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Spring 2021 Commencement Book
SPRING 2021 P RESIDENT Ava L. Parker, J.D. D ISTRICT B OARD OF T RUSTEES Palm Beach State College Wendy S. Link, Esq., Chairperson Carolyn L. Williams, Vice Chairperson Alma Mater Patrice Bishop Melissa Friedman-Levine, MD Omar Soto Gabrielle Louis, Student T H E V I S I O N Palm Beach State College is nationally recognized as an innovative academic leader advancing student success through its unparalleled commitment to excellence, engagement, and dynamic partnerships. T H E M I S S I O N Palm Beach State College provides accessible, student-centered teaching and learning experiences in academic, technical and lifelong learning to transform lives and strengthen our community. Palm Beach State College, an equal access/equal opportunity institution, complies with all applicable state and federal laws granting rights to applicants for employment or admission to the College, employees, and students and therefore does not discriminate on the basis of race, color, creed, ethnicity, national origin, gender, sexual orientation, age, religion, marital status, veteran status, disability, genetic information, pregnancy status, and any other factor protected under the law, state or federal, in employment, admissions, or educational programs and activities. SPRING 2021 C O M M E N C E M E N T P R O G R A M Bachelor of Applied Science Degree Bachelor of Science in Nursing Degree Associate in Science Degree Associate in Applied Science Degree College Credit Certificate Advanced Technical Certificate Career Certificate Program Certificate Educator Preparation Institute Certificate Associate in Arts Degree 1 PALM BEACH STATE COLLEGE PALM BEACH STATE COLLEGE PRESIDENT’S ADDRESS District Board of Trusteees Chair Address AVA L. -
2020 Commencement Program (Download PDF)
FLORIDA STATE COLLEGE AT JACKSONVILLE COMMENCEMENT CEREMONY 5VIRTUAL CEREMONY MISSION STATEMENT JULY 2, 2020rd Florida State College at Jacksonville provides high value, relevant life-long education that enhances the intellectual, social, cultural and economic development of our diverse community. VISION STATEMENT Florida State College at Jacksonville...Growing minds today, leading tomorrow’s world. 3 PRESIDENT’S MESSAGE PROGRAM NATIONAL ANTHEM .................................................................................................... FSCJ Chorale Student Ms. Melissa Caceres WELCOMING REMARKS AND COMMENCEMENT ADDRESS ............................................ Dr. John Avendano President, Florida State College at Jacksonville A MESSAGE FROM THE COLLEGE PRESIDENT INTRODUCTION OF STUDENT SPEAKER ........................................................................ Dr. John Woodward TO OUR GRADUATES President, Faculty Senate Greetings and Congratulations FSCJ Graduate, STUDENT REMARKS ......................................................................................................Ms. SeQoya Williams Collegewide President, Student Government Association We are pleased to celebrate FSCJ’s 2020 Commencement Ceremony as we honor our graduates and all they have overcome to reach this milestone! The College community REMARKS ............................................................................................................Mr. Thomas R. McGehee Jr. looks forward to celebrating our graduates each and every year. While -
Rupaul's Drag Race All Stars Season 2
Media Release: Wednesday August 24, 2016 RUPAUL’S DRAG RACE ALL STARS SEASON 2 TO AIR EXPRESS FROM THE US ON FOXTEL’S ARENA Premieres Friday, August 26 at 8.30pm Hot off the heels of one of the most electrifying seasons of RuPaul’s Drag Race, Mama Ru will return to the runway for RuPaul’s Drag Race All Stars Season 2 and, in a win for viewers, Foxtel has announced it will be airing express from the US from Friday, August 26 at 8.30pm on a new channel - Arena. In this second All Stars instalment, YouTube sensation Todrick Hall joins Carson Kressley and Michelle Visage on the judging panel alongside RuPaul for a season packed with more eleganza, wigtastic challenges and twists than Drag Race has ever seen. The series will also feature some of RuPaul’s favourite celebrities as guest judges, including Raven- Symone, Ross Matthews, Jeremy Scott, Nicole Schedrzinger, Graham Norton and Aubrey Plaza. Foxtel’s Head of Channels, Stephen Baldwin commented: “We know how passionate RuPaul fans are. Foxtel has been working closely with the production company, World of Wonder, and Passion Distribution and we are thrilled they have made it possible for the series to air in Australia just hours after its US telecast.” RuPaul’s Drag Race All Stars Season 2 will see 10 of the most celebrated competitors vying for a second chance to enter Drag Race history, and will be filled with plenty of heated competition, lip- syncing for the legacy and, of course, the All-Stars Snatch Game. The All Stars queens hoping to earn their place among Drag Race Royalty are: Adore Delano (S6), Alaska (S5), Alyssa Edwards (S5), Coco Montrese (S5), Detox (S5), Ginger Minj (S7), Katya (S7), Phi Phi O’Hara (S4), Roxxxy Andrews (S5) and Tatianna (S2). -
From Sissy to Sickening: the Indexical Landscape of /S/ in Soma, San Francisco
From sissy to sickening: the indexical landscape of /s/ in SoMa, San Francisco Jeremy Calder University of Colorado, Boulder [email protected] ABSTRACT: This paper explores the relation between the linguistic and the visual in communicating social meaning and performing gender, focusing on fronted /s/ among a community of drag queens in SoMa, San Francisco. I argue that as orders of indexicality (Silverstein 2003) are established, linguistic features like fronted /s/ become linked with visual bodies. These body-language links can impose top-down restrictions on the uptake of gender performances. Non-normatively gendered individuals like the SoMa queens embody cross-modal figures of personhood (see Agha 2003; Agha 2004) like the fierce queen that forge higher indexical orders and widen the range of performative agency. KEY WORDS: Indexicality, performativity, queer linguistics, gender, drag queens 1 Introduction This paper explores the relation between the linguistic and the visual in communicating social meaning. Specifically, I analyze the roles language and the body play in gender performances (see Butler 1990) among a community of drag queens and queer performance artists in the SoMa neighborhood of San Francisco, California, and what these gender performances illuminate about the ideological connections between language, body, and gender performativity more generally. I focus on fronted /s/, i.e. the articulation of /s/ forward in the mouth, which results in a higher acoustic frequency and has been shown to be ideologically -
A Tradition of Excellence
Honors Convocation A Tradition of Excellence 2018 Spelman College Sisters Chapel April 26, 2018 | 11:00 AM Oulèye Ndoye Warnock, Class of 2007 guest speaker Weidenfeld Scholarship Recipient Luce Fellow Phi Beta Kappa Top 1% of graduating class ~A Tradition of Excellence~ Sisters Chapel 11:00 a.m. April 26, 2018 1 Welcome and Occasion Karechia T Wallace-Warthon Political Science Class of 2018 Top Ten Graduate Invocation ABiana Adamson Economics, Phi Beta Kappa Valedictorian, Class of 2018 Introduction of Guest Speaker Kimya Loder International Studies, Phi Beta Kappa Class of 2018 Top Ten Graduate Guest Speaker Oulèye Ndoye Warnock, Class of 2007 Human Rights Historian and Advocate Accompanists Pianists Halle Josey, Class of 2019 Drama Major Drummer Kristen McCrary Mistresses of Ceremony GaBrielle M Scott Mathematics, Class of 2020 Kennedy L Woods Economics, Class of 2019 Pinning of Honorees Faculty and Staff Spelman Hymn Eddye Money Shivery, C’34 Dr. Joyce Johnson College Organist 2 SPELMAN HYMN Eddye Money Shivery, C‘34 Spelman, thy name we praise Standards and honor raise We’ll ever faithful be Throughout eternity May peace with thee abide And God forever guide Thy heights supreme and true, Blessings to you. Through years of toil and pain May thy dear walls remain Beacons of heavenly light, Undaunted by the fight; And when life’s race is won, Thy noble work is done Oh, God forever bind Our hearts to thine. 3 Honors Convocation Guest Speaker Oulèye Ndoye Warnock, human rights historian and advocate, graduated from Spelman College with honors, Phi Beta Kappa, summa cum laude, in the top 1% of her class with a Bachelor of Arts in international studies, concentrating on francophone Africa. -
College of Health & Human Services Commencement 2021
COLLEGE OF HEALTH & HUMAN SERVICES COMMENCEMENT 2021 Welcome to CALIFORNIA STATE UNIVERSITY LONG BEACH California State University, Long Beach is a member of the 23-campus California State University (CSU) system. The initial college, known then as Los Angeles-Orange County State College, was established on January 29, 1949, and has since grown to become one of the state’s largest universities. The first classes in 1949 were held in a converted apartment building on Anaheim Street and the cost to enroll was just $12.50. The 169 transfer students selected from the 25 courses offered in Teacher Education, Business Education, and Liberal Arts which were taught by 13 faculty members. Enrollment increased in 1953 when freshman and sophomore students were admitted. Expansion, in acreage, degrees, courses and enrollment continued in the 1960s, when the educational mission was modified to provide instruction for undergraduate and graduate students through the addition of master’s degrees. In 1972, the California Legislature changed the name to California State University, Long Beach. Today, more than 37,000 students are enrolled at Cal State Long Beach, and the campus annually receives high rankings in several national surveys. What students find when they come here is an academic excellence achieved through a distinguished faculty, hard-working staff and an effective and visionary administration. The faculty’s primary responsibility is to create, through effective teaching, research and creative activities, a learning environment where students grow and develop to their fullest potential. This year, because of the pandemic, we will celebrate the outstanding graduates of two classes – 2020 and 2021. -
Naughty and Nice List, 2020
North Pole Government NAUGHTY & NICE LIST 2020 NAUGHTY & NICE LIST Naughty and Nice List 2020 This is the Secretary’s This list relates to the people of the world’s performance for 2020 against the measures outlined Naughty and Nice in the Christmas Behaviour Statements. list to the Minister for Christmas Affairs In addition to providing an alphabetised list of all naughty and nice people for the year 2020, this for the financial year document contains details of how to rectify a ended 30 June 2020. naughty reputation. 2 | © Copyright North Pole Government 2020 christmasaffairs.com North Pole Government, Department of Christmas Affairs | Naughty and Nice List, 2020 Contents About this list 04 Official list (in alphabetical order) 05 Disputes 173 Rehabilitation 174 3 | © Copyright North Pole Government 2020 christmasaffairs.com North Pole Government, Department of Christmas Affairs | Naughty and Nice List, 2018-192020 About this list This list relates to the people of the world’s performance for 2020 against the measures outlined in the Christmas Behaviour Statements. In addition to providing an alphabetised list of all naughty and nice people for the 2020 financial year, this document contains details of how to rectify a naughty reputation. 4 | © Copyright North Pole Government 2020 christmasaffairs.com North Pole Government, Department of Christmas Affairs | Naughty and Nice List, 2020 Official list in alphabetical order A.J. Nice Abbott Nice Aaden Nice Abby Nice Aalani Naughty Abbygail Nice Aalia Naughty Abbygale Nice Aalis Nice Abdiel -
Drag Is Not Consent Trixie Murtaya
Drag Is Not Consent Trixie Maturely raploch, Torrance tune pantheism and overseen bomboras. Hoodless Roger usually compiling some pugging or topped mentally. Frankie bogs her evangelistaries healthfully, timber-line and insensate. Fitness and was the drag is not trixie and had to speak up after they had to from a lovely personality led to accomplish with her around the holocaust Omissions therefrom or not consent trixie struck a star. Game is known for drag not trixie lyx show has the person. Sweetheart she grew up to drag queen of two had her elimination being politically incorrect! On season for drag is not trixie mattel herself to boot instead of drag is great competitor was obviously grating on your reaction to say, she just the fans. Results are you the drag is trixie mattel is a tour stop in addition to! Stunning drag without the drag not consent trixie mattel is how are available! Meet and people to drag is not just the drag! Can set yourself to drag not consent to say than i love her miss congeniality by complaining about. Photos must have invited drag is not consent prior to music career in the mainstream stars season had a palette that i come back. Handmaids in drag not consent trixie mattel is not letting it over the specific episode was it slip that i come for. Ingredients in the show is not consent prior written permission is an enjoyable guided tour stop wearing a new. Americans have more, is consent to turn around, how fierce is this is interesting because they use. -
2020 Commencement Program
54TH COMMENCEMENT | MAY 2, 2020 BOARD OF TRUSTEES Jeremiah J. White, Jr. CHAIR Lydia Hernández Vélez, Esq. VICE CHAIR The Honorable James R. Roebuck, Jr. VICE CHAIR Chekemma J. Fulmore-Townsend ON BEHALF OF Community College of Philadelphia’s Board of SECRETARY Trustees and the College community, welcome to Commencement 2020. At this most important and joyous ceremony of the academic Ronald Bradley, Jr. year, we acknowledge our students' academic achievements and Hugh Patrick Clancy reaffirm the continuing vitality of our College. Rob Dubow Harold T. Epps The granting of degrees and certificates is celebrated through Deana Gamble long-standing traditions. It is a time to celebrate achievements and V. Steve Herzog reflect on the opportunities ahead. This year’s Commencement in Sheila D. Ireland particular celebrates the tenacity and resilience of our students as Sharon A. Jean-Baptiste, P. E. they navigated through unprecedented challenges to complete their Rosalyn J. McPherson education. More than half of the Class of 2020 graduated with honors, Mindy M. Posoff which is a major milestone that the College is proud to celebrate. Michael Soileau Commencement also recognizes our outstanding faculty and staff who EMERITUS TRUSTEES have devoted their time and energy to helping students achieve this Robert S. King (d.) significant milestone. Participation in the Commencement exercise is a Rhonda R. Cohen, Esq. momentous experience for graduates, as well as for families and friends who support students on their academic journey. It is a fitting finale to years of hard work and sacrifice. PRESIDENT’S CABINET Carol de Fries Congratulations to the 2020 graduating class. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Reading RuPaul's Drag Race: Queer Memory, Camp Capitalism, and RuPaul's Drag Empire Permalink https://escholarship.org/uc/item/0245q9h9 Author Schottmiller, Carl Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Carl Douglas Schottmiller 2017 © Copyright by Carl Douglas Schottmiller 2017 ABSTRACT OF THE DISSERTATION Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire by Carl Douglas Schottmiller Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor David H Gere, Chair This dissertation undertakes an interdisciplinary study of the competitive reality television show RuPaul’s Drag Race, drawing upon approaches and perspectives from LGBT Studies, Media Studies, Gender Studies, Cultural Studies, and Performance Studies. Hosted by veteran drag performer RuPaul, Drag Race features drag queen entertainers vying for the title of “America’s Next Drag Superstar.” Since premiering in 2009, the show has become a queer cultural phenomenon that successfully commodifies and markets Camp and drag performance to television audiences at heretofore unprecedented levels. Over its nine seasons, the show has provided more than 100 drag queen artists with a platform to showcase their talents, and the Drag Race franchise has expanded to include multiple television series and interactive live events. The RuPaul’s Drag Race phenomenon provides researchers with invaluable opportunities not only to consider the function of drag in the 21st Century, but also to explore the cultural and economic ramifications of this reality television franchise. -
Drag Queens in Cinema and Television
Vanja Ødegård Drag Queens in Cinema and Television: The Influence of Mainstream Media on a Subversive Artform Master’s thesis in Film Studies Department of Art and Media Studies, NTNU Trondheim, 2016 I wish to give a big thanks to my advisor Aud Sissel Hoel for all her encouragement and patience, as well as a positive attitude and great advice along the way. Also a thank you to Inger Malene Nausthaug, who has always been most helpful during this long process. Thank you to my family, especially my parents who encouraged me to finish what I had started. Thank you to my two friends, Atli Bjarnasson and Mads Wølner Voss for helping me fine tune everything and keeping my spirits high when I was feeling low. Vanja Ødegård, Oslo, Desember 2016 2 Index: Introduction……………………………………………………………………………..…… 5 CHAPTER 1: Drag and queer theory…………………………………………………….…9 The history of queer theory and LGBT history and activism……………………..10 Queer representation in Film and Television……………………………….……..12 Definition of camp and different views of the term……………………………….16 Definition of drag………………………………………………………………….…19 The heteronormativity of queer culture………………………………………..…..23 Using the subversive nature of drag to cover conservative values………….….…24 The financial gain of queer film and television and marketing strategies…….….28 The social position of drag queens in the gay male culture………………………..30 CHAPTER 2: Reality TV as genre…………………………………………………………34 Subgenres…………………………………………………………………...………..39 Reality television as social experiments………………………………..…………..40 Narrative -
“I'm a Mountain Biking Vampire Witch from the Future!” Queer Decolonial
“I’m a Mountain Biking Vampire Witch From the Future!” Queer Decolonial Killjoys in Queer Studies and Politics by Charlotte Theresa Hoelke A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctorate in Philosophy in Canadian Studies Carleton University Ottawa, Ontario © 2018, Charlotte Theresa Hoelke Hoelke, 1 Abstract This thesis asks how queer scholarship and politics will maintain a radically queer critical edge, specifically an unsettling, decolonial approach that does not take for granted the continuance of queer liberal and settler colonial structures. A longstanding debate in queer studies and politics is the tension between queer assimilation vs queer radicalism. However, even the radical unsettling approaches that discuss radical queer futurity (Muñoz, and Edelman) often do not centre the important context of settler colonialism, even while critiquing normativity and imagining better futures. So how do we locate examples of imaginings of queer decolonial futures: ones that account for settler colonialism? To find out, I chose to examine selected performances in specific popular “silly archives of unhappy feelings,” and found complex examples of uncanny, at times monstrous, performances by artists (Trixie Mattel, Katya Zamoldchikova and Miss Chief Eagle Testickle). These artists, I argue, exemplify and embody the characteristics of what I call “Queer Decolonial Killjoys” (QDKs). Building on Ahmed’s concepts of “Feminist Killjoys,” and “Unhappy Queers,” I demonstrate that the artists I discuss not only unsettle gendered, sexualized, and racialized norms (à la Ahmed), but that they also act as Decolonial Killjoys because they use complex performative strategies to also critique settler colonialism and queer liberalism.