. — AUGUST 24, 2015 SHARE ON: Installation view of JULIAN WASSER: DUCHAMP IN PASADENA REVISITED… (Summer 2015). image courtesy of Robert Berman/E6 Gallery. Julian Wasser: Duchamp in Pasadena Revisited… June 21 – September 23, 2015 Robert Berman/E6 Gallery 1632 Market St., San Francisco, CA 94102 Much came before and more was to follow, but a pivotal swing in the course of West Coast art history occurred during Marcel Duchamp’s first American museum retrospective at the Pasadena Art Museum in 1963. It was then he sat down to play chess with a naked Eve Babitz—an act that was documented by TIME Magazine-assigned photographer Julian Wasser. By leapfrogging the New York City institutional art establishment, California curatorial foresight provoked a future pregnant with conceptual possibilities escaping a purely “retinal” art. Julian Wasser. “Chess Match, Duchamp scratching nose,” Duchamp Retrospective, Pasadena Art Museum, 1963. Vintage gelatin silver print. 6.75 x 9.5”. Courtesy Robert Berman/E6 Gallery. The exhibition was the brainchild of Walter Hopps, previously associated with the legendary Ferus Gallery and recently installed as Acting Director of the Pasadena Art Museum. As a teenager, Hopps had cut his eyeteeth by pestering Walter Arensberg, and scavenging the collector’s library and key works of Modernism, which Duchamp’s key benefactor had assembled and relocated from New York City. It was there a younger Hopps met Duchamp for the first time. Ensconced in a position to offer Duchamp his first major retrospective, Hopps found that the normally- reluctant Duchamp was predisposed to accept his invitation, given the Arensberg connection and the relocation of important early friends Man Ray and Beatrice Wood to the Los Angeles area. -
1 the Association for Diplomatic Studies and Training Foreign Affairs
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project AMBASSADOR VICTOR L. TOMSETH Interviewed by: Charles Stuart Kennedy Initial interview date: May 13, 1999 Copyright 200 ADST TABLE OF CONTENTS Background Born and raised in Oregon niversity of Oregon Dharan, Nepal - Peace Corps 1964-1965 Language training Teaching experience ,nvironment -overnment niversity of .ichigan 1966 South Asian studies ,ntered Foreign Service 1966 Chiang .ai, Thailand - Consular Officer 1967 Bangkok, Thailand - Political0.ilitary Officer 1967-1961 dorn, Thailand - Political0.ilitary Officer 1961-1969 C2A presence 2ndochina 3ar Bangkok, Thailand - Ambassador5s Staff Assistant0Political Officer 1969-1971 State Department - Board of ,xaminers 1971-1972 ,xaminations Candidates Cornell niversity - Southeast Asia Studies 1972-1973 State Department - ,ast Asia Bureau - Thailand Desk Officer 1973-1975 1 Southeast Asia developments 8issinger style 2ntelligence Lao refugees State Department - FS2 - Farsi Language Training 1975 Shira9, 2ran - Principal Officer 1976-1979 Student visas ,nvironment Shah reforms .S. presence SAVA8 C2A Teheran, 2ran - Political Officer 1979-1911 Rastacris Party 8homeini .ullahs .ilitary nrest Shah departs Anti- .S. sentiment Revolutionary courts Religions and minorities Javit9 resolution Soviets Students ,mbassy occupied Negotiations Canadian assistance Hostages Ramsey Clark0Bill .iller initiative Bruce Laingen Rescue plan Algerian mediation Jailed 2raq war Freedom President Carter Post-release activity Family liaison activity Senior Seminar 1911-1912 2 State Department - N,A0SA - 2ndia, Nepal, and Sri Lanka Affairs 1912-1914 Soviets .rs. -andhi Diego -arcia 2ndian democracy Afghanistan Tamils and Sinhalese Colombo, Sri Lanka - DC. 1914-1916 Tamil insurgency Security .S. aid State Department - ,AP - Office of Thailand and Burma Affairs - Director 1916-1919 A2D Democracy movement Burma5s external relations Commodity exports Arms Cambodia China Refugees PO30.2As Opium Thai royalty Bangkok, Thailand - DC. -
POWER UP, REASSEMBLED by JULIE AULT This Essay in Its Entirety Originally Appeared in the Brochure for the 2000 Exhibition Powe
POWER UP, REASSEMBLED BY JULIE AULT This essay in its entirety originally appeared in the brochure for the 2000 exhibition Power Up: Sister Corita and Donald Moffett, Interlocking at the Hammer Museum. Power Up: Sister Corita and Donald Moffett, Interlocking Frances Elizabeth Kent was born in Iowa in 1918 to an Irish Catholic family who five years later moved to Los Angeles. Upon completing her Catholic education, Frances entered the Immaculate Heart of Mary Religious Community and took the name Sister Mary Corita. Between 1938 and 1968 Sister Corita lived and worked in the cloistered, communal environment of the Immaculate Heart Community. In 1962, Pope John XXIII's Vatican II decree on the "Adaptation and Renewal of Religious Life" called for movement toward modern values, including fewer restrictions on nuns' daily lives, and a new focusing on social action and service. The IHC, like many Catholic institutions, was thrown into conflict over how previously accepted traditions were to be revised in practice. The nuns largely favored a progressive reading of Vatican II. Dramatic conflicts—amply covered in the media—ensued between the nuns and the relatively conservative, local archdiocese over the decree's interpretation. By 1969 the conflict resulted in an ultimatum from Archbishop James McIntyre to the community: either conform to his authority or seek dispensation from vows. By 1970, the IHC members had chosen the second option and formed an independent entity which exists to this day. They retained their name and structure of the organization, but removed themselves from Catholic Church supervision. The Immaculate Heart Community had become (in)famous for its liberal orientation during the 1960s, as had the IHC College's Art Department for its progressive creative environment.