Steve Mccurry BAMIYAN SCHOOLGIRL Looking Questions: • What Do You See in the Photo? • Describe This Girl’S Facial Expression and Her Pose

Total Page:16

File Type:pdf, Size:1020Kb

Steve Mccurry BAMIYAN SCHOOLGIRL Looking Questions: • What Do You See in the Photo? • Describe This Girl’S Facial Expression and Her Pose Unguarded, Untold, Iconic: Afghanistan Through the Lens of Steve McCurry BAMIYAN SCHOOLGIRL Looking Questions: • What do you see in the photo? • Describe this girl’s facial expression and her pose. • What do you think this girl is thinking? How is she feeling? Explain. • Where is this girl standing? • How does McCurry draw our attention to the girl? • Why do you think McCurry chose to crop the girl so we only see her top half and only a small part of the background? Steve McCurry. Bamiyan Schoolgirl, 2006, Bamiyan, Afghanistan, 24”x20” About the Photograph: In 2006, Steve McCurry visited a girl’s high school in Bamiyan, Afganistan where he photographed this young girl in front of an old distrested chalkboard. She is clutching a bright red notebook and looking at the camera with a somber expression. She is dressed in a white head scarf commonly worn by Hazaran girls at her school. The Hazara are a religious and ethnic minority in Afghanistan known for their progressive views on the education of women. Their Shi’a principles have caused conflict with their Sunni neighbors and led Bamiyan girl’s schools to be targeted by extremists who oppose women’s education. Download a copy of these activities on: Learn with the Michener: www.Learn.MichenerArtMuseum.org Unguarded, Untold, Iconic: Afghanistan Through the Lens of Steve McCurry BAMIYAN SCHOOLGIRL K-12 ACTIVITIES FOR YOUR SCHOOL VISIT AND CLASSROOM Pre-Visit Activities • Find Bamiyan on a map of Afghanistan. • Research the history of the portrait. Think about why an artist might want to paint or photograph a person. • Read I See the Sun in Afghanistan by Dedie King about a day in the life of a young girl from Afghanistan. • Read the picture book Sky of Afghanistan by Ana A de Eulate about a young Afghan girl’s dreams for peace. Gallery Activities • What Are They Thinking?: Gallery Activity. Fill out a thought bubble with what you think this person might be thinking. • Explore Portraits: Gallery Activity. Look at clothing, pose and expression and then imagine if you were going to have your portrait taken by McCurry. • I See, I Think, I Wonder: Gallery Activity. Make observations and interpretations about this work. What questions do you have? • Explore Elements of Art: Gallery Activity. Look at lines, shapes, color and patterns in this photograph. • Photo Scavenger Hunt: Gallery Activity. Find people to photograph in a way that tells a story. • News Reporter: Gallery Activity. Come up with interview questions for the person in this photo. How do you think they would answer? What observations would you make? • Create a personal narrative written from the girl’s point of view. Download a copy of these activities on: Learn with the Michener: www.Learn.MichenerArtMuseum.org Unguarded, Untold, Iconic: Afghanistan Through the Lens of Steve McCurry BAMIYAN SCHOOLGIRL K-12 ACTIVITIES FOR YOUR SCHOOL VISIT AND CLASSROOM Post-Visit Activities • Shooting in Kabul Lesson Plan. Write a book review or create a podcast using Vocaroo to provide a summary and share your thoughts. Be sure to make comparisons between the child in the book and the child in the photograph. • Look at photos of you and your classmates in your school yearbook. What is similar about the backgrounds, poses, expressions and dress? What is different? • Chose a partner to be your photography subject. Experiment by taking their photographs from far away and zoomed in. Try cropping the image in different ways. What ways of cropping make the image look more interesting and what ways make the image look strange? • Research school life and education in Afghanistan. What are students learning? How is school life for them? What kinds of struggles are they facing? • Create a Blabber of a person in one of McCurry’s photos. Using Blabberize, upload a jpeg of the photograph, select the area you would like to use and then select the corners of that person’s mouth. Think about what that person might want to tell us about themselves and use a microphone or cell phone to record the speech. Press play to see the person speak your words. Save and share with your class. National Common Core Standards for ELA: R.2, R.10, W.1, W.2, W.3, W.4, W.5, W.6, W.7, W.8, W.9, SL.1, SL.4, SL.5, L.1, L.2 PA State Standards: AH.9.1, AH.9.2, AH.9.3, AH.9.4, CC.1.1, CC.1.2, CC.1.3, CC.1.4, CC.1.5, G.7.1, H.8.4 Download a copy of these activities on: Learn with the Michener: www.Learn.MichenerArtMuseum.org Unguarded, Untold, Iconic: Afghanistan Through the Lens of Steve McCurry BAMIYAN SCHOOLGIRL SHOOTING IN KABUL LESSON PLAN Grades: 4-8 Unit: Reading Interdisciplinary: Visual Arts/Language Arts/ Social Studies/Technology Objectives: TSW describe and analyze several photographs by Steve McCurry. TSW read, summarize and review Shooting in Kabul. TSW compare and contrast characters in the story with children in McCurry photographs. TSW use ipads/laptops to record a book review podcast. Materials: Bamiyan Girl, Young Afghan Soldier, Afghan Girl, Girl with Green Shawl, Kuchi Girl, Boys in the Boot of a Taxi, Children Work in Opium Field, Students Attend Class and Young Sikh Boys, Shooting in Kabul by N.H. Senzai, ipads or laptops, paper and pencils, www.vocaroo.com Differentiation: Students may work independently or in a group. Students may present their book report in front of the class instead of recording to a podcast. Students may draw a portrait of what they think Fadi or Marian might look like based on their descriptions in the story and compare to McCurry’s photo portraits. National Common Core Standards for ELA: R.2, R.10, W.1, W.2, W.3, W.4, W.5, W.6, W.7, W.9, SL.1, SL.4, SL.5, L.1, L.2 PA State Standards: AH.9.2, AH.9.3, CC.1.1, CC.1.2, CC.1.3, CC.1.4, CC.1.5, G.7.3 Procedure: As a class, look at several of Steve McCurry’s portraits of Aghan children (Bamiyan Girl, Young Afghan Soldier, Girl with Green Shawl, Kuchi Girl and Afghan Girl). Then look at photographs featuring groups of children (Children Work in Opium Field, Boys in the Boot of a Taxi, Students Attend Class and Young Sikh Boys in Classroom). Discuss the background, expressions, poses, clothing of the children in these photographs. Based on what is shown in the photograph and prior knowledge students will discuss what life might be like for these children in Aghanistan. Ask: What kinds of things would a child their age like to do? Do you think that students in the United States have the same interests as these Afghan children? Then, students will independently read Shooting in Kabul by N.H. Senzai. Ask: what are the similarities and differences between the children in the photographs and the story’s main character Fadi or his sister Marian? Students Download a copy of these activities on: Learn with the Michener: www.Learn.MichenerArtMuseum.org Unguarded, Untold, Iconic: Afghanistan Through the Lens of Steve McCurry BAMIYAN SCHOOLGIRL SHOOTING IN KABUL LESSON PLAN CONTINUED... should first write their ideas in their notebook to use as a script for their podcast. The script should include connections to the photographs, a brief summary of the book, and their opinions about the book. Then, students will create a podcast using Vocaroo or other podcast recording software. Finally, the class will present their finished podcasts. Vocabulary • Portrait Assessment/Evaluation • Student presentation of podcasts • Peer or self-critique • Rubric assessing delivery, script and content Download a copy of these activities on: Learn with the Michener: www.Learn.MichenerArtMuseum.org Unguarded, Untold, Iconic: Afghanistan Through the Lens of Steve McCurry AFGHAN WIDOW’S BAKERY Looking Questions: • What do you see in the photograph? • Describe what the women are doing. • How is this bakery similar or different from a bakery in the United States? • Why do you think Steve McCurry, Afghan Widow’s Bakery, 2002, Kabul, McCurry wanted to Afghanistan, 20”x24” document this scene? Explain. • What is the overall mood of this photo? Why? • Imagine you could jump inside this picture. What would you see, smell, feel, hear and taste? About the Photograph: Years of war and conflict have left Afghanistan with one of the largest widow populations in the world. Under the Taliban rule there were strict rules for widowed women regarding whom they are allowed to remarry, what they are allowed to wear and what is appropriate behavior. Many women were illiterate and had little opportunity to work outside the home. In this photograph, McCurry shows several widowed women working in a bakery to earn money to support their families. Bakeries such as this were funded by the United Nations to subsidize bread to more than 150,000 Afghan citizens. These women are most likely baking naan, a popular flatbread-like dish. Download a copy of these activities on: Learn with the Michener: www.Learn.MichenerArtMuseum.org Unguarded, Untold, Iconic: Afghanistan Through the Lens of Steve McCurry AFGHAN WIDOW’S BAKERY K-12 ACTIVITIES FOR YOUR SCHOOL VISIT AND CLASSROOM Pre-Visit Activities • Find Kabul, Afghanistan on a map of the Middle East. • Read about the strict rules enforced during the Taliban regime. • Create a KWL chart about what you know about this photo, want to know and after your visit you can fill in the part about what you learned. • Read the children’s novel The Breadwinner by Deborah Ellis about a young Afghan girl named Parvana who must take extreme measures to help support her family during the Taliban rule.
Recommended publications
  • Steve Mccurry
    Steve McCurry One of Today’s Most Outstanding Photographers Topics Steve McCurry is an American War photojournalist best known for his What he offers you photograph, Afghan Girl that Featured in magazines around the Afghanistan originally appeared in the National globe, Steve McCurry is a master Geographic magazine. photographer who has produced Poverty Throughout his distinguished many of the world’s iconic images, career he has continued to cover having endured countless Religion international conflicts, including situations of grave danger. Driven the Iran-Iraq war, Beirut, by an innate curiosity and sense Happiness Cambodia, the Philippines, the of wonder about the world and Gulf War, and Afghanistan. His everyone in it, he shares vivid and Children and Women work has been featured worldwide thought-provoking insights into his in magazines and he is a frequent uncanny ability to cross USA 11/9 contributor to National boundaries of language and Geographic. He has twice been culture to capture stories of awarded the World Press Photo human experience. Award, which has come to be regarded as the most prestigious How he presents Publications international award for One of today’s finest image photojournalism in the world. makers, Steve McCurry’s high content presentations bring you 2009 Afghan Girl was named as "the closer to this man of exceptional most recognized photograph" in courage who has achieved The Unguarded Moment the history of the National memorable and moving work, 2007 Geographic magazine including a modern Mona Lisa In the Shadow of Mountains In detail (Afghan Girl). 2006 Steve McCurry began studying film Looking East history cinematography and Languages filmmaking at Penn State in 1968, He presents in English.
    [Show full text]
  • Steve Mccurry ’74
    Steve McCurry ’74 Steve McCurry is quite simply one of the finest, most highly regarded photographers in the world. He graduated from the College of Arts and Architecture with a B.A. cum laude in cinematography, whereupon he joined a newspaper. After two years he set out for India to freelance and begin his career in earnest. Spending the majority of his time in Southeast Asia, McCurry supported himself through his freelance work for a number of years. However, it was his photographs of rebel-controlled Afghanistan just before the Russian invasion in the 1980s that brought him to world attention. Disguised in native garb and pretending to be mute, McCurry crossed the Pakistan border into Afghanistan to emerge into safety later with rolls of film sewn into his clothes—film that, because it contained compelling images that were among the first of the conflict, was quickly published worldwide. His coverage won the Robert Capa Gold Medal for Best Photographic Reporting from Abroad—an award dedicated to photographers exhibiting exceptional courage and enterprise. Since then, McCurry has covered many areas of international and civil conflict, including Beirut, Cambodia, the Philippines, the Gulf War, the Iran-Iraq war, and the disintegration of the former Yugoslavia. McCurry’s images of the devastation of the World Trade Center in 2001 are considered standouts in the documentation of that attack. Says McCurry, “Most of my photos are grounded in people. I look for the unguarded moment, the essential soul peeking out, experience etched on a person’s face. I try to convey what it is like to be that person—a person caught in a broader landscape that I guess you’d call the human condition.” Throughout his career he has put himself at risk to record images of every major conflict of the last twenty years: he has been arrested and chained in Pakistan, survived a plane crash in Yugoslavia, was beaten and nearly drowned in India by crowds at a religious festival, and was nearly killed by a Mujahadeen faction.
    [Show full text]
  • Educator Resource Guide Table of Contents
    © JOEL SARTORE EDUCATOR RESOURCE GUIDE TABLE OF CONTENTS THE ANNENBERG SPACE FOR PHOTOGRAPHY 03 HISTORy • EXHIBITs • DeSIGN 04 FeATURES WITHIN THE SPACE THE CURRENT EXHIBIT: THE POWER OF PHOTOGRAPHY: NATIONAL geOGRAPHIC 125 YEARS 05 Age ReCOMMENDATION • OVERVIEW 06 BIOGRAPHIES OF THE FeATURED ARTISTS EDUCATOR ReSOURCE GUIDE 08 PRE-VISIT ACTIVITIES 14 EXHIBITION ACTIVITY 16 POST-VISIT REFLECTIVE QUESTIONS © 2009 JULIUS SHULMAN & JUERGEN NOGAI 18 ADDITIONAL RESOURCES FROM ANNENBERG LEARNER 23 PHOTO CREDITS 02 THE ANNENBERG SPACE FOR PHOTOGRAPHY HISTORY • EXHIBITS • DESIGN HISTORY The Annenberg Space for Photography opened to the public on March 27, 2009. It is the first solely photographic cultural destination in the Los Angeles area. The Photography Space is an initiative of the Annenberg Foundation and its board of directors. Its creation builds upon the Foundation’s long history of supporting visual arts. EXHIBITS The Annenberg Space for Photography does not maintain a permanent collection of photographs; instead, exhibitions change every four to six months. The content of each show varies and appeals to a wide variety of audiences. DESIGN The interior of the Space is influenced by the mechanics of a camera and its lens. The central, circular Digital Gallery is contained within the square building much as a convex lens is contained within a camera. The Digital Gallery’s ceiling features an iris-like design reminiscent of the aperture of a lens. The aperture design also enhances the Gallery’s acoustics. The Print Gallery curves around the Digital Gallery, representing the way film scrolls within a camera. The curvature of the ceiling line in the Print Gallery mimics the design of a film canister.
    [Show full text]
  • SECOND-GENERATION AFGHANS in NEIGHBOURING COUNTRIES from Mohajer to Hamwatan: Afghans Return Home
    From mohajer to hamwatan: Afghans return home Case Study Series SECOND-GENERATION AFGHANS IN NEIGHBOURING COUNTRIES From mohajer to hamwatan: Afghans return home Mamiko Saito Funding for this research was December 2007 provided by the European Commission (EC) and United Nations High Commissioner for Refugees (UNHCR). Afghanistan Research and Evaluation Unit i Second-Generation Afghans in Neighbouring Countries © 2007 Afghanistan Research and Evaluation Unit. 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, recording or otherwise without prior written permission of the publisher, the Afghanistan Research and Evaluation Unit. Permission can be obtained by emailing [email protected] or calling +93 799 608 548. ii Afghanistan Research and Evaluation Unit From mohajer to hamwatan: Afghans return home About the Author Mamiko Saito is the senior research officer on migration at AREU. She has been work- ing in Afghanistan and Pakistan since 2003, and has worked with Afghan refugees in Quetta and Peshawar. She holds a master’s degree in education and development studies from the University of East Anglia, United Kingdom. About the Afghanistan Research and Evaluation Unit The Afghanistan Research and Evaluation Unit (AREU) is an independent research organisation headquartered in Kabul. AREU’s mission is to conduct high-quality research that informs and influences policy and practice. AREU also actively pro- motes a culture of research and learning by strengthening analytical capacity in Afghanistan and facilitating reflection and debate. Fundamental to AREU’s vision is that its work should improve Afghan lives.
    [Show full text]
  • Forbidden Faces: Effects of Taliban Rule
    Forbidden Faces: Effects of Taliban Rule on Women in Afghanistan Overview In this lesson, students will explore the rise of Taliban power in Afghanistan and the impacts of Taliban rule upon Afghan women. Grade 9 North Carolina Essential Standards for World History • WH.8.3 ‐ Explain how liberal democracy, private enterprise and human rights movements have reshaped political, economic and social life in Africa, Asia, Latin America, Europe, the Soviet Union and the United States (e.g., U.N. Declaration of Human Rights, end of Cold War, apartheid, perestroika, glasnost, etc.). • WH.8.4‐ Explain why terrorist groups and movements have proliferated and the extent of their impact on politics and society in various countries (e.g., Basque, PLO, IRA, Tamil Tigers, Al Qaeda, Hamas, Hezbollah, Palestinian Islamic Jihad, etc.). Essential Questions • What is the relationship between Islam and the Taliban? • How does the Taliban try to control Afghan women? • How has the experience of Afghan women changed with the Taliban’s emergence? • What was the United States’ role in the Taliban coming to power? • How is clothing used as a means of oppression in Afghanistan? Materials • Overhead or digital projector • Post Its (four per student) • Value statements written on poster or chart paper: 1. I am concerned about being attacked by terrorists. 2. America has supported the Taliban coming into power. 3. All Muslims (people practicing Islam) support the Taliban. 4. I know someone currently deployed in Iraq or Afghanistan. • Opinion scale for each value statement
    [Show full text]
  • Aestheticization of Asia in Documentary Photographs
    THE ART OF DOCUMENTARY PHOTOGRAPHY: Aestheticization of Asia in Documentary Photographs Silvia Genovese MASTER DISSERTATION Submitted for the degree of Master in Asian Studies Specialization in South Asian Studies Leiden University, Leiden, The Netherlands, 2017. Supervisor: Sanjukta Sunderason i ABSTRACT The purpose of this research is to show how Asian countries appear to be aestheticized in documentary photographs, often considered as reliable evidence of reality, and to understand to what extent this is influencing the knowledge “Western” countries have on Asia. Starting from the analysis of current theories on photography and art, I will see how they can be applied to documentary photography, regarded as a practice that only aims at informing the public. Then, tracing back to colonial photography, I will show how documentary photography appears to present an aesthetic of its own, which has had a fundamental role in the structuring and circulation of fantasies, sentiments and ideas between “Western” countries and Asia. Besides, I will determine to what extent this aestheticization of Asian countries has been fostered by contemporary magazines, such as National Geographic. Finally, through the analysis of some of the most iconic images by the documentary photographer Steve McCurry, I wish to show how in the name of artistry, the documentary practice is failing in providing the viewer with visual documents. ii To Americo and Enza iii ACKNOWLEDGEMENTS First, I would like to thank my supervisor Sanjukta Sunderason for giving me the opportunity to combine photography and Asia, two things I am interested in personally. Thank you for your support through fruitful and inspiring discussions that helped me in exploring new avenues.
    [Show full text]
  • For Immediate Release Famed Photographer Steve Mccurry Brings Iconic Photos to Sundaram Tagore Singapore
    FOR IMMEDIATE RELEASE FAMED PHOTOGRAPHER STEVE MCCURRY BRINGS ICONIC PHOTOS TO SUNDARAM TAGORE SINGAPORE EXHIBITION TITLE: Steve McCurry: The Iconic Photographs EXHIBITION DATES: January 16 to February 21, 2016 PRESS PREVIEW: Friday, January 15, 5 to 6 pm VIP PRIVATE PREVIEW WITH THE ARTIST: Friday, January 15, 6 to 9 pm VERNISSAGE DURING ART AFTER DARK: Friday, January 22, 6 to 9 pm VENUE: Gillman Barracks CONTACT US: +65 6694 3378 / [email protected] A young monk runs along the wall over his peers at the Shaolin Monastery in Henan Province, China, 2004, ultrachrome print, 40 x 60 inches/101.6 x 152.4 cm; © Steve McCurry Singapore, December 1, 2015–Sundaram Tagore Singapore is pleased to announce an exhibition of iconic images by world-renowned photographer Steve McCurry. Best known for his evocative color images, the American photographer specially selected fifty-three photographs for this exhibition, including images from Afghanistan, Burma, China, Thailand, Pakistan, Turkey, Tibet and Sri Lanka, as well as a large body of work from India. The images, many of which have become modern icons, span more than thirty years his career. Steve McCurry was born in 1950 in a suburb of Philadelphia, Pennsylvania. He studied film at Pennsylvania State University and after graduating cum laude he worked as a photojournalist for a local newspaper. Upon visiting India in 1978, the first of countless visits, McCurry embarked on what were to become the formative years of his astonishing career. As the Soviet-Afghan war commenced and Western journalists were prohibited from entering Afghanistan, McCurry crossed the border from Pakistan.
    [Show full text]
  • 1 Reema Saad Dr. Tamara Beauchamp Humanities Core 1C 10 June 2018 the Afghan Girl's Role in Creating a Pathway for White
    Reema Saad Dr. Tamara Beauchamp Humanities Core 1C 10 June 2018 The Afghan Girl’s Role in Creating a Pathway for White Feminism and American Intervention in Afghanistan Her gaze persists in the minds of Americans to this day. Wide, bright green eyes captivate viewers just enough to almost make them forget the red headscarf draped around her dark brown hair and tanned skin. She’s propped up against a green background, making it unclear that she’s currently being interrupted from a normal school day to be photographed by a strange American man. The United States first met Sharbat Gula, more widely known as the “Afghan Girl,” in 1985, when her portrait was printed on the cover of the June issue of National Geographic. The photographer who took the photo, Steve McCurry, did not even ask her name when he met the Afghan Girl; it wasn’t until January of 2002 that McCurry met Gula again to learn her full story—and her real name. McCurry’s first encounter with Gula was in December 1984 in the Nasir Bagh refugee camp in Pakistan. She arrived at this refugee camp when she was just a child, escaping the Soviet occupation of Afghanistan at the time. A few years later, when she was only twelve years old, Gula became the face of “oppression” in the Middle East, despite a lack of name and story to go with the face. The Afghan Girl’s image became the symbol adopted by Western feminist groups and various presidential administrations as justification for their intervention in Afghanistan, both on the grounds of human rights advocacy and military domination of the region, respectively; the justification for intervention depends on Orientalist thinking that categorizes certain groups as victims based on their physical appearance and asserts 1 that they must be in need of saving because they cannot help themselves to ameliorate their own circumstances.
    [Show full text]
  • Aiza Khan Professor Reza Pirbhai ACKNOWLEDGEMENTS
    Georgetown University Beyond Activity and Passivity The Oral Life History of an Afghan Refugee Woman in Pakistan Aiza Khan Professor Reza Pirbhai ACKNOWLEDGEMENTS Writing a thesis is harder than I expected and more rewarding than I could have imagined. I would like to acknowledge all the people whose assistance was a milestone in the completion of this project. I have to start by thanking my mentor, Professor Reza Pirbhai, without whom this project would not have been possible. During my first class at GU-Q, Professor Pirbhai and I discussed individual agency and determinism; I was adamant that people had agency and he tried to explain to me that it was more complicated than that. Over the past four years and particularly in his mentorship of this project, he has made me a more sophisticated thinker and better able to understand the nuances of the subject. I am tremendously grateful to Dr. Sophie Richter-Devroe, whose work introduced me to the value of oral history and inspired this thesis. Your guidance and advice has been instrumental in the completion of this project. To Amma, Halima and Pharhan Mamu, for their endless support from thousands of miles away. I truly have no idea where I’d be if it weren’t for your faith in me. To all those who have been a part of getting me there: Danish, Fatima, Haider, Fatema and Ayesha. Thank you for supporting me throughout the entire process. I will be grateful forever for your love. Lastly, I am grateful to all the women who shared their remarkable stories of strength and resilience with me, especially the woman whose life this thesis narrates.
    [Show full text]
  • Is Essential to Gendered and Raced Bodies in Networked Knowledge Communities Anita August Sacred Heart University, [email protected]
    Sacred Heart University DigitalCommons@SHU English Faculty Publications English Department 2018 The Other Stares Back: Why “Visual Rupture” Is Essential to Gendered and Raced Bodies in Networked Knowledge Communities Anita August Sacred Heart University, [email protected] Follow this and additional works at: http://digitalcommons.sacredheart.edu/eng_fac Part of the Gender and Sexuality Commons, Higher Education Commons, Instructional Media Design Commons, Language and Literacy Education Commons, and the Race and Ethnicity Commons Recommended Citation August, Anita. "The Other Stares Back: Why “Visual Rupture” Is Essential to Gendered and Raced Bodies in Networked Knowledge Communities." Visual Imagery, Metadata, and Multimodal Literacies Across the Curriculum. Ed. Anita August. IGI Global, 2018. 51-61. This Book Chapter is brought to you for free and open access by the English Department at DigitalCommons@SHU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of DigitalCommons@SHU. For more information, please contact [email protected]. Visual Imagery, Metadata, and Multimodal Literacies Across the Curriculum Anita August Sacred Heart University, USA A volume in the Advances in Educational Technologies and Instructional Design (AETID) Book Series Published in the United States of America by IGI Global Information Science Reference (an imprint of IGI Global) 701 E. Chocolate Avenue Hershey PA, USA 17033 Tel: 717-533-8845 Fax: 717-533-8661 E-mail: [email protected] Web site: http://www.igi-global.com Copyright © 2018 by IGI Global. All rights reserved. No part of this publication may be reproduced, stored or distributed in any form or by any means, electronic or mechanical, including photocopying, without written permission from the publisher.
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the Soviet-Afghan
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Soviet-Afghan War: Female Perspective and Participation A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in History By Elva Madrigal August 2012 The thesis of Elva Madrigal is approved: Professor Donal O’Sullivan, Ph.D. Date Professor Jeffrey Auerbach, Ph.D. Date Professor Miriam Neirick, Ph.D., Chair Date California State University, Northridge ii DEDICATION For my dad, Emilio Garcia, thank you for instilling in me the value of education and for all the sacrifices you made for the family to have the opportunities that you could never have. ¡Gracías ‘apá! And my husband, Dennis Madrigal, for your never-ending support in this recent endeavor towards my higher education. Thank you for always having faith in me. iii TABLE OF CONTENTS Signature Page ii Dedication iii Abstract v Section 1: Introduction 1 Section 2: Foreign Journalists of the War 6 Section 3: Afghan Women and the Mujahideen 11 Urban Women and Their Opposition to the USSR 17 Section 4: Afghan Women Supporting the USSR 22 “The Great Uncle” – Pro-Soviet Propaganda 22 School Reform 26 Section 5: Afghan Women of the Refugee Camps 31 Section 6: Russian Women of the War 38 The Soviet Intent Challenged 39 The Situation in Afghanistan Exposed and the Implications 41 Russian Women among Afghans 44 Homecoming 47 Conclusion 53 Bibliography 59 iv ABSTRACT The Soviet-Afghan War: Female Perspective and Participation By Elva Madrigal Master of Arts in History The women of the Soviet-Afghan war of the 1980s have long been overshadowed by a predominant male discourse found in war reporting and historical studies.
    [Show full text]
  • A Life Revealed, a Life Revised?:From Afghan Girl
    Life Revealed 1 Running Head: A LIFE REVEALED/ A LIFE REVISED A Life Revealed/ A Life Revised: From Afghan Girl to Commodified Subject Sachi Sekimoto and Elizabeth Simas California State University, Northridge Paper presented at the National Communication Association Annual Convention Chicago, IL November 13, 2004 Life Revealed 2 We live in a world where images, and the way we view them, dominate our lives and perception of reality. While taking a picture is an act of framing and fragmenting reality, the images transform and re-essentialize reality. In the 1985 National Geographic article on the civil war in Afghanistan, the impact of the article came not from the text itself, but rather from the picture that appeared on the cover. The young Afghan woman shown on the front of the magazine came to represent the women of the third world as well as the political, economic, and cultural situation in Afghanistan. She was “framed,” “captured,” and “represented” as a commodified object through the subjectivity of the West; by doing so the identity of the West itself, and our understanding of war-torn Afghanistan, was framed, reinforced, and essentialized. In this image-dominated society, it is important for us to analyze these iconic representations through the lenses of postcolonial feminism and postmodernism in order to deconstruct how they affect our perception of reality and the negotiation of power and identity. The politics of representation must be unpacked through the critical questioning of the location of power and dominance in visual images. This paper will address the issues of representation and commodification in the image of Sharbat Gula from a postcolonial feminist and postmodern perspective.
    [Show full text]