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Thejewish Thejewish
THE JEWISH VETERAN Volume 72 • Number 2 • 2018 Robert Wilkie Nominated for Coming Home VA Secretary By Lance Allen Wang, Editor granted, things may have changed in the Page 4 This month’s issue is dedicated to the nearly 10 years since I left the Army). theme “Coming Home,” an important They were simply mundane briefings to Making a Difference aspect of the wartime experience. It is bored, fidgety soldiers who just wanted sometimes an occasion for celebration. to go home. Back in my Uncle Julie’s for our Jewish Service It is also sometimes its own devastat- time, the decompression of redeploy- Members Coming Home ing crucible. I had the distinct honor ment was eased in some ways by ex- Page 6 and privilege of writing the foreword to tended journeys home on troop ships. a book about my Uncle Julie’s experi- The culture shock of Vietnam veterans Project Maggid ences as a World War II B-17 navigator, – “Two days before I was in Vietnam – Page 9 One of Thousands (Lulu Publishing, then all of the sudden I was in a college 2015). I recounted my experiences classroom,” as one vet described it to South Florida Jewish growing up in awe of this man, and he me – was eased for World War II vet- was perhaps the most important influ- erans by the shared experience of be- Veterans Return from ence in my donning the uniform. But I ing on a troop ship with your comrades. Mission to Israel closed with these lines: Technological progress in transporta- Page 13 “… But equally, what I wanted to Julius Zlasner, left, with Lance Wang. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Globalization, Realignment, and Geographic Cleavages in Four Developed Democracies Permalink https://escholarship.org/uc/item/1j63p2wq Author Vitalone, Antonio Isidoro Lorenzo Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Globalization, Realignment, and Geographic Cleavages in Four Developed Democracies A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Political Science by Antonio Isidoro Lorenzo Vitalone 2021 © Copyright by Antonio Isidoro Lorenzo Vitalone 2021 ABSTRACT OF THE DISSERTATION Globalization, Realignment, and Geographic Cleavages in Four Developed Democracies by Antonio Isidoro Lorenzo Vitalone Doctor of Philosophy in Political Science University of California, Los Angeles, 2021 Professor Michael F. Thies, Chair In recent years, developed Western democracies have seen the rapid rise of new political forces, including movements commonly described as “populist”, “nationalist” or “sovereigntist”, but also new forms of opposition against these movements. A growing body of research identifies these changes as the product a realignment driven by the differential impact of globalization on these societies. In this dissertation, I build on this research by arguing that geography plays a key role in shaping this realignment. The benefits of globalization tend to concentrate in large metropolitan areas, while the rest of the country bears the brunt of its negative effects. As a result, developed democracies see the rise of a political cleavage opposing these two geographic entities, with large urban areas increasingly distinguishing themselves from less-dense communities in their voting patterns and other political behaviors. -
Vita Michael Post
VITA MICHAEL POST BIOGRAPHIE 1952 geboren in Wiesbaden 1972 - 1976 Studium der bildenden Kunst an der Fachhochschule Wiesbaden bei Prof. Robert Preyer, Examen 1980 - 1981 Studium der Kunstgeschichte an der Universität Mainz 1981 - 1982 Organisatorische Leitung der Galerie Harlekin-Art, Wiesbaden 1981 - 1984 Mitarbeiter des Museums Wiesbaden (u.a. techn. Leiter der Ausstellung Fluxus 62-82) 1986 - 1988 Kurator der Ausstellungsreihe Kunst in der Ifage in Wiesbaden, Unter den Eichen 2001 Balmoral-Stipendium der Kulturstiftung des Landes Rheinland-Pfalz 2005 1. Preis / Skulpturenpark Mörfelden-Walldorf Der Künstler lebt und arbeitet in Ippenscheid, Rheinland-Pfalz. PROJEKTE (Auswahl) 1987 Brunnenarchitektur Wiesbaden-Sonnenberg Synode, 13-teilige Außenskulptur, Haus Belmonte, Rheingau 1988 Kulturpyramide für die Ausstellung 40 Jahre Bundesrepublik Deutschland (Ausstellung des Bundesarchivs im Auftrag der Bundesrepublik Deutschland) 1992 Entwurf einer Gedenkstätte für Verfolgte des NS-Regimes und Widerstandskämpfer/Innen in Amöneburg, Kastel, Kostheim (AKK) im Rahmen eines Wettbewerbs der Landeshauptstadt Wiesbaden Atelier im Seminar / Michael Post Objekte (Veranstaltung der Fachschaft Kunstgeschichte im kunsthistorischen Institut der Justus-Liebig-Universität Gießen) 1994 Kunst verbindet, Aktion in Zusammenarbeit mit der Kreissparkasse Pinneberg zur Förderung der Landdrostei Pinneberg Werkplanung für das Gedenkstättenprojekt in Zusammenarbeit mit dem Architekturbüro Hasselbach, Wiesbaden Der Störung annähern, Grafikedition für das Gedenkstättenprojekt, -
Reservat Pfälzerwald - Nordvogesen Ergebnisse Des 14
Ann. Sci. Rés. Bios. Trans. Vosges du Nord-Pfälzerwald — 17 (2013-2014) : 29 - 69 Eine Momentaufnahme aus der Flora und Fauna im grenzüberschreitenden Biosphären- reservat Pfälzerwald - Nordvogesen Ergebnisse des 14. GEO-Tags der Artenvielfalt am 16. Juni 2012 Theo BLICK, Ernst BLUM, Ronald BURGER, Julia BURKEI, Jörn BUSE, Birgit CRUSAN, Uwe DE BRUYN, Loïc DUCHAMP, Muriel DUGUET, Oliver ELLER, Martin H. ENTLING, Peter FISCHER, Wolfgang FLUCK, Wolfgang FREY, Michael-Andreas FRITZE, Ludovic FUCHS, Jean-Claude GENOT, Hans GÖPPEL, Franz GRIMM, Matthias HAAG, Christine HARBUSCH, Sylvia IDELBERGER, Peter KELLER, Matthias KITT, Udo KOSCHWITZ, Uwe LINGENFELDER, Hans-Helmut LUDEWIG, Franz MALEC, Sébastien MANGIN, Michael T. MARX, Rolf MÖRTTER, Yves MULLER, Christoph MUSTER, Herbert NICKEL, Michael OCHSE, Jürgen OTT, Stefan PETSCHNER, Guido PFALZER, Manfred Alban PFEIFER, Michael POST, Lothar RADTKE, Gerd REDER, Carsten RENKER, Günter RINDCHEN, Oliver RÖLLER, Helga ROSS, Norbert ROTH, Klaus SCHAUBEL, Christelle SCHEID, Holger SCHINDLER, Jens SCHIRMEL, Sascha SCHLEICH, Christian SCHMIDT, Thomas SCHMIDT, Michael SCHMOLZ, Marc SCHNEIDER, Gerhard SCHWAB, Peter SPIELER, Christoph STARK, Josef STRUBEL, Jürgen WALTER, Claudia WEBER, Dieter WEBER & Andreas WERNO Zusammenfassung : Im Rahmen des 14. GEO-Tags der Artenvielfalt erfolgte am 16. Juni 2012 eine Erfas- sung der Flora und Fauna im grenzüberschreitenden Biosphärenreservat Pfälzerwald - Nordvogesen. Die Stiftung Natur und Umwelt Rheinland-Pfalz richtete die Veran- staltung gemeinsam mit dem Magazin GEO und den beiden Trägervereinen des grenz- überschreitenden UNESCO-Biosphärenreservates Pfälzerwald - Nordvogesen und zahlreichen weiteren Partnern aus. Die knapp 100 geladenen Experten aus Deutsch- land und Frankreich durchstreiften bei geeignetem Fangwetter je nach Spezialgebiet die ausgewählten Untersuchungsgebiete rund um Fischbach/Dahn (D), Eppenbrunn (D), Hirschthal (D & F) und Wingen (F). -
The Jewish Veteran Issue 4 2019
Volume 73 • Number 4 • 2019 The Jewish Veteran A Jewish Voice for Veterans and a Veteran’s Voice for Jews Support Confessions of a Veteran Klansman: How the U.S. Army Deborah Sampson Act Radicalized a Soldier Page 4 By Harrison Heller sionally include racial Hate groups have always existed, but slurs in their conver- Ensuring Our Future in the current environment they have sations. When he was Page 6 emerged from the shadows. Some new seven-years-old, his actors have jumped from the digital cousin started dating From Our Archives world to the physical world to start col- a black man. His par- Page 8 laborating with older hate groups. ents told him not to According to a MilitaryTimes poll speak with his cousin. Book Review in October 2017, one in four troops wit- “Interracial relation- nessed examples of white nationalism From Disarmament ships should not exist among their fellow troops. The poll to Rearmament: because mixed kids also found that 42 percent of non-white The Reversal of have no place in this active duty troops reported personally U.S. Policy toward world because they do experiencing white nationalism within not know where they Sgt. Buckley on duty in Afghanistan at Camp Harriman / West Germany 1946–1955 Forward Operating Base Orgun-E Page 16 the military. belong,” Buckley said In September, Parents for Peace, they told him. Leonard Wood, Missouri, Buckley felt a group that fights all forms of ex- At school Buckley had few friends the military used sophisticated meth- Correction: In the tremism, organized a discussion and said his peers often bullied him, ods in order to dehumanize other peo- previous issue of in Washington, D.C. -
RACHEL HARRISON 1966, New York (US) Lives and Works in Brooklyn, NY (US)
K – T Z RACHEL HARRISON 1966, New York (US) lives and works in Brooklyn, NY (US) 1989 B.A., Wesleyan University, Middletown, Connecticut (US) solo exhibitions 2020 Drawings, Greene Naftali, New York (US) (catalogue) 2019 Rachel Harrison Life Hack, curated by Elisabeth Sussman and David Joselit, Whitney Museum of American Art, New York (US) (catalogue) 2018 House of the Dolphins, Rat Hole Gallery, Tokyo (JP) 2017 Prasine, Greene Naftali, New York (US) (artist publication) 2016 More News: A Situation, Greene Naftali, New York (US) Rachel Harrison: Perth Amboy, curated by Paulina Pobocha, MoMA, New York (US) Depth Jump to Second Box, Kraupa-Tuskany Zeidler, Berlin (DE) 2015 FIAC, Paris (FR) Gloria: Robert Rauschenberg & Rachel Harrison, curated by Beau Rutland, The Cleveland Museum of Art, Cleveland (catalogue) (US) Three Young Framers, Regen Projects, Los Angeles (US) 2014 International Company of Wagons Lit etc. etc., Liam Gillick and Rachel Harrison, Galerie Meyer Kainer, Vienna (AT) Who Gave You This Number?, curated by Jeffrey Uslip, Institute of Fine Arts, New York University, New York (US) 2013 Fake Titel, curated by Susanne Figner, kestnergesellschaft, Hannover; traveled to S.M.A.K., Ghent, Bel- gium as Fake Titel: Turquoise-Stained Altars for Burger Turner, curated by Martin Germann (DE) (cata- logue) Villeperdue, Galerie Meyer Kainer, Vienna Liste 18, Basel (CH) 2012 The Help, Greene Naftali, New York (US) 2011 Rachel Harrison / Scott Lyall: Double Yolk, Galerie Christian Nagel, Antwerp (BE) 2010 Asdfjkl;, Regen Projects, Los Angeles (US) 2009 Consider the Lobster, curated by Tom Eccles, Center for Curatorial Studies, Hessel Museum, Bard Col- Kraupa– Tuskany Zeidler Kohlfurter Str. -
Die Sammlung Nassauischer Altertümer Im Abseits
„Die Wiesbadener verteidigten die drei Säulen auf denen das Museum ruht, heftiger als alle Kunstschätze im Keller.“ Ingeborg Toth, RMP 1998 Die Sammlung Nassauischer Altertümer im Abseits Vorwort Die vorliegende Dokumentation ist eine Chronique scandaleuse, sie ist auch eine Chronik, bestimmt von Ignoranz und Inkompetenz eines Großteil der Verantwortlichen. Auch hier gibt es Ausnahmen. Diese Personen, die sich durchgängig für unser Landesmuseum engagierten, kommen in dieser Geschichte immer wieder zu Wort. Diese Geschichte ist ein Plädoyer für eine Sammlung, mit dem Fleiß vieler Generationen gestaltet, die Geschichte dieser Stadt einmalig darstellt und die als Gründer den größten Dichter unserer Nation aufweisen kann. Einem Museumsdirektor, der die ihm anvertrauten Sammlungen als „Gerümpel“ und „Plunder“ bezeichnet, die Sammlungen öffentlich abqualifiziert und in den Depots verkommen läßt und dem dazu die Fachqualität und jede Sensibilität für ein derartiges Museum fehlt. Dies dürfte im europäischen Kultur- und Geschichtsraum einmalig sein. Dem steht eine überwältigende Mehrheit von Bürgern, Fachleuten und Journalisten, Institutionen, Vereinen und Bürgerinitiativen gegenüber, die beharrlich für ihr Museum kämpften, um es „nicht vorschnell dem modernen Kulturkonsum zu opfern“, wie es ein engagierter Leserbriefautor formulierte. Dies ist kein Plädoyer gegen eine Moderne, die sich allerdings im hiesigen Museum vor allem am kargen Geschmack des Museumsdirektors bemißt. Wer sich dagegen für künstlerische und kulturelle Zeugnisse menschlicher Tätigkeit aus rund 200 000 Jahren engagiert, wie sie die Sammlung Nassauischer Altertümer präsentiert, wird diese nicht unsinnigerweise gegen moderne Kunst aufrechen. Anders als jene selbsternannten Kunstwarte, „Freunde der Kunst im Museum“, die dort mit ihrer „Gagkunst“ in Konkurrenz zu den übrigen Sammlungen stehen und diese deshalb mit ikonoklastischem Eifer bekämpfen. -
VSBA Bibliography - Writings About Venturi, Scott Brown and Associates (1980S)
VSBA Bibliography - Writings About Venturi, Scott Brown and Associates (1980s) 1980 "Alles Geht Wieder! Postmodernismus," Schoner Wohnen, December 12, 1980, pp. 95, 104, 106, 108, and 110. “Alumnus’ firm chosen to design undergrad dining, social center,” Princeton Weekly Bulletin, June 2, 1980. (Wu Hall) “And the new honorary alumni are…,” The Pennsylvania Gazette, June 1980, p. 11. (RV received Doctor of Fine Arts from the University of Pennsylvania) "Architecture contemporaine," Encyclopaedia Universalis, 1980, pp. 202-209. (In French) “Arts and Crafts Museum, Frankfurt,” The Architectural Review, October 1980, pp. 196-197. (Meier won competition for museum, Venturi&Rauch + Hollein 2nd prize - includes photo of model & elevation) Belluzzi, Amedeo, "Ripetizione e differenza dell'architettura di Robert Venturi," Parametro, Jan-Feb 1980, pp. 34-39. “Boston: Forty Years of Modern Architecture,” Institute of Contemporary Art, Boston exhibition catalog, 1980, p. 13. (RV design entry to re-design of Copley square competition) Brolin, Brent C., Architecture in Context: fitting new buildings with old, New York: Van Nostrand Reinhold Company, 1980, R. Venturi, pp. 5, 115-19, Venturi and Rauch, pp. 41-42, 91, 94, 114-115, 117-119, 141, 153. (SUNY, Trubek and Wislocki Houses, Brant House, and Allen Memorial Art Museum Addition) Brown, Lance Jay, ed., Grants Recognition Program, The National Endowment for the Arts, Vol 1, August 1980, pp. 26-27, 76-77, and 120-121. ("Learning from Las Vegas," "The Strand in Galveston, Texas," and "Billboards as Roadway Art") Camesano, Phyllis, "Post Modern Architecture -- Is it for You?" Building Manual, Winter 1980, pp. 54-55, 166-167. (Brant-Johnson House) "Centre D'Exposition Knoll," L'Architecture d'Aujourd'hui, September 1980, pp. -
View Full Biography
ELAINE REICHEK Born in Brooklyn, NY 1964 Bachelor of Fine Arts, Yale University, New Haven, CT 1963 Bachelor of Arts, Brooklyn College, NY Lives and works in New York * Exhibition publication SOLO EXHIBITIONS 2020 *Between the Needle and the Book, McClain Gallery, Houston, TX. 2019 Sight Unseen, Marinaro, New York. 2018 *Now If I Had Been Writing This Story, Secession, Vienna, Austria. 2017 *Invisible Citings: Elaine Reichek and Jeanne Silverthorne, The Addison Gallery of American Art, Phillips Academy, Andover, MA. Ever Yours, Henry James. Anne H. Fitzpatrick Façade, Isabella Stewart Gardner Museum, Boston. 2016 Minoan Girls, Shoshana Wayne Gallery, Santa Monica, CA. 2015 SWATCHES, Zach Feuer, New York. 2014 Elaine Reichek: The Eye of the Needle, Boca Museum of Art, Boca Raton, FL. 2013 Elaine Reichek: A Précis 1972–1995, Zach Feuer, New York. A Postcolonial Kinderhood Revisited, The Jewish Museum, New York. 2012 Ariadne’s Thread, Nicole Klagsbrun Gallery, New York. 2011 Ariadne’s Thread, Shoshana Wayne Gallery, Santa Monica, CA. 2007 Pattern Recognition, Nicole Klagsbrun Gallery, New York. 2006 Glossed in Translation, Shoshana Wayne Gallery, Santa Monica, CA. 2004 *After Babel Alpha Beta, Nicole Klagsbrun Gallery, New York. 2003 madamimadam, Isabella Stewart Gardner Museum (Artist-in-Residence digital exhibition), Boston. 2002 MADAMI’MADAM, Shoshana Wayne Gallery, Santa Monica, CA. 2000 *At Home & in the World, Palais des Beaux-Arts, Brussels, Belgium. Traveled to Tel Aviv Museum, Israel. 1999 *Projects 67: Elaine Reichek, The Museum of Modern Art, New York. When This You See . ., Nicole Klagsbrun Gallery, New York. 1996 *Guests of the Nation, Rosenwald-Wolf Gallery, The University of the Arts, Philadelphia. -
An Honor Roll Containing a Pictorial Record of the Gallant And
wmM, f J ,' Jl I f \ / ! ,7 .^ 1 ( l&^fiiBAiaB^v y/zp/zSorvoc/ fo AoGp t/ie/paf/on 9/„.'-%„or9?o/? s\ 1917'" 1918- 1919 [o '^CxCC ))ooo o PUBLISHED BY The Leader Publishing Company Pipestone, Minni^sota 1^ ^ HAY J* I9M ^ 1 A =_>< .25 Pipestone County^s Honored Dead PDiss ! CARI^ETON ASHTON — Pipe- m stone, Minn. Private, ist Co., ml Coast Defense Artillery. Entered service dis- I SSI November 30, 1914; cliarg^ed 191 7 because of physical disability. Died March 7, 1919. im\ PETER BARKER — Holland, Minn. Private, Infantry. En- tered service Oct. 23, 191 8; train- ed at Camp Cody, N. M. Died November 3, 1918, at Camp Cody, N. M., of influenza. I I! I li WALTER EDWARD BREI- IIOLZ—Holland, Minn. Pri- vate, Co. M, 53rd Inf. Entered service May i, 1918; trained at Camp W'adsworth, S. C. ; depart- ed overseas July, 1918; battles, Meuse and Argonne. Died De- cember 18, 1918, at Recy-Sur- Oise, France, peritonitis. '"^-"':g^MlMMlii^ili1 ; aummmiii fail Pipestone County's Honored Dead Hill IRVING BENJAMIN ENGEL- BART—Pipestone, Minn. Cor- poral, Co. B, 119th Inf. Entered service Feb. 28, 1918; trained at Camp Dodge ; departed overseas May 15, 1918. Killed in action September 29, 191 8. .:;ii VICTOR ELMER IIURD—Re- gina, Canada. Private, Infantrj'. Entered service Jnly, 1918; train- ed at Cam]:) Wadsvvorth, S. C. departed overseas Sept., 1918. Died October 10, 1918. in France, of pnenmonia. OLIVER SMITH HUVCK—Jas- per, Minn. Seaman, second class, U. S. S. Transport Bridgeport. Entered service Ma\', 1917; train- ed at Great Lakes Naval Train- ing Station. -
Curated by ... Heiner Thiel
curated by ... Heiner Thiel Die Verkörperung der Farbe embodying colour Paola Neumann / Michael Post / Gert Riel / Heiner Thiel – Alfonso Fratteggiani Bianchi / Rosa M Hessling / Jus Juchtmans / Bill Thompson Ausstellung in der Galerie Renate Bender, München 25. Juni bis 31. Juli 2021 Vernissage: Donnerstag, 24. Juni von 13 bis 18 Uhr Matinee: Samstag, 26. Juni von 12 bis 16 Uhr curated by ... Das neue Ausstellungsformat der Galerie Renate Bender The new exhibition format by Renate Bender Gallery Ob nun Sammler*in, Galerist*in, Künstler*in oder Ausstellungsmacher*in Whether collector, gallery owner, artist or exhibition maker – in every art – in jeder Kunstsaison laden wir uns nun einen interessanten Gastkurator season we plan to invite now an interesting guest curator to take a new oder eine Gastkuratorin ein zu einem neuen Blickwinkel auf unser look at our gallery program. For over 30 years the Renate Bender Galerieprogramm. Seit über 30 Jahren zeigt die Galerie Renate Bender Gallery has been showing contemporary art with a focus on reduced zeitgenössische Kunst mit der Ausrichtung auf reduzierte Formen der forms of painting, photography and sculpture, mainly in the field of Malerei, Fotografie und Bildhauerei, schwerwiegend im Bereich minima- minimal, monochrome and concrete forms of expression. The outside ler, monochromer und konkreter Ausdrucksformen. Der Blick von außen view of our program creates space for new encounters and constellations auf unser Programm schafft Raum für neue Begegnungen und Konstellatio- – outside the box and with a lot of joy in experimenting. nen – über den Tellerrand hinweg und mit viel Lust am Experiment. Curated by… Heiner Thiel Curated by… Heiner Thiel Die Verkörperung der Farbe Embodying colour Unser neues Ausstellungsformat „Curated by…“ wird weitergeführt, Our new exhibition format “Curated by...” will continue, this time we diesmal mit unserem Gastkurator Heiner Thiel. -
In the Same Box: Unhinging Audiovisual Media in the 1960S and 1970S
All in the Same Box: Unhinging Audiovisual Media in the 1960s and 1970s A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Kalani Bianca Michell IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Professor Rembert Hüser, Advisor August 2018 Kalani Michell 2018 © Abstract All in the Same Box: Unhinging Audiovisual Media in the 1960s and 1970s This project examines problems in media theory in contemporary art and visual culture, specifically by arguing that there should be more of it in the visual arts. If one wants to rigorously engage with objects that don’t correspond to disciplinary boundaries and ‘high’ and ‘low’ aesthetic categories, as is the case with several multimedial artistic projects of the 1960s and 1970s, then one must accept that theories of photography, television, painting, print culture and sound objects can no longer be considered apart from one another. These kinds of projects cannot be deemed part of art history and then analyzed with a bit of Marshall McLuhan. Nor can they be claimed by film studies and peppered with Rosalind Krauss. These are projects that take relocation, or their unhinging from standard sites of production and exhibition, as their point of departure, and thus they force, in my readings, central intermedial concerns to the foreground, from questions of medium specificity to problems of storage and containment. Three such case studies structure my dissertation: 1) an exhibition of a collective ‘performance’ including Joseph Beuys on live television