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UNIVERSITY of CALIFORNIA, SAN DIEGO Queerness and Chinese Modernity: the Politics of Reading Between East and East a Dissertati
UNIVERSITY OF CALIFORNIA, SAN DIEGO Queerness and Chinese Modernity: The Politics of Reading Between East and East A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Alvin Ka Hin Wong Committee in Charge: Professor Yingjin Zhang, Co-Chair Professor Lisa Lowe, Co-Chair Professor Patrick Anderson Professor Rosemary Marangoly George Professor Larissa N. Heinrich 2012 Copyright Alvin Ka Hin Wong, 2012 All rights reserved. The dissertation of Alvin Ka Hin Wong is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Co-Chair ________________________________________________________________________ Co-Chair University of California, San Diego 2012 iii TABLE OF CONTENTS Signature Page …………………………………………………….……………….….…iii Table of Contents ………………………………………………………………..…….…iv List of Illustrations ……………………………………………………………….…........v Acknowledgments …………………………………………………………………….....vi Vita …………………………………………………….…………………………….…...x Abstract of the Dissertation ………………………………………………….……….….xi INTRODUCTION.……………………………………………………………….……....1 CHAPTER ONE. Queering Chineseness and Kinship: Strategies of Rewriting by Chen Ran, Chen Xue and Huang Biyun………………………….………...33 -
The Effects and Behaviours of Home Alone Situation by Latchkey Children
American Journal of Nursing Science 2015; 4(4): 207-211 Published online July 21, 2015 (http://www.sciencepublishinggroup.com/j/ajns) doi: 10.11648/j.ajns.20150404.19 ISSN: 2328-5745 (Print); ISSN: 2328-5753 (Online) The Effects and Behaviours of Home Alone Situation by Latchkey Children J. Rajalakshmi 1, P. Thanasekaran 2 1Medical-Science Department, Ambo University, Ambo, Ethiopia, East Africa 2Medical-Science Department, Wollega University, Nekemte, Ethiopia, East Africa Email address: [email protected] (J. Rajalakshmi), [email protected] (P. Thanasekaran) To cite this article: J. Rajalakshmi, P. Thanasekaran. The Effects and Behaviours of Home Alone Situation by Latchkey Children. American Journal of Nursing Science . Vol. 4, No. 4, 2015, pp. 207-211. doi: 10.11648/j.ajns.20150404.19 Abstract: Economic and social pressures are forcing more parents into the workplace at a time when children appear to most need adult guidance and supervision. These children, in turn, face a growing number of problems such as physical and sexual abuse, crime and delinquency, depression and suicide, drug and alcohol abuse, emotional and behavioral problems, learning difficulties, school attendance problems, domestic violence, pregnancy, abortion, and venereal disease. Many "latchkey" children experience stressful and even dangerous situations without ready access to adult guidance and support. It is estimated that as many as 10 million children care for themselves before or after school. Many latchkey kids begin their self-care responsibilities at about 8 years of age. Keywords: Introduction, History, Statistics, Literatures, Exports Talk, Effects on Children, Parents Tips, Kids Safe 1. Introduction How do parents provide supervision for their school age under a mat (or some other object) at the rear door to the children when they work? School age children are sometimes property. -
Summary Report 2014
INTERNATIONAL DAY AGAINST HOMOPHOBIA AND TRANSPHOBIA SUMMARY REPORT 2014 THIS REPORT PROVIDES ESSENTIAL FACTS ABOUT THE INTERNATIONAL DAY AGAINST HOMOPHOBIA AND TRANSPHOBIA 2014. FOR FULL REPORTS LOG ONTO WWW.DAYAGAINSTHOMOPHOBIA.ORG “Millions of people around the world observe the International Day Against Homophobia and Transphobia on 17 May... I believe in and strive to achieve a world rooted in tolerance, freedom and equality; a world where we are all free to live a life of dignity. There are no exceptions. Human rights are for everyone, no matter who you are or whom you love.” UN SECRETARY GENERAL BAN KI-MOON May 16, 2014 Throughout the world, activists chose this year's focus issue to be Freedom of Expression. Countless initiatives took place worldwide, 2014 to highlight how the fundamental right to freely discuss issues around sexual and gender rights is systematically being violated by GLOBAL the great majority of states. The mobilisation included a 'Global editorial FOCUS Call to Leaders of the World to protect LGBTI Free Expression' developed in association between the IFEX network, Article 19 and Over the past nine years, the International Day Against Homophobia and Transphobia has served as a key ON the IDAHO Committee, and with the support of Amnesty moment for mobilisation in over 120 countries. This year, several new countries have joined this long list, International. This was signed by 170 organisations globally and with activities reported for the first time in Ghana, Jordan, Pakistan, Papua New Guinea, Suriname, Tunisia FREEDOM supported by a Thunderclap campaign, which reached 1.5 million and Madagascar, confirming May 17 as the biggest annual landmark for mobilisation in favour of sexual and OF people online. -
The American Film Musical and the Place(Less)Ness of Entertainment: Cabaret’S “International Sensation” and American Identity in Crisis
humanities Article The American Film Musical and the Place(less)ness of Entertainment: Cabaret’s “International Sensation” and American Identity in Crisis Florian Zitzelsberger English and American Literary Studies, Universität Passau, 94032 Passau, Germany; fl[email protected] Received: 20 March 2019; Accepted: 14 May 2019; Published: 19 May 2019 Abstract: This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanness, nationhood, and belonging. The incongruities arising from the segmentation into dual registers, realms complying with their own rules, destabilize the narrative structure of the musical and, as such, put the semantic differences between narrative and number into critical focus. A close reading of the 1972 film Cabaret, whose narrative is set in 1931 Berlin, shows that the cosmopolitanism of the American film musical lies in this juxtaposition of non-American and American (at least connotatively) spaces and the self-reflexive interweaving of their associated registers and narrative levels. If metalepsis designates the transgression of (onto)logically separate syntactic units of film, then it also symbolically constitutes a transgression and rejection of national boundaries. In the case of Cabaret, such incongruities and transgressions eventually undermine the notion of a stable American identity, exposing the American Dream as an illusion produced by the inherent heteronormativity of the entertainment industry. -
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ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 1 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 1 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CONTENTS 4 Cast and Crew 7 Swords and Sensationalism by Kat Ellinger 20 About the Restoration ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 2 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CREW Gli invasori Directed by Mario Bava 1961 Produced by Ferruccio De Martino Executive Producer Lionello Santi Story and Screenplay by Oreste Biancoli, Piero Pierotti and Mario Bava Director of Photography Mario Bava Edited by Mario Serandrei ARROW VIDEO ARROW VIDEO Music by Roberto Nicolosi Set Designer Giorgio Giovannini Costume Designer Tina Loriedo-Grani ARROW VIDEO ARROW VIDEOCAST Cameron Mitchell as Eron Alice Kessler as Rama Ellen Kessler as Daya George Ardisson as Erik, Duke of Helford Andrea Cecchi as Sir Rutford Jacques Delbò as Olaf ARROW VIDEO ARROWFranco Giacobini as Rustichello VIDEO Raffaele Baldassarre as Blak Enzo Doria as Bennet Gianni Solaro as Ranco Franco Ressel as King Lotar Livia Contardi as Hadda Folco Lulli as Harald, King of the Vikings ARROW VIDEOFrançoise Cristophe asARROW Queen Alice VIDEO 4 5 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO Swords and Sensationalism: Mario Bava’s grand-spectacle of blood, violence and sadism in Erik the Conqueror and the Italian peplum film by Kat Ellinger There is no denying Mario Bava was an innovator when it came to Italian genre film. -
LGBT Detroit Records
476430 Do Not Detach Hotter Than July SUNDAY BRUNCH Sunday, July 28 1:00 pm Roberts Riverwalk Detroit Hotel 1000 River Place Dr Detroit, Ml 48207 Admit One 476430 LQL8QZ Do Not Detach Hotter Than July SUNDAY BRUNCH Hosted by Billionaire Boys Club Sunday, July 29 1:00 pm The Detroit Yacht Club 1 Riverbank Rd Belie Isle | Detroit Admit One Z. Q £ 8 Q Z City of Detroit CITY CLERK'S OFFICE Your petition No. 140 to the City Council relative to Detroit Black Gay Pride, Inc., for "Detroit’s Hotter Than July. 2002" July 25-28, 20Q_2_at Palmer Park; also Candlelight Spiritual/March, July 25, 2002. was considered by that body and GRANTED in accordance with action adopted_____ 3/20/02 —__ J.C.C. page. Permit Honorable City Gour’iCTT— To your Committee of the Whole was referred petition of Detroit Black Gay JACKIE L. CURRIE Pride, Inc. (#140) for “Detroit’s Hotter City Clerk. Than July! 2002” at Palmer Park. After consultation with the concerned depart ments and careful consideration of the request, your Committee recommends that same be granted in accordance with m the following resolution. Respectfully submitted, SHEILA COCKREL Chairperson By Council Member S. Cockrel: Resolved, That subject to the approval of the Consumer Affairs, Health, Police, Recreation and Transportation Depart ments, permission be and is hereby grant- ced to Detroit Black Gay Pride, Inc. (#140) i6r “Defroify Rotf&r Than July! 2002”, July 25-28, 2002 at Palmer Park; also, Candlelight Spiritual Vigil/March, July 25, 2002, commencing at Woodward, pro ceeding in the area of McNichols and Merrill Plaissance, ending at Palmer Park. -
At Play Fall-Winter 03.Qxd
representing the american theatre by publishing and licensing the works of new and established playwrights JacquesBrelisAliveandWell Polly Pen on Writing Musicals Cowgirls’ Mary Murfitt Issue 9, Fall/Winter 2003 MUSICALS INTERVIEW WITH A BAT BOY Director of Professional Rights Robert Vaughan and Director of Publications Michael Fellmeth met with Bat Boy in the Palm Court of the Plaza Hotel in Manhattan to talk about growing up in a cave in Hope Falls, West Virginia, Bat Boy: The Musical, and his rise to global celebrity as the lead in a hit show about his own life. The pointy- eared, fanged star arrived with an entourage of bodyguards, personal assistants, agent, lawyer and publi- cist. Bat Boy, immaculately clad in Savile Row, seemed only vaguely aware of their presence. He greeted us warmly, sat down, lit a miniature cigar and ordered a bloody mary. continued on next page FELLMETH. Let me begin by saying how taken I EDGAR. Ahhh, Jenna. Jenna the Menace, that lips” motion.) Perhaps we’d best not discuss Dr. am with your voice, Bat Boy. Did you have any was my pet name for her. She was such a terror. Parker. That is a difficult subject for me. formal training? The media had it all wrong, though. It was she FELLMETH. Understandably so. A father who BAT BOY. Please don’t call me Bat Boy. My name who took to following me. After I finally got a abandoned you in infancy to be raised by bats is Edgar. restraining order she went on that binge in Texas and then — as if that weren’t enough — tried to FELLMETH. -
Organizations Endorsing the Equality Act
647 ORGANIZATIONS ENDORSING THE EQUALITY ACT National Organizations 9to5, National Association of Working Women Asian Americans Advancing Justice | AAJC A Better Balance Asian American Federation A. Philip Randolph Institute Asian Pacific American Labor Alliance (APALA) ACRIA Association of Flight Attendants – CWA ADAP Advocacy Association Association of Title IX Administrators - ATIXA Advocates for Youth Association of Welcoming and Affirming Baptists AFGE Athlete Ally AFL-CIO Auburn Seminary African American Ministers In Action Autistic Self Advocacy Network The AIDS Institute Avodah AIDS United BALM Ministries Alan and Leslie Chambers Foundation Bayard Rustin Liberation Initiative American Academy of HIV Medicine Bend the Arc Jewish Action American Academy of Pediatrics Black and Pink American Association for Access, EQuity and Diversity BPFNA ~ Bautistas por la PaZ American Association of Child and Adolescent Psychiatry Brethren Mennonite Council for LGBTQ Interests American Association of University Women (AAUW) Caring Across Generations American Atheists Catholics for Choice American Bar Association Center for American Progress American Civil Liberties Union Center for Black Equity American Conference of Cantors Center for Disability Rights American Counseling Association Center for Inclusivity American Federation of State, County, and Municipal Center for Inquiry Employees (AFSCME) Center for LGBTQ and Gender Studies American Federation of Teachers CenterLink: The Community of LGBT Centers American Heart Association Central Conference -
Large-Print-Mag-Nov-19.Pdf
CHAPTER 11.19 ART Garth Evans But, Hands Have Eyes: Six decades of sculpture Until 26.01.20 ‘But, Hands Have Eyes’ is a solo exhibition featuring six decades of sculpture. Alongside works produced in the UK in the 1960s and 70s, Evans also presents a body of work for their UK premiere, that he has produced in the United States since his move there in 1981. The work of Garth Evans is integral to the history of British sculpture. Experimenting with the potential of scale, weight, medium and form, Evans’ work comprises both a formal and conceptual approach. He is always interested in interrogating established boundaries and, as a result, his sculptures are made from a diverse range of materials including ceramics, steel, leather and fibreglass. Evans states that many of his works, even when most abstract, are “triggers for, and containers of, particular identifiable memories”. Ultimately, Garth Evans’ works are ambiguous, multi-faceted and completely original. Talks at 4 16.11.19 FREE Are you interested in finding out a little bit more about our latest exhibition? Then why not join us for a free and informal guided tour! Our ‘Talks at 4’ are led by our wonderful gallery assistants and are a great way to delve a little deeper into our current exhibition by Garth Evans and his approach to his work. No two talks are the same so come along and be a part of the conversation. Art in the Bar Jon Pountney Waiting For The Light Until 14.02.20 ‘Waiting for the Light’ is a body of photographic works that capture a particular type of light; a harsh, acutely angled low sunlight that gives the scenes in Jon Pountney’s images a somewhat surreal and melancholy feel. -
GALA Choruses Annual Report 2019 Letter from the Board President
GALA Choruses Annual Report 2019 Letter from the Board President 1969 was a pivotal time for queer folk as a bunch of drag queens and others finally had enough, fought back against a bigoted and corrupt police force, and galvanized LGBTQA people. A new louder, impatient generation of activists began to rise up. Recently, 21 GALA choruses celebrated Stonewall with the commission Quiet No More. I was fortunate to hear several sing this amazing work and be reminded of our fight in 1969… a battle to be merely tolerated. Over the past several years, members have asked if GLBTQA choruses are even necessary. After all, we’ve won marriage equality in the United States; we are portrayed positively on TV; many states have job protections; we aren’t just tolerated, we are celebrated! So haven’t we arrived? I say no. Fifty years after the Stonewall Riots, and despite (or perhaps as a result of) our progress, there is ON OUR COVER — a backlash. Hate crimes against all minorities are up. There have been over 20 murders of Trans The Twin Cities member people in America in the past 10 months. On their website, the Straight Pride Coalition claims the choruses join in with “inherent superiority” of whiteness, Christianity, Western civilization, and heterosexuality. Even in enthusiasm as we prepare a the lovely, liberal bubble of my hometown Palm Springs there have been hate crimes with deadly welcome video for Festival 2020. results. We are indeed singing for our lives! We need to continue our activism, but not just for the LGBTQA community. -
One Voice Organizational Profile
Dear Friends, You’ve probably heard Minnesota jokingly referred to as the “land of 10,000 choirs.” In such a crowded market you might ask what the significance is of one more choir? But time and again, One Voice Mixed Chorus continues to prove itself as an indispensable as- set to our community through its relevance, uniqueness and excellence. I came to One Voice a year ago because I was amazed at their combination of mission focus and artistic quality. I have yet to be disappointed. Our mission is to build community and create social change by raising our voices in song. We create a safe space for LGBTQ people to be their authentic selves, encourage the public to do the same, and create world-class music in the process. The intersection between art and social change is such a valuable, yet overlooked part of our collective ex- perience. You know the power that music has to bring us together. Through song, we be- come the change we want to see in the world and radiate a powerful force for good. Bear with me for a short biology lesson: There’s a chemical your body releases, called oxytocin, that literally builds trust and creates bonding with other people. It’s normally released through touch, like hugging, handshakes, or close dancing. But it’s also released through singing. The music that One Voice makes LITERALLY builds a more connected world where we show solidarity with one another. Together, we can bring this mission and this music to more people in more meaning- ful way. -
Jane Russell
The Original Bombshell: A Tribute to Jane Russell By Katie Sirles SPECIAL FOR FILMS FOR TWO© My Path and My Detours Jane Russell with a copy of her memoir (1995) Photo Credit: Schnatmeyer/picture-alliance/dpa/NewsCom Jane Russell began making waves in the film industry the moment she entered it. She signed a seven-year contract with Howard Hughes who immediately wanted to show off his newest gem. He did so in a way that would go down in cinematic history. By showcasing the buxom figure of this 5-foot 7-inch woman, he lit a fire under Hollywood censorship. His first film starring Jane Russell, The Outlaw, was completed in 1941 but did not show to the public until 1943. Howard Hughes had Jane in revealing outfits throughout the film and the Hollywood censors would only okay a limited release in 1943. The film finally had a general release in 1946. Between making The Outlaw and its general release, Russell made a name for herself in Hollywood. Born Ernestine Jane Geraldine Russell in Bemidji, Minnesota, Russell died in Santa Maria, California due to respiratory failure. Russell married three times. Her first husband was Bob Waterfield. The two adopted three children together, but divorced in 1968. Her second husband was Roger Barrett. They met in Chicago, Illinois when they worked together in a stage show called Here Today. They married shortly after meeting in 1968. Barrett died of a heart attack later that year. Russell was quoted as saying “Everybody tells me to 'stay busy.' He was only 47 and strong as an ox.