Südsee: Mythos, Handlungsraum, Thema
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Teaching Nuclear Issues Through Popular Culture Texts
Social Education 82(3), pp. 149–150, 151–154 ©2018 National Council for the Social Studies The Bomb and Beyond: Teaching Nuclear Issues through Popular Culture Texts Hiroshi Kitamura and Jeremy Stoddard America’s atomic attacks on Hiroshima and Nagasaki—on August 6 and 9, 1945, of ways, but often revolves around an respectively—instantly killed some 200,000 Japanese and precipitated the end of effort to understand how and why the World War II. They also helped usher in the Cold War, a new era of global tension Truman administration unleashed a that pushed the world towards the brink of destruction. In this menacing climate, in pair of destructive weapons on a mass which the United States and the then-Soviet Union pursued a fierce international of civilians. Often a debate or delibera- rivalry, nuclear issues became central to top-level diplomacy and policymaking. tion model is used to engage students in Citizens around the world experienced a full spectrum of emotions—fear, paranoia, exploring the motives and implications rage, and hope—as they lived in this “nuclear world.” of official U.S. decision making—such as to save American lives, check Soviet Presently, nearly three decades after classroom, including films, TV shows, expansionism, or justify the two-billion- the fall of the Berlin Wall, the original video games, photography, and online dollar cost of the Manhattan Project. But nuclear arms race has subsided, but databases. These cultural texts illustrate this intellectual exercise also carries the nuclear issues remain seminal. Continued diverse societal views from different risk of reducing the experience to strate- challenges related to the development points in time. -
Paul Gauguin 8 February to 28 June 2015
Media Release Paul Gauguin 8 February to 28 June 2015 With Paul Gauguin (1848-1903), the Fondation Beyeler presents one of the most important and fascinating artists in history. As one of the great European cultural highlights in the year 2015, the exhibition at the Fondation Beyeler brings together over fifty masterpieces by Gauguin from leading international museums and private collections. This is the most dazzling exhibition of masterpieces by this exceptional, groundbreaking French artist that has been held in Switzerland for sixty years; the last major retrospective in neighbouring countries dates back around ten years. Over six years in the making, the show is the most elaborate exhibition project in the Fondation Beyeler’s history. The museum is consequently expecting a record number of visitors. The exhibition features Gauguin’s multifaceted self-portraits as well as the visionary, spiritual paintings from his time in Brittany, but it mainly focuses on the world-famous paintings he created in Tahiti. In them, the artist celebrates his ideal of an unspoilt exotic world, harmoniously combining nature and culture, mysticism and eroticism, dream and reality. In addition to paintings, the exhibition includes a selection of Gauguin’s enigmatic sculptures that evoke the art of the South Seas that had by then already largely vanished. There is no art museum in the world exclusively devoted to Gauguin’s work, so the precious loans come from 13 countries: Switzerland, Germany, France, Spain, Belgium, Great Britain (England and Scotland), -
Eastern State News
Eastern Illinois University The Keep February 1952 2-20-1952 Daily Eastern News: February 20, 1952 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_1952_feb Recommended Citation Eastern Illinois University, "Daily Eastern News: February 20, 1952" (1952). February. 3. http://thekeep.eiu.edu/den_1952_feb/3 This Book is brought to you for free and open access by the 1952 at The Keep. It has been accepted for inclusion in February by an authorized administrator of The Keep. For more information, please contact [email protected]. Eastern State News / . "Tell the Truth and Don't Be Afraid" . 17 EASTERN ILLINOIS STATE COLLEGE, CHARLESTON, ILLINOIS WEDNESDAY, FEB. 20, 1952 . .. officer, · . campus leader elections held tomorrow ' Recreation tickets needed nts urged. 'Bowery Ball' to feature -J for. a I I-school voting ly ea rly faculty, stud'?nt f Joor show Warbler sponsors leader election test by Hilah Cherry aft NAMES OF 65 students will appear on the ballot in the election ELIGIBLE to talce IWO FLOOR shows as well as dancing make up the entertainment of class officers consis1ing of the President, Vice President .• elective Service col for the "Bowery Ball," which will be held in the Old Aud, S and· Secretary-Treasurer of all classes in Old Main tomorrow. The tion test should file February 29. election will be held in the south room adjoining president Buz at once, Selective Ser The "Bucket Sisters," Dean Long and Joyce Reynolds as "the zard's office. ieadquarters advis- fat man," and songstress Hilah Cherry are a few of the veteran en A Student Council committee will be in charge of the polls. -
American University Thesis and Dissertation Template for PC 2016
© COPYRIGHT by Paul Blakeslee 2019 ALL RIGHTS RESERVED CHERCHEZ LA FEMME: REASSESSING FRANCIS PICABIA’S WORLD WAR II NUDES BY Paul Blakeslee ABSTRACT This thesis closely examines two of Francis Picabia’s oil paintings from World War II, Femme à la Sculpture Grecque Noire et Blanche (Woman with Black and White Greek Sculpture, c. 1942-43) and Femme à l’Idole (Woman With Idol, c.1941-43). It argues that Picabia employed a range of art historical allusions in each work to critique the French Surrealists’ claims about their own art-making. Aligning himself with an older tradition of modernist avant- gardism, Picabia returned to a Dadaistic mode of artistic deconstruction to wage an attack on André Breton’s theories of Surrealist art. Picabia’s critique of Surrealism encompassed the movement’s political affiliations, its fascination with the erotic female body, and its primitivizing interactions with the art of indigenous cultures. Comparing his own oeuvre to the artistic practices of Édouard Manet and Paul Gauguin, Picabia derided the Surrealist practice as a corruption of the avant-gardism represented by those artists. This understudied portion of Picabia’s oeuvre has previously been seen within the context of the artist’s personal behavior during the Vichy regime in France; however, this argument looks instead to art-historical politics, drawing links between Picabia’s early career as a Dadaist and his enigmatic later practice. ii ACKNOWLEDGMENTS I would like to thank Dr. Juliet Bellow, for her extensive efforts in getting this thesis off -
Vintage Uke Music Revised 2020.Xlsx
9/20/2020 Title Folder 12 street rag !no covers a fool such as i (now and then there's) A A Lady Loves ‐ 1952 L A Man Never Marries A Wife ‐ 1951 M A Nickel Ain't Worth A Cent Today ‐ 1951 N A Picnic In The Park ‐ 1951 P A Sleepin' Bee ‐ 1954 S a very precious love !no covers a woman in love !no covers A Woman In Love ‐ 1955 W a you're adorable A abdul the bulbul ameer A Abie's Irish Nose ‐ 1925 A About A Quarter To Nine A absence makes heart grow fonder A accent on youth A ac‐cent‐tchu‐ate the positive A Across The Breakfast Table ‐ 1929 A Adam's Apple A Adelaide ‐ 1955 A Adios A Adorable ‐ 1933 A After a million dreams A after all it's you A After All You're All I'm After ‐ 1930 A After All You're All I'm After ‐ 1933 A After Business Hours ‐ 1929 A after i say i'm sorry A after i've called you sweetheart A After My Laughter Came Tears A After Tea ‐ 1925 A after you A After You Get What You Want A After You Get What You Want You Don't Want It ‐ 1920A After You've Gone A after_my_laughter_came_tears A ah but is it love A Ah But It Is Love ‐1933 A ah sweet mystery of life A Ah Wants To Die From Eatin' Possum Pie ‐ 1925 A Ah! The Moon Is Here ‐ 1933 A ah‐ha A ain't gonna rain new verses A Ain't Got A Dime To My Name ‐ 1942 A ain't it cold !no covers ain't misbehavin' A aint misbehavin vintage !no covers aint no flies on auntie A Ain't No Flies On Aunty A ain't no land like dixie A aint she sweet A Ain't That a Grand and Glorious Feeling ‐ 1927 A Ain't we carryin' on A Ain't We Got Fun A Ain't You Baby A ain't_misbehavin' A Ain't‐cha A alabama -
Post-Nuclear Monuments, Museums, and Gardens
Post~nuclear Monuments, Museums, and Gardens * MIRA ENGLER INTRODUCTION Mira Engler, Associate Professor of Lanrucape Architecture at Iowa ARKED BY THE SCIENTIFIC DISCOVERY of atomic energy, the nuclear age, which State University, Ames, Iowa 50011, spans the twentieth century, has changed the nature of culture as well as M United States of America. l the landscape. Vast, secret landscapes play host to nuclear arms and commercial Email: [email protected] energy producers.2 Nuclear sites concern not only scientists and politicians, but also environmental designers/artists. The need to evoke a cultural discourse, protect future generations, reveal or conceal radioactive burial sites and recycle retired installations engenders our participation. How do we intersect with these hellish places? Do we have a potent role in addressing this conundrum? In what follows, I confront the consumption and design of today's most daunting places - the landscapes of nuclear material production, processing, testing and burial. The first part of this essay examines the cultural phenomenon of "danger consumption" embodied in atomic museums and landmarks across the United KEY WORDS States. The second part reviews the role of artists and designers in this paradoxical Nuclear culture undertaking, particularly designers who mark the danger sites, making them Nuclear landscape publicly safe and accessible, or who fashion 'atomic monuments'. The role of Post-nuclear monuments design and art is further examined using the submissions to the 2001 Bulletin of Atomic museums Atomic Scientists Plutonium Memorial Contest, which highlights a range of Post-nuclear gardens/wilderness design approaches to creating a memorial to the world's storage of the lasting, Nuclear waste glowing poison. -
Creshlew3 Summit* New Piwwmee
\ **• X*1 H Read the Herald Read the Herald For Local *.. For Local News Strtrfap Swvimil for If F#ar« j 47* I? •Mma •* a« t HMM at taw *«i«tnc* JER 21, IfSS at l««wK. h- th« AM at MiNli » »Si» $4 A YEA! io ' YMCA Lists Mmy w* q^' w» Tww*w»w «v JBPI apmai vaar Adirit Educafioa ffais Supervised Pumping Station Is Citywide Comes for Fooftal Program Obligation Homeowners Say John M. til* Board of Recreation aod Public hearing on a proposed ordinance authoriring f the general tkt flBmntt Boosters AaaMJaHw the construction of a new pumping station to provide ade- ttb week appealed to resident* quate sewage facilities in the Canoe Brook area at a cost mi! YHCA*s faB and winter pt». ta eflotrihute any football aaMa.' of $74,550 with about half of the expenditures to be split grant of informal education lor went wbkb might be utUl»dte between the city and area landowners was continued by .the year, UKMSW. B«viewing th« fall program to be sponsored wf the two groups. Common Council Tuesday night to the contents ef Us year's folder, Persons wishing to daaatr October 4. shcwld contact the Racraatton The action was deferred at the mittee chairman iadkaled that Board at So. «*29» or So. ••ttli. Beacon HiH Club request of Joseph Gordon of 10) this year** aethrttiaa cewpris Canoe Brook parkway, council 1 Ia addition to the Becr«t*o« the most comprehensive list of Board and the Boosters, a group Suit Scheduled for the Canoe Brook Association, -'Clubs, edwrational ciassea, public oi parents are working to ofttlgn which contends that the entire affairs education groups, and spe- a constructive substitute for city should be assessed for the cial events the Summit YMCA has "saudlot" footbaU. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Creole Women's Literature of the Nineteenth-Century British West
1 “GOOD EDUCATION, GOOD POSITION, AND GOOD BLOOD”: CREOLE WOMEN’S LITERATURE OF THE NINETEENTH-CENTURY BRITISH WEST INDIES A dissertation presented by Jessica Nelson to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts August 2015 2 “GOOD EDUCATION, GOOD POSITION, AND GOOD BLOOD”: CREOLE WOMEN’S LITERATURE OF THE NINETEENTH-CENTURY BRITISH WEST INDIES by Jessica Nelson ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University August 2015 3 ABSTRACT Creole women figures in nineteenth-century British fiction are often portrayed as threats to the stability and integrity of English domesticity in both the colony and the metropole. By virtue of the geography of their West Indian birth, these characters are closely associated with the practice of chattel slavery, and this association calls their moral integrity and domestic fitness into question. The fictional British West Indian creole woman represents, in texts written by metropolitan English writers, the potential failures of English domestic cultural reproduction. My dissertation, “Good Education, Good Position, and Good Blood”: Creole Women’s Literature of the Nineteenth-Century British West Indies, examines how representations of creole women in texts written by creole women challenge and revise the stereotype of the culturally and morally degenerate female creole. I engage with the work of Ann Laura Stoler, Jenny Sharpe, Radhika Mohanram, and others who delineate a mutually constitutive relationship between domestic culture and the project of European colonial imperialism, and who figure the woman’s body as an especially important articulation of that relationship. -
Vangogh'sjapanandgauguin's Tahitireconsidered
“Van Gogh's Japan and Gauguin's Tahiti reconsidered,” Ideal Places East and West, International Research Center for Japanese Studies, March 31,1997, pp.153-177. Van Gogh's Japan and Gauguin's Tahiti Tahiti reconsidered Shigemi Shigemi INAGA Mie U University niversity INTERNATIONAL SYMPOSIUM NO.l0 International International Research Center for Japanese]apanese Studies Idealld e al Places in HistoryHisto η - East and West - 1995 : 153-178153 -178 “Van Gogh's Japan and Gauguin's Tahiti reconsidered,” Ideal Places East and West, International Research Center for Japanese Studies, March 31,1997, pp.153-177. Van Gogh's Japan and Gauguin's Tahiti Tahiti reconsidered Shigemi INAGA Mie University If If the mountain paradise represents one type of ideal place place,， the other can be categorized categorized as the island paradise. Both in the East and in the WestWest, ， it has been a common gardening practice to create an isle in the middle of a lake or a pond of a garden. garden. In JJapanese apanese the word island (“ (" shima") was literally a metonymical substitute for for the “"garden".garden". A small and isolated “"tops" tops" surrounded by water is a miniatur- miniatur ized ized version version,， or a regressive formform,， of the desire for marvelous possessions possessions,， to use Stephen Stephen Greenblatt's expression expression,， which prompted people to venture into the ocean in in search of hidden paradise. From the Greek Hesperides down to William Buttler Yeat's Yeat's Innisj Innisfree同e (or rather downdownto .to its parody as “"LakeLake Isles" in the “"Whispering Whispering Glades" Glades" by Evelyn Waugh in The Loved One [1948]),[1 948]) ， the imagery of islands is abun-abun dant dant in Western literature. -
O – Lelo Has Helped Us Broaden Our Message and Our Mission to the Community. ¶O
AUGUST 19 - 25, 2018 staradvertiser.com Kelli (Natasha Rothwell) gives Issa (Issa Rae) some fi nancial advice FIERCELY in a new episode of Insecure. Meanwhile, Daniel (Y’lan Noel) attempts to make an important FUNNY music industry connection and Yvonne Orji returns this season as Issa’s BFF, Molly. FEMALES Airing Sunday, Aug. 19, on HBO. – ¶Olelo has helped us broaden our message and our mission to the community. LYNNE WAIHEE, President, Read to Me International ;rikhob]bg`ob]^hikh]n\mbhglniihkm%p^k^a^eibg`K^Z]MhF^Bgm^kgZmbhgZe olelo.org laZk^ma^bkik^l^gmZmbhglpbmai^hie^Zeeho^kma^phke]' ON THE COVER | INSECURE Third time’s the charm HBO comedy ‘Insecure’ is Following their mantra to “know better, do do about Daniel and her career, Molly deals with better,” Issa and her pals face the realities her own problems. She may be a successful back for season 3 of their situations. Now that she’s no longer corporate lawyer, but she hasn’t been able to with Lawrence (“Jay Ellis, “The Game”), Issa is translate that kind of success into her roman- By Kyla Brewer conflicted about her complicated relationship tic pursuits. To make matters worse, her hang- TV Media with Daniel, her childhood friend and on-again, ups and insecurities could sabotage her newly off-again lover. Professionally, she isn’t sure secured dream job. s young women navigate the ups and about her future with the nonprofit she’s been A very pregnant Tiffany (Amanda Seales, “My downs of modern life, it helps to have a working for, We Got Y’all. -
Teaching Gauguin: Pacific Tudiess and Post- Impressionism Heather Waldroup
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 16 Article 8 Issue 1 May 2002 Teaching Gauguin: Pacific tudiesS and Post- Impressionism Heather Waldroup Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific slI ands Commons, and the Pacific slI ands Languages and Societies Commons Recommended Citation Waldroup, Heather (2002) "Teaching Gauguin: Pacific tudS ies and Post-Impressionism," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 16 : Iss. 1 , Article 8. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol16/iss1/8 This Research Paper is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in Rapa Nui Journal: Journal of the Easter Island Foundation by an authorized editor of Kahualike. For more information, please contact [email protected]. Waldroup: Teaching Gauguin: Pacific Studies and Post-Impressionism TeA I liNG GAUGUIN: PAClnC STUDI AND POS -IMPR.CS IONISM Heather Waldroup FOREWORD decorative forms; Gauguin's incorporation of a vast image-bank th th of iconography, from 18 -dynasty Egypt, medieval Europe, 8 _ erhaps it's because I'm looking for him, but Paul Gauguin century Java. I find myself simultaneously transfixed by the se Pseems to follow me everywhere. I am standing in line at a ductivenes of his aesthetics and repelled by the colonizing gaze bank on Rarotonga when a European woman behind me com this seduction implie . Gauguin's paintings are a rich source for ment that the bank tellers "look just like a Gauguin painting"; analysis, as they bring together discourses of Primitivism and her companion murmurs in agreement.