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Fact-Checking Fiction
PAGE 52 / JANUARY 25, 2007 SCRIPTDOCTOR: MEDICINE IN THE MEDIA Fact-checking Fiction By Andrew Holtz, MPH tice medicine. But then he became a Andrew Holtz, MPH, is a former CNN Medical Correspondent full-time writer on the staff of House. young doctor and an older and the author of “The Medical Science of House, M.D.” This He also sits in on the filming of many of man step through the buzzing column examines mass media programs, particularly the medical scenes, but it is a nurse activity of a hospital emer- entertainment TV, for insight into popular perceptions, so that who has the lead role in monitoring A gency department. The older rather than merely wincing at distortions or accuracy on the House set. man sits on the edge of an empty bed oversimplifications in the portrayals of medicine on these “She is the one who is there for all and the doctor pulls up a chair. The shows, health care professionals can learn something from the medical scenes. She makes sure doctor quizzes his patient, trying to media professionals about the way that medical and health they are holding the scalpel correctly, figure out why he had a bad reaction topics are presented. or a patient is draped correctly, or peo- to his medication. It turns out the man Send questions to him about how the media treat ple are wearing gowns when they had switched drugs on his own, using medical topics or suggestions for future columns about a should be wearing gowns, or that when some leftover pills from a friend. -
SIR PETER BLAKE Education 1946
SIR PETER BLAKE Education 1946 – 1951 Gravesend Technical College & School of Art 1953 – 1956 Royal College of Art, London Short Biography 1964 – 1967 Taught at Royal College of Art, London 1967 Cover design for Beatles’ Sgt. Pepper’s Lonely Hearts Club Band 1970 Lewis Carroll’s Through the Looking-Glass (watercolour illustration) 1975 Founder of the Brotherhood of Ruralists 1981 Elected Royal Academician 1983 Major retrospective at Tate Gallery 1983 Awarded CBE 1994 Third Associate of the National Gallery 1998 Honorary Doctor, Royal College of Art, London 2002 Received knighthood Selected Solo Exhibitions 2013 Pop Imagery , Waddington Custot Galleries, London 2013 When Britain Went Pop! British Pop Art: The Early Years , Christies Mayfair 2013 The House of Fairy Tales Cartographic Portfolio, TAG Fine Arts, London Original Print Fair, Royal Academy of Arts, London 2012 Peter Blake and Pop Music , Pallant House Gallery, Chichester 2012 Sir Peter Blake , CCA at the Mall Galleries, London 2012 Sir Peter Blake at 80 , CCA at the Royal Albert Hall, London 2012 Sir Peter Blake – new and vintage works , Railings Gallery, London 2007 Peter Blake: A Retrospective , Tate Liverpool 2006 Peter Blake: 1975 – 2005 , Wetterling Gallery, Stockholm 2006 Peter Blake Prints and Sculpture , The Harley Gallery, Welbeck 2001-6 Alphabet (touring exhibition) , York College of Further and Higher Education 2005 Peter Blake: 1 – 10 (Collages, Constructions, Drawings & Sculpture) & the Marcel Duchamp Paintings , Waddington Galleries, London 2005 New Prints by Peter -
A Political Interpretation of Plato's Protagoras and Gorgias
THE CATHOLIC UNIVERSITY OF AMERICA Self-Deception and the City: A Political Interpretation of Plato’s Protagoras and Gorgias A DISSERTATION Submitted to the Faculty of the School of Philosophy Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy by Mary Elizabeth Halper Washington, D.C. 2019 Self-Deception and the City: A Political Interpretation of Plato’s Protagoras and Gorgias Mary Elizabeth Halper, Ph.D. Director: V. Bradley Lewis, Ph.D. Sophistry and rhetoric possess the disturbing power to appear to be precisely what they under- mine. Sophistry passes itself off as education even as it subverts genuine ethical and intellectual formation; rhetoric looks like a particularly compelling form of communication even as it sub- verts the possibility of seeking truth in speech. This dissertation begins with the claim that Plato wrote his Protagoras and Gorgias to treat of this disturbing power and its political consequences. I argue that the Protagoras and the Gorgias, as representative treatments of sophistry and rhetoric, should be read together in order to gain insight into the genuine art of politics, of which sophistry and rhetoric together form a subversive imitation. First I undertake an exegesis of the Protagoras and the Gorgias, both as individual dialogues and as a composite whole. Then I present systematic and philosophical arguments to support my central thesis, which emerges from my interpreta- tions and is supported by my thematic investigations. This thesis asserts that self-deception isan inherent feature of political communities, whereby political communities both must rely on the efficacy of appearance and cannot acknowledge this very reliance. -
Sir Peter Blake-Solo Exhibition 31St March - 14Th April 2012
Sir Peter Blake-Solo exhibition 31st March - 14th April 2012 Sir Peter Blake is often referred to as the Godfather of British Pop Art. His work crosses all generational divides, and inspires great respect from younger artists such as Damien Hirst, Gavin Turk, Pure Evil and Tracey Emin. Knighted in 2002, an honorary doctor of the Royal Col- lege of Art, and with his work represented in major collections throughout the world, Sir Peter Blake truly is a grandee of British Art. Sir Peter Blake's work reflects his fascination with all streams of popular culture, and the beauty to be found in everyday objects and surroundings. Many of his works feature found printed ma- terials such as photographs, comic strips or advertising texts, combined with bold geometric patterns and the use of primary colours. The works perfectly capture the effervescent and opti- mistic ethos of the sixties, but are also strikingly fresh and contemporary. Blake is renowned for his connection with the music industry, having produced iconic album covers for the Beatles, ‘Sgt Peppers’ Lonely Hearts Club Band’, Paul Weller, The Who, and Oasis, as well as designing this years Brit Award. Blake remains as busy as ever in his 80th year; currently working on a new painting of St Martin for St Paul’s Cathedral (the first new artwork to be commissioned for the Cathedral since Wil- liam Holman-Hunt’s ‘The Light of the World’), a series of book covers for penguin, amongst many other projects. Please note that a * by any print in this catalogue means that this is the only copy available Found Art ‘Found Art-England Forever’ £3,000.00 ‘Found Art-Buttons’ £3,000.00 Image & Paper Size: 101.6cm x 122cm digital print with silkscreen glazes. -
William Blake 1 William Blake
William Blake 1 William Blake William Blake William Blake in a portrait by Thomas Phillips (1807) Born 28 November 1757 London, England Died 12 August 1827 (aged 69) London, England Occupation Poet, painter, printmaker Genres Visionary, poetry Literary Romanticism movement Notable work(s) Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Four Zoas, Jerusalem, Milton a Poem, And did those feet in ancient time Spouse(s) Catherine Blake (1782–1827) Signature William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language".[1] His visual artistry led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced".[2] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[3] Although he lived in London his entire life except for three years spent in Felpham[4] he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God",[5] or "Human existence itself".[6] Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings William Blake 2 and poetry have been characterised as part of the Romantic movement and "Pre-Romantic",[7] for its large appearance in the 18th century. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Democratic Education in The
UNIVERSITY OF CALIFORNIA, SAN DIEGO Democratic Education in the Works of Plato A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Political Science by Richard A. Barrett Committee in charge: Professor Tracy B. Strong, Chair Professor Page duBois Professor Fonna Forman Professor Marcel Hénaff Professor Gerry Mackie 2014 Copyright Richard A. Barrett, 2014 All rights reserved. The Dissertation of Richard A. Barrett is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ______________________________________________ ______________________________________________ ______________________________________________ Chair UNIVERSITY OF CALIFORNIA, SAN DIEGO 2014 iii DEDICATION To those who have shared conversations about our world with me. iv TABLE OF CONTENTS Signature Page……………………………………………………………………...…iii Dedication……………………………………………………………………………..iv Table of Contents……………………………………………………………………....v Vita…………………………………………………………………………………....vii Abstract of the Dissertation.………………………………………………………....viii Introduction: Plato and the Problem of Democratic Education ..................................... 1 Chapter 1 Reading Plato: Plato and Xenophon as Teachers and Poets ............. 7 1.1 Introduction ...................................................................................................... 7 1.2 Comparison of Apologies ................................................................................ 8 1.3 Plato on the Relationship of Philosophy, -
Copyright Acknowledgement Booklet
Copyright Acknowledgement Booklet For the January 2013 exam series This booklet contains the acknowledgements for third-party copyright material used in OCR assessment materials for 14 – 19 Qualifications. www.ocr.org.uk About the Copyright Acknowledgement Booklet Prior to the June 2009 examination series, acknowledgements for third-party copyright material were printed on the back page of the relevant exam papers and associated assessment materials. For security purposes, from that series onwards, OCR has created this separate booklet to put all of the acknowledgements, rather than including them in the exam papers or associated assessment materials. The booklet is published after each examination series, as soon as the assessment materials become available to the public. It is available online from the OCR website at: http://www.ocr.org.uk/i-want-to/prepare-and-practise/past-papers-finder/ The OCR Copyright Team can be contacted by post at 1 Hills Road, Cambridge, CB1 2EU, or by email at [email protected]. Where possible, OCR has sought and cleared permission to reproduce items of third-party owned copyright material. Every reasonable effort has been made by OCR to trace copyright holders, but if any items requiring clearance have unwittingly been included, please contact the Copyright Team at the addresses above and OCR will be pleased to make amends at the earliest possible opportunity. How to find an acknowledgement Each acknowledgement is filed firstly by subject and then under the unit number of the exam paper in which the copyright material appears. Where an exam paper has more than one document associated with it, each document is identified with its separate acknowledgements. -
William Gropper's
US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image. -
Art 150: Introduction to the Visual Arts David Mccarthy Rhodes College, Spring 2003 414 Clough, Ext
Art 150: Introduction to the Visual Arts David McCarthy Rhodes College, Spring 2003 414 Clough, Ext. 3663 417 Clough, MWF 11:30-12:30 Office Hours: MWF 2:00- 4:00, and by appointment. COURSE OBJECTIVES AND DESCRIPTION The objectives of the course are as follows: (1) to provide students with a comprehensive, theoretical introduction to the visual arts; (2) to develop skills of visual analysis; (3) to examine various media used by artists; (4) to introduce students to methods of interpretation; and (5) to develop skills in writing about art. Throughout the course we will keep in mind the following two statements: Pierre Auguste Renoir’s reminder that, “to practice an art, you must begin with the ABCs of that art;” and E.H. Gombrich’s insight that, “the form of representation cannot be divorced from its purpose and the requirements of the society in which the given language gains currency.” Among the themes and issues we will examine are the following: balance, shape and form, space, color, conventions, signs and symbols, representation, reception, and interpretation. To do this we will look at many different types of art produced in several historical epochs and conceived in a variety of media. Whenever possible we will examine original art objects. Art 150 is a foundation course that serves as an introduction for further work in studio art and art history. A three-hour course, Art 150 satisfies the fine arts requirement. Enrollment is limited to first- and second-year students who are not expected to have had any previous experience with either studio or art history. -
1111 \Ill II Lllffii1mlll
ST. JOHN'S COLLEGE LIBRARY 1111 \Ill I II lllffii1mlll\~[31696 011381199llili1~ I II\~ II~ II' Volume 1 Issue 3 Annapolis, Md. and Santa Fs, N.M. February 1 • ard id 1 tes ' vzsz. The Board 'of Visitors and Governors 1s March 9 as the time for a · meeting to decide which of five ...,, ... .,,.,,.,will be selected as of its "''"'<!"'~"'"and Santa Fe camnuses. candidates are known on a weekly basis to the William W. whose community as they visit both campuses, presence, as one tutor obseved, has naa so the board's Search Committee decided much to do with the soul of the college, not to make a preliminary general release died in his sleep of an apparent heart of names on its long awaited "short list." attack in the early morning of January 6. James H. Frame, A '50, of New York He would have been 41 on February 13. City, Search Committee chairman; said A tutor for 15 years, he was eulogized the Search Committee and board's Exec during a memorial service by his asso utive Committee decided to take the pre ciates for his passion for learning and caution in order to protect the privacy of teaching, for his concern for the wisdom the four men and one woman on the list, of the heart, for his insights into the St. all of whom are employed. John's books, and for the care he gave "Our extremely tight security was the students. unanimous decision to proceed this way," One of St. John's most greatly loved he told a full board meeting at its January tutors, he was buried on a bright January 18 session in Santa Fe. -
Amend What You
Adults as examples for children – with agape and phronesis as aims If we want to learn something from earlier times, we have to question the concepts that govern our thinking today. The title of my paper contains two antique Greek words, agape and phronesis. I use these words throughout, also in English citations where the words have been translated as “charity” and “prudence”. Earlier charity and prudence had another and much richer meaning than “humanitarian aid” and “economic carefulness”. Better translations today are “unconditional love” and “practical judgement”. But then we have to use four words instead of two. So it is more precise and practical to use the Greek words. My paper has an introduction and three points. First, I propose that children need adults who themselves exemplify agape and phronesis. Second, I say something about the concepts agape and phronesis as they are defined in Summa theologiae by Thomas Aquinas. And third, I sketch how educators could be encouraged to confront themselves with these aims. Introduction A German philosopher of education, who died in 1997, Klaus Mollenhauer (1994, p. 17), contends that the most fundamental educational question is this: “Why do we want to have children?” His answer is thus: I will have children “because I want that the good in my life (even if it may be very little) should continue” (p. 17-18, my transl.)1. This statement generates two new questions: First, what in my pattern of life do I wish could also continue in the next generation? Second, are the life forms (“Lebensformen”) I choose to represent and the life I actually present to the child, really good for the child? These questions I think are fundamental for all who “bring up” children. -
2008 Sentinel Awards Ceremony and Panel
1 The Norman Lear Center 2008 Sentinel for Health Awards The Sentinel for Health Awards The Norman Lear Center The Sentinel for Health Awards recognize exemplary The Norman Lear Center achievements of television storylines that inform, educate is a nonpartisan research and motivate viewers to make choices for healthier and and public policy center safer lives. For many loyal viewers, television dramas and that studies the social, comedies provide both entertainment and information political, economic and about disease, injury and disability. A compelling storyline cultural impact of that demonstrates risky behavior and consequences, or entertainment on the world. The Lear Center translates shows how to avoid risk, can benefit millions of viewers its findings into action through testimony, journalism, and their loved ones. strategic research and innovative public outreach campaigns. On campus, from its base in the USC Each entry is screened by Hollywood, Health & Society Annenberg School for Communication, the Lear Center staff for eligibility. Qualifying entries are evaluated in two builds bridges between schools and disciplines whose rounds of judging. In the first round of judging, each sto- faculty study aspects of entertainment, media and ryline is reviewed for accuracy by a panel of topic experts culture. Beyond campus, it bridges the gap between who take the following into consideration: the entertainment industry and academia, and between them and the public. Through scholarship and research; * How the health problem can be prevented through its conferences, public events and publications; * How a character’s choices affect his/her health or safety and in its attempts to illuminate and repair the world, the * What causes the health problem and how it impacts the Lear Center works to be at the forefront of discussion and lives and relationships of characters practice in the field.