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A N a K S a S T
A n a k S a s t r a Issue 20 Table of Contents s t o r i e s "Nasiruddin" by William Tham Wai Liang "Fingertips Pointing to the Sky" by Thomas De Angelo "Ma'af, Jam Berapa?" by Barry Rosenberg "Modern Love" by Lindsay Boyd n o n f i c t i o n "Kim and Seng Ly" by Hank Herreman p o e m s "Memories of Station One," "The Crossover to Miniloc Island," "Life Metaphors on the 6 a.m. Train," and "At the Corner of Maria Clara and Dimasalang" by Iris Orpi "Whispers in the Mist," "Monsoon Season in Thailand," and "Temple of Dawn" by Carl Wade Thompson "Not Defeated" by Clara Ray Rusinek Klein "A Tribute to My Own State of Collapse" by Abigail Bautista "Mourning" and "Hall of Mirrors" by Gerard Sarnat "Cakra Zen Warrior" by Gary Singh "Bony Carcass" and "Asking a Gas Station Clerk for Directions" by Pauline Lacanilao "Kata Hatiku" by James Penha "Here, There and Everywhere" and "A Felled Caress" by Lana Bella * * * * * Contributor Bios William Tham Wai Liang is currently a cherry analyst born in Kuala Lumpur but currently working in the Okanagan valley. He writes to pass the time and also to preserve any interesting stories that he comes across. Thomas De Angelo is an author in the United States with a particular interest in Southeast Asia. If any readers wish to comment on his story, he can be reached at ThomDeAngelo{at}aol.com. Barry Rosenberg was brought up in England but moved to Australia after completing a Ph.D. -
GREETINGS and NON-VERBAL CUSTOMS in OUR COUNTRIES in REUNION ISLAND
GREETINGS and NON-VERBAL CUSTOMS in OUR COUNTRIES in REUNION ISLAND People in Reunion Island won't hesitate to greet people they know by giving each other a kiss on each cheek. They say hello when they cross people in the street. They usually gesticulate while talking. The distance they will keep depends on familiarity and level of comfort. The first time you meet a Reunionese woman you can give her kisses on cheeks, if you meet a man you must shake his hand. Among teenagers, there are different ways to say hello: if there are two girls, they give hugs and kisses on cheeks. It's the same between girls and boys. But if there are two boys, they fist-bump each other. In the street, two girls who are close friends can hold their hands but it's totally forbidden between two boys. Hugging, kissing and touching is usually reserved for family members and very close friends. In a family living in the same house, a brother and a sister don't usually kiss each other unless they are far-away for a long time. When adults meet teenagers or kids, they always give kisses. Between an elderly person and young people, handshaking is a sign of respect. Of course, at work or when you meet a person who has a certain authority, you must handshake. in Romania In Romania handshaking is the most popular form of greeting, not only when you meet them for the first time. Although they are friends, Romanians shake their hands between men, women and teenagers. -
Cutthroat 26 Copy FINAL AUG
1 EDITOR IN CHIEF: PAMELA USCHUK FICTION EDITOR: WILLIAM LUVAAS ASSISTANT FICTION EDITOR: JULIE JACOBSON GUEST POETRY EDITOR: LESLIE CONTRERAS SCHWARTZ POETRY EDITOR: HOWIE FAERSTEIN POETRY EDITOR: TERI HAIRSTON POETRY EDITOR: MARK LEE POETRY EDITOR: WILIAM PITT ROOT MANAGING EDITOR: ANDREW ALLPORT DESIGN EDITOR: ALEXANDRA COGSWELL CONTRIBUTING EDITORS: Sandra Alcosser, Charles Baxter, Frank Bergon, Janet Burroway, Robert Olen Butler, Ram Devineni, Joy Harjo, Richard Jackson, Marilyn Kallet, Zelda Lockhart, Demetria Martinez, John McNally, Dennis Sampson, Rebecca Seiferle, Luis Alberto Urrea, Lyrae van Clief, and Patricia Jabbeh Wesley. Jane Mead, Rick DeMarinis, Penelope Niven, and Red Bird, in memorium. Send submissions, subscription payments and inquiries to CUTTHROAT, A JOURNAL OF THE ARTS, 5401 N Cresta Loma Drive, Tucson, AZ 85704. ph: 970-903-7914 email: [email protected] Make checks payable to Cutthroat, A Journal of the Arts Subscriptions are $25 per two issues or $15 for a single issue. We are self-funded so all Donations gratefully accepted. Copyright@2021 CUTTHROAT, A Journal Of The Arts 2 CUTTHROAT THANKS WEBSITE DESIGN: LAURA PRENDERGAST PAMELA USCHUK COVER LAYOUT: PAMELA USCHUK MAGAZINE LAYOUT: PAMELA USCHUK LOGO DESIGN: LYNN MCFADDEN WATT FRONT COVER ART: ALBERT KOGEL “PESCADOS,” acrylic on canvas INSIDE ART: JACQUELINE JOHNSON, quilts JERRY GATES, oil pastels on paper RON FUNDINGSLAND, prints on paper AND THANK YOU TO: Andrew Allport, Howie Faerstein, CM Fhurman, Teri Hairston, Richard Jackson, Julie Jacobson, Marilyn Kallet, Tim Rien, William Pitt Root, Pamela Uschuk and Patricia Jabbeh Wesley, for serving as readers for our literary contests. To our final contest judges: Kimberly Blaeser, Poetry; Amina Gautier, Short Story; Fenton Johnson, Nonfiction. -
Carving out a Space for Alternative Voices Through Performing Arts in Contemporary Cambodian Tourism 77
Carving out a Space for Alternative Voices through Performing Arts in Contemporary Cambodian Tourism 77 Carving out a Space for Alternative Voices through Performing Arts in Contemporary Cambodian Tourism: Transformation, Transgression and Cambodia’s first gay classical dance company Saori HAGAI * Abstract This paper explores the potential for the global phenomenon of tourism to become a platform for performing art practitioners, dancers and artists to carve out a space for alternative voices through their performances and perhaps thereby to stimulate social transformation and even encourage evolutionary social transgression in Cambodia. Drawing on the post-colonial discourses of Geertz(1980)and Vickers(1989), this paper adopts tourism as a cultural arena which contributes to the deconstruction of the landscape of a country through the exposure to the wider global gaze. This is achieved by taking the case study of Prumsodun Ok & NATYARASA in its calculated promotion of social transgression in the classical arts. Prumsodun Ok & NATYARASA is the Cambodia’s first gay classical dance company(hereafter the Company)established in 2015, and sets a manifestation of their continuing commitment to social transformation through artistic dialogue both inside and outside of Cambodia. The increasing resonance of the LGBTQ movement across the world helped the Company to receive more global recognitions especially since the venerable TED Conference and other international art * Associate Professor, Ritsumeikan International, Ritsumeikan University 78 立命館大学人文科学研究所紀要(121号) foundations have chosen Ok as a recipient of various grants and fellowships. In this way the Company hopes to boost the maturity and quality of the dance discourse in a postmodern era that has greater space for airing alternative voices. -
In Praise of Her Supreme Holiness Shri Mataji Nirmala Devi
In praise of Her Supreme Holiness Shri Mataji Nirmala Devi 2016 Edition The original Sahaja Yoga Mantrabook was compiled by Sahaja Yoga Austria and gibven as a Guru Puja gift in 1989 0 'Now the name of your Mother is very powerful. You know that is the most powerful name, than all the other names, the most powerful mantra. But you must know how to take it. With that complete dedication you have to take that name. Not like any other.' Her Supreme Holiness Shri Mataji Nirmala Devi ‘Aum Twameva sakshat, Shri Nirmala Devyai namo namaḥ. That’s the biggest mantra, I tell you. That’s the biggest mantra. Try it’ Birthday Puja, Melbourne, 17-03-85. 1 This book is dedicated to Our Beloved Divine M other Her Supreme Holiness Shri MMMatajiM ataji Nirmal aaa DevDeviiii,,,, the Source of This Knowledge and All Knowledge . May this humble offering be pleasing in Her Sight. May Her Joy always be known and Her P raises always sung on this speck of rock in the Solar System. Feb 2016 No copyright is held on this material which is for the emancipation of humanity. But we respectfully request people not to publish any of the contents in a substantially changed or modified manner which may be misleading. 2 Contents Sanskrit Pronunciation .................................... 8 Mantras in Sahaja Yoga ................................... 10 Correspondence with the Chakras ....................... 14 The Three Levels of Sahasrara .......................... 16 Om ................................................. 17 Mantra Forms ........................................ 19 Mantras for the Chakras .................................. 20 Mantras for Special Purposes ............................. 28 The Affirmations ......................................... 30 Short Prayers for the Chakras ............................. 33 Gāyatrī Mantra ...................................... -
Language and Culture of Cambodia SFS 2080
Language and Culture of Cambodia SFS 2080 Syllabus The School for Field Studies (SFS) Center for Conservation and Development Studies Siem Reap, Cambodia This syllabus may develop or change over time based on local conditions, learning opportunities, and faculty expertise. Course content may vary from semester to semester. www.fieldstudies.org © 2019 The School for Field Studies Fa19 COURSE CONTENT SUBJECT TO CHANGE Please note that this is a copy of a recent syllabus. A final syllabus will be provided to students on the first day of academic programming. SFS programs are different from other travel or study abroad programs. Each iteration of a program is unique and often cannot be implemented exactly as planned for a variety of reasons. There are factors which, although monitored closely, are beyond our control. For example: • Changes in access to or expiration or change in terms of permits to the highly regulated and sensitive environments in which we work; • Changes in social/political conditions or tenuous weather situations/natural disasters may require changes to sites or plans, often with little notice; • Some aspects of programs depend on the current faculty team as well as the goodwill and generosity of individuals, communities, and institutions which lend support. Please be advised that these or other variables may require changes before or during the program. Part of the SFS experience is adapting to changing conditions and overcoming the obstacles that may be present. In other words, the elephants are not always where we want them to be, so be flexible! 2 Course Overview The Language and Culture course contains two distinct but related modules: Cambodian society and culture, and Khmer language. -
Shotgun Wedding by Tiffany Zehnal
Shotgun Wedding by Tiffany Zehnal Writer's First Draft May 22, 2006 FADE IN: EXT. A SMALL TEXAS TOWN - EARLY MORNING The kind of town where people get by and then die. The morning sun has no choice but to come up over the horizon. A SQUIRREL... scurries across a telephone line... down a pole... over a "DON'T MESS WITH TEXASS" sticker... into an apartment complex parking lot... EXT. SHERWOOD FOREST APARTMENT COMPLEX ...and under a BLACK EXTENDED CAB PICK-UP TRUCK that faces out of its parking spot. It's filthy. As evident by the dirt graffiti: "F'ing Wash Me!" The driver's side mirror hangs by a metal thread. On the windshield, ONE DEAD GOLDFISH, eyes wide open... ...and in the back window, an EMPTY GUN RACK. INT. BATHROOM A box of AMMUNITION. A pair of female hands with a perfect FRENCH MANICURE loads bullets into a SHOTGUN. One by one. The only jewelry, a THIN, SILVER BAND on the middle finger of her left hand. INT. BEDROOM A clock radio -- the numbers flip from 5:59 to 6:00. COUNTRY MUSIC fills the room as a hand reaches over and HITS the snooze button. A millisecond of silence. An OFF-SCREEN SHOTGUN IS COCKED. The mound in the middle of the bed lifts his eye mask. This is WYATT, 34, handsome in a ruggedly casual never-washes-his- jeans way. He has a SMALL MOLE on his neck which, if you squint, looks like Texas. Wyatt’s all about maintaining the status quo. If he used words like status quo. -
Exploring Cambodian Classical Dance with Instructor: Sopheap Huot Editor: Claire Manigo-Bizzell Table of Contents
creating journeys through the arts Exploring Cambodian Classical Dance with Instructor: Sopheap Huot Editor: Claire Manigo-Bizzell Table of Contents i-iii Preface iv Glossary 1 Intro to Cambodian Classical Dance 2 Let’s Dance! The Neang Role Stretching Routine Part I 3 Let’s Dance! The Neang Role Stretching Routine Part II 4 Let’s Dance! The Neang Role Basic Gestures 5 Dance and Storytelling 6 Coloring Day: Learn about the Neang and Sva! 7 Coloring Day: Learn about the Neayrong and Yeak! 8 Reading Day: The Cambodian Dancer: Sophany’s Gift of Hope 9 Draw With Me: Masks in Cambodian Classical Dance 10 Let’s Explore! The Carvings at Angkor Wat 19 Appendix Art Sphere Inc • www.artsphere.org • [email protected] • © 2020 All Rights Reserved, Art Sphere Inc. Use this space to create your own art! Art Sphere Inc • www.artsphere.org • [email protected] • © 2020 All Rights Reserved, Art Sphere Inc. BOK Building, 1901 S 9th St. Studio 502, Philadelphia PA, 19148 • (215) 413 -3955 • www.artsphere.org• info@ artsphere.org creating journeys through the arts Follow your creativity and go beyond where the path leads so you can leave a trail to inspire others to express themselves, too! Preface How to Use Our Online Materials and We are pleased to present Creating Journeys This Book Through the Arts to take you on a path to Not everyone learns the same way. Some people transform everyday materials into art, to explore are more visual, some more musical, some more the intersections of art with nature, literacy, mathematical1. -
Neuro-Fuzzy Grasp Control for a Teleoperated Five Finger Anthropomorphic Robotic Hand
NEURO-FUZZY GRASP CONTROL FOR A TELEOPERATED FIVE FINGER ANTHROPOMORPHIC ROBOTIC HAND Maxwell Joseph Welyhorsky Thesis submitted to the University of Ottawa in partial fulfillment of the requirements for the degree of Master of Applied Science in Electrical and Computer Engineering Ottawa-Carleton Institute for Electrical and Computer Engineering School of Electrical Engineering and Computer Science Faculty of Engineering University of Ottawa © Maxwell Joseph Welyhorsky, Ottawa, Canada, 2021 Abstract Robots should offer a human-like level of dexterity when handling objects if humans are to be replaced in dangerous and uncertain working environments. This level of dexterity for human-like manipulation must come from both the hardware, and the control. Exact replication of human-like degrees of freedom in mobility for anthropomorphic robotic hands are seen in bulky, costly, fully actuated solutions, while machine learning to apply some level of human-like dexterity in underacted solutions is unable to be applied to a various array of objects. This thesis presents experimental and theoretical contributions of a novel neuro- fuzzy control method for dextrous human grasping based on grasp synergies using a Human Computer Interface glove and upgraded haptic-enabled anthropomorphic Ring Ada dexterous robotic hand. Experimental results proved the efficiency of the proposed Adaptive Neuro-Fuzzy Inference Systems to grasp objects with high levels of accuracy. II Acknowledgements I would like to say thank you to my supervisor, Dr. Emil M. Petriu, for his insight, advice, knowledge, and all the time he spent throughout the duration of my graduate studies for discussions and reviews. I would like to thank Sindhu Radhakrishnan, for the brainstorming sessions, as well as her family for their kindness and giving me their time to answer my questions. -
Ascoltare Con Gli Occhi Il Linguaggio Non Verbale E Le Differenze Culturali
Corso di Laurea magistrale in Scienze Del Linguaggio Tesi di Laurea: Ascoltare con gli Occhi Il Linguaggio Non Verbale e le Differenze Culturali Relatore Ch. Prof. Fabio Caon Correlatore Ch. Prof. Graziano Serragiotto Laureando Marco Munari Matricola 820853 Anno Accademico 2014 / 2015 ASCOLTARE CON GLI OCCHI IL LINGUAGGIO NON VERBALE E LE DIFFERENZE CULTURALI INDICE: INTRODUCTION 1. INTERCULTURAL COMMUNICATIVE COMPETENCE 2. NON-VERBAL COMMUNICATION 2.1 KINESICS 2.1.1 FACE AND EMOTIONS 2.1.1.1 HAPPINESS 2.1.1.2 SADNESS 2.1.1.3 FEAR 2.1.1.4 ANGER 2.1.1.5 DISGUST 2.1.1.6 SURPRISE 2.1.1.7 COUNTERFEITING EMOTIONS 2.1.2 THE GAZE 2.1.2.1 GAZE AND MUTUAL GAZE 2.1.2.1.1 REGULATING THE FLOW OF COMMUNICATION 2.1.2.1.2 MONITORING FEEDBACK 2.1.2.1.3 DISPLAYING COGNITIVE ACTIVITY 2.1.2.1.4 EXPRESSING EMOTIONS 2.1.2.1.5 COMMUNICATING THE TYPE OF RELATIONSHIP BETWEEN THE INTERLOCUTORS 2.1.2.2 DILATION AND CONTRACTION OF PUPILS 2.1.2.3 THE GLANCE AS GUIDE TO THE COGNITIVE PROCESSES 2.1.3 HANDS AND ARMS 2.1.3.1 INDIPENDENT GESTURES 2.1.3.2 DIPENDENT GESTURES 2.1.3.2.1 GESTURES BOUND TO REFERENT/SPEAKER 2.1.3.2.2 GESTURES INDICATIVE OF REFERENT/SPEAKER RELATIONSHIP 2.1.3.2.3 PUNCTUATION GESTURES 2.1.3.2.4 INTERACTIVE GESTURES 2.1.3.3 SELF-HANDLING 2.1.3.4 FREQUENCY OF GESTURES 2.1.3.5 INTERACTIVE SYNCHRONY 2.1.3.6 WIDESPREAD GESTURES 2.1.4 PHYSICAL CONTACT 2.1.5 LEGS AND FEET 2.1.6 DIRECTION OF THE BODY AND POSTURE 2.1.6.1 INTERPERSONAL ATTITUDES 2.1.7 SMELLS AND NOISES OF THE BODY 2.2 PROSSEMICA 2.2.1 LO SPAZIO PERSONALE 2.2.2 INVASIONE DEL TERRITORIO 2.2.3 DENSITÀ ED AFFOLLAMENTO 2.2.4 COMPORTAMENTI SPAZIALI 2.2.4.1 IN ASCENSORE 2.2.4.2 IN MACCHINA 2.2.4.3 DA SEDUTI 2.3 VESTEMICA 2.4 OGGETTEMICA 3 IL LINGUAGGIO PARAVERBALE 3.1 ESPRESSIONE DELLE EMOZIONI 3.2 ATTEGGIAMENTI INTERPERSONALI 3.3 INFORMAZIONI SUL MITTENTE 3.3.1 PERSONALITÀ 3.3.2 CLASSE SOCIALE 3.3.3 SESSO 3.3.4 ETÀ 3.4 PROSODIA E COMPRENSIONE 3.5 PROSODIA E PERSUASIONE 3.6 PROSODIA E TURNI DI PAROLA 3.7 PAUSE E SILENZI 4 NATURAL VS. -
The Winter Ghosts
Table of Contents Title Page Copyright Page TOULOUSE - April 1933 ARIÈGE - December 1928 TOULOUSE - April 1933 Acknowledgements Author’s Note About the author Teaser chapter ALSO BY KATE MOSSE Fiction Sepulchre Labyrinth Crucifix Lane Eskimo Kissing Non-Fiction The House: Behind the Scenes at the Royal Opera House, Covent Garden Becoming a Mother The Winter Ghosts KATE MOSSE Orion www.orionbooks.co.uk First published in Great Britain in 2009 by Orion Books, an imprint of The Orion Publishing Group Ltd Orion House, 5 Upper Saint Martin’s Lane London WC2H 9EA An Hachette UK Company 1 3 5 7 9 10 8 6 4 2 Copyright © Mosse Associates Ltd 2009 Translation of Occitan song © Mosse Associates Ltd 2009 Illustrations © Brian Gallagher The moral right of Kate Mosse to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act of 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of both the copyright owner and the above publisher of this book. All the characters in this book are fictitious, and any resemblance to actual persons living or dead is purely coincidental. A CIP catalogue record for this book is available from the British Library. eISBN : 978 1 4091 1229 7 ISBN (Trade paperback) 978 1 4091 1562 5 Printed in Great Britain by Clays Ltd, St Ives plc The Orion Publishing Group’s policy is to use papers that are natural, renewable and recyclable products and made from wood grown in sustainable forests. -
Bowen Hardcourtcomeback-Coverrev
Fred Bowen Published by PEACHTREE PUBLISHERS 1700 Chattahoochee Avenue Atlanta, Georgia 30318-2112 www.peachtree-online.com Text © 2010 by Fred Bowen All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Cover design by Thomas Gonzalez and Maureen Withee Book design by Melanie McMahon Ives and Loraine M. Joyner Printed and bound in December 2010 in the United States of America by RR Donnelley in Harrisonburg, Virginia 10 9 8 7 6 5 4 3 2 Library of Congress Cataloging-in-Publication Data Bowen, Fred. Hardcourt comeback / written by Fred Bowen. p. cm. Summary: Seventh-grade basketball star Brett is used to being good, if not the best, at everything he does, but after finding one thing he cannot do he loses confidence and starts making mistakes. ISBN: 978-1-56145-516-4 (trade paperback) [1. Basketball--Fiction. 2. Self-confidence--Fiction.] I. Title. PZ7.B6724Har 2010 [Fic]--dc22 For Valerie Tripp: Writing friend, family friend, my friend ayup drill!” Coach Giminski shouted above the sounds of pounding basket- Lballs. The Wildcats, a team of seventh graders in the Rising Stars League, snapped into action, moving swiftly to fill the shooting, rebounding, and passing lines. “Count ’em off,” the coach ordered. Brett Carter, the Wildcats star forward, caught a bounce pass from Will Giminski, his teammate and best friend. Brett took a quick, confident dribble to the basket.