...legal maneuvers and shared passionate advocacy, not only sought to seek liability for these crimes but also became the framework for broader political and ideological struggles. Additionally, the Boston Massacre left a permanent mark on the memory of the American people, serving as a key piece of resistance against British oppression. Throughout the decades following the event, the massacre would be memorialized through different memorials, including speeches, paintings, exhibits, and statues. These would not only represent and memorialize those who lost their lives during the massacre, but also represent the struggle for the revolutionary cause, further cementing the massacre’s place in America’s fight for independence. By exploring the narratives surrounding law and the memory surrounding the Boston Massacre, this paper aims to shed light on the process of justice, politics, and remembrance in early...
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...Africa through Theatre This paper sets out to explore how processes of theatre making employed by The Mothertongue project, provide spaces for women to remap their personal narratives. Mothertongue works from the premise that the development and subsequent performance of stories in theatrical processes affords women the opportunity to re-write and remap their personal narratives and in so doing insert their voices into the landscape of South African Theatre. In an attempt to redress the gender imbalances and androcentricism prevalent in post-apartheid theatre, this paper speaks to the relationship between theatre, liminality and communitas. I am interested in unpacking how collaborative processes of theatre-making provide spaces for women to remap their personal narratives. Remapping in this instance refers to processes of transforming lived experience through story. I address how, through engaging in ritual activities that are central to the stories performed, actors, audiences and the owners of the source stories are invited to physically participate in remapping and transforming lived experience. Linked to this is the choice of form(s) and how this affects or impacts on the performed stories as well as on the construction of performed rituals and ultimately on the processes of remapping personal narratives. I focus specifically on Mothertongue’s 2004 production, Uhambo: pieces of a dream. The production was an integration of theatre and visual art in the form of performances...
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...Last name 1 First name Last name Instructor's Name Course Number 15 February 2016 SECTION 1 Describe the economic, social and political importance of water in the historical narrative from 1500 through the 1790's. Introduction The use of water in the history of the United States impacted the everyday life of the various inhabitants presents during the vast period from early 16 century to the 1790's. Before the colonist and settlers ever migrated to this region, the natives who were the Indians were able to grow a few crops and conduct regular fishing as part of their diet. Upon the arrival of the white people, they were able to trade with them in exchange for their products like kitchenware and clothes. They were able to live sustainably because they understood the climate and the weather pattern having lived here for longer. Without their help, the immigrants would found the land very tough to inhabit and possibly they might have turn back away discouraged. Water is essential in every part of the human life, for example, cooking, cleaning, growth of crops and animal rearing. As it shapes individual livelihood, so does it shape families and communities. The white people who had experienced civilization centuries earlier were able to expel forcefully the natives and begin massively controlling the land all the way from the coast to the inland. The presence of good harbors and ports contributed to the influx of foreigners while the good productive land and adequate rainfall provided...
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...Christmas Christmas | A depiction of the Nativity with a Christmas tree backdrop. | Also called | Noel Nativity Yule Xmas | Observed by | Christians Many non-Christians[1] | Type | Christian, cultural | Significance | Traditional birthday of Jesus | Date | December 25 (alternatively, January 6, 7 or 19) | Observances | Church services, gift giving, family and other social gatherings, symbolic decorating | Related to | Christmastide, Christmas Eve, Advent, Annunciation, Epiphany, Baptism of the Lord, Yule | Christmas is an annual commemoration of the birth of Jesus Christ, celebrated generally on December 25 as a religious and cultural holiday by billions of people around the world. A feast central to the Christian liturgical year, it closes the Advent season and initiates the twelve days of Christmastide. Christmas is a civil holiday in many of the world's nations, is celebrated by an increasing number of non-Christians, and is an integral part of the Christmas and holiday season. The precise date of Jesus' birth, which some historians place between 7 and 2 BC, is unknown. By the early-to-mid 4th century, the Western Christian Church had placed Christmas on December 25, a date later adopted in the East. The date of Christmas may have initially been chosen to correspond with the day exactly nine months after early Christians believed Jesus to have been conceived, as well as the date of the southern solstice (i.e., the Roman winter solstice), with a...
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...The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows. Jack Post Abstract Although Douglas Sirk’ All That Heaven Allows (1954) and Todd Haynes’ Far from Heaven (2002) are both characterized as melodramas, they address their spectators differently. The divergent (emotional) reactions towards both films are the effect of different rhetorical strategies: the first can be seen a typical example of baroque discourse and the latter as a specimen of mannerist discourse. The reference to the terms melodrama, mannerism and baroque does not imply that these films are just formal repetitions of historical periods or that they thematically and structurally refer to historical styles, but that they are characterized by opposing discursive strategies which came to the foreground in a specific historical time and constellation. Because these discursive strategies return in other historical periods and socialpolitical circumstances in different guises and with different aims, they can be compared to what Aby Warburg calls Pathosformeln (pathos formula). The expressive forms, gestures and discursive modes of melodrama, baroque and mannerism can thus be understood as transhistorical (gestural) languages of pathos that recur in history. Résumé Bien que All that heaven allows (1954) par Douglas Sirk et Far from heaven (2002) par Todd Haynes se caractérisent nettement comme un mélodrame, les deux films adressent...
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...Reserve Fund Mesopotamia Luca Pacioli Provident Fund Depreciati Income & Expenditure Credit TM AccountAble Handbook Budget & Balance Report vFkZ'kkL= Corpus Voucher NGO Fixed Assets Register Grants Accounting Standards Narration Receipts and Revenue Stamps Benedetto Cotrugli Ledgers Regulation Cash Box Revolving Funds Accounting Multiple Cash Books Trial Balance Auditors Computerized Accounts Deficit Endowments Investments Journal Honorarium Form IIIA Bank Reconciliation Account Payee, Not Negotiable ction 10(23C)(iv) Blank Cheque Tax Exemption vkpk;Z dkSfVY; Key Persons ACCOUNTABILITY Contribution in Kind INCOME Transparency Public Disclosure Auditors’ Certificate Debit Stock Register Receipts & Payments Societies Registration Act, 1860 Public Trust TM AccountAid India Section 25 Non-profit Company Section 80G New Delhi Donation Ear-marked Funds Salary Register izfrxzkgdSÜpk;a Gratuity Conflict of Interest About this book (front inside cover) The AccountAble Handbook is a compilation of the individual issues of ‘AccountAble’, released by AccountAid India since 1994. These issues have been designed and circulated on a monthly basis primarily for the partners of our client Agencies. ‘AccountAble’ is circulated to about 1,200 persons, including Chartered Accountants. It is also available through e-mail, on a complimentary basis. The present compilation brings all issues of AccountAble...
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...Between Hawthorne's earlier and his later productions there is no solution of literary continuity, but only increased growth and grasp. Rappaccini's Daughter, Young Goodman Brown, Peter Goldthwaite's Treasure, and The Artist of the Beautiful, on the one side, are the promise which is fulfilled in The Scarlet Letter and the House of The Seven Gables, on the other; though we should hardly have understood the promise had not the fulfillment explained it. The shorter pieces have a lyrical quality, but the longer romances express more than a mere combination of lyrics; they have a rich, multifarious life of their own. The material is so wrought as to become incidental to something loftier and greater, for which our previous analysis of the contents of the egg had not prepared us. The Scarlet Letter was the first, and the tendency of criticism is to pronounce it the most impressive, also, of these ampler productions. It has the charm of unconsciousness; the author did not realize while he worked, that this "most prolix among tales" was alive with the miraculous vitality of genius. It combines the strength and substance of an oak with the subtle organization of a rose, and is great, not of malice aforethought, but inevitably. It goes to the root of the matter, and reaches some unconventional conclusions, which, however, would scarce be apprehended by one reader in twenty. For the external or literal significance of the story, though in strict correspondence with the spirit, conceals...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...Riordan Business Systems Christina Cruel, Steven Keller, Mick Robey, James Simkins BSA/310 November 4, 2013 Paula Billups Table of Contents Abstract……………………………………………………………………………………………3 Company Background…………………………………………………………………………….4 Business Systems Overview...…………………………………………………………………….4 Riordan Business Systems……………………………………..………………………………….5 Accounting and Finance……………………………………………………………….….5 Sales and Marketing…………………………………………………………….…………8 HR……..………………………………………………………………………….……….9 Legal……………………………………………………………………………………..11 Operations………………………………………………………………………………..12 IT Security……………………………………………………………………………………….13 Conclusion……………………………………………………………………………………….14 References………………………………………………………………………………………..15 Appendices: Service Requests…………………………………………………………………...16 Appendix A: Accounting and Finance...…………………………………………………16 Appendix B: Sales and Marketing……………………………………………………….17 Appendix C: Human Resources - HRIS…………………………………………………18 Appendix D: Human Resources – CM...……………………………………...…………19 Appendix E: Operations – CAD...……………………………………………………….20 Appendix F: Operation – ERP…..……………………………………………………….21 Appendix G: Operations - Legal…...…………………………………………………….22 Appendix H: IT Security…………...…………………………………………………….23 Abstract This is a formal response to Service Request, SR-rm-012 Business Systems, which requests analysis and recommendation of Riordan Manufacturing’s current business systems. This paper evaluates the electronic...
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...Comics as Archives: MetaMetaMaus Hillary Chute | University of Chicago Abstract: In the view of some critics, the form of comics is a locus of the archival, a place where we can identify an archival turn. Art Spiegelman’s Maus first and perhaps most forcefully established the connection between archives and comics. His groundbreaking work documenting his father’s experience in WWII Poland, where he survived internment in Auschwitz, is a visual narrative based on oral testimony that consistently heightens our awareness of visual, written, and oral archives, and where they interact, overlap, or get transposed one into the other. Hillary Chute recounts and interprets her collaboration with Spiegelman in the process of assembling MetaMaus, a book compiling interviews and archival materials on the making of Maus. MetaMaus, argues Chute, reflects the tension between different kinds of extant archives—oral, written, photographic—and the cross-discursive work of (re)building new archives that motivates Maus. Its defining feature is that it shows the materiality of Spiegelman’s archive; it is about the embodiment of archives. The subject of Maus is the retrieval of memory and ultimately, the creation of memory…. It’s about choices being made, of finding what one can tell, and what one can reveal, and what one can reveal beyond what one knows one is revealing. Those are the things that give real tensile strength to the work—putting the dead into little boxes. – Art Spiegelman (MetaMaus...
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...Reading Between the Lines: An analysis of Mary Shelley’s Frankenstein, or, the Modern Prometheus, using Horace Walpole’s The Castle of Otranto as an example of male discourse about women Louise Othello Knudsen English Almen, 10th semester Master’s Thesis 31-07-2012 Tabel of Contents Abstract ................................................................................................................................................ 3 Introduction .......................................................................................................................................... 5 Historical Context .............................................................................................................................. 10 The View on Women and Their Expected Roles in the late 18th and 19th Century ....................... 11 - Mary Shelley disowns herself .................................................................................................. 11 - Mary Shelley’s Background .................................................................................................... 12 Women’s Role in Frankenstein ..................................................................................................... 13 Men’s Role in Frankenstein ........................................................................................................... 13 - Women in Society and Women as Writers .........................................................
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...BECOMING ZIMBABWE TEACHING HISTORY IN CONTEXT IN ZIMBABWE Miles Tendi Published by the Institute for Justice and Reconcilation Wynberg Mews, Ground Floor, House Vincent, 10 Brodie Road, Wynberg 7800, South Africa www.ijr.org.za © 2009 Institute for Justice and Reconciliation First Published 2009 All rights reserved. ISBN 978-1-920219-18-5 Produced by Compress.dsl www.compressdsl.com CONTENTS EXECUTIVE SUMMARY 1 CHAPTER 1: Using history 5 The uses of liberation history in Zimbabwean politics • Historical context • ZANU PF’s ‘Patriotic History’ • Patriotic History’s detractors • What is Patriotic History? • The opposition’s use of history 5 5 6 6 8 CHAPTER 2: History in secondary and higher education 11 History curriculum development in Zimbabwe’s secondary schools and higher education institutions, and the implications for reconciliation, national healing and transitional justice • The growth in education since independence • History in secondary schools • History in higher education • A review of the NASS syllabus 11 11 14 17 CHAPTER 3: Teaching history 23 Challenges of teaching history in Zimbabwe, points of contention and consensus, and future prospects • Repression in tertiary institutions • Decline in secondary schools • National youth training service centres • Reasons for optimism 23 25 25 26 CHAPTER 4: Supporting history teaching 29 Supporting secondary and higher educators, and proposals towards learning sessions, modules and activities for history...
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...Edward to practice the highest measure of respect towards their same protestant beliefs and practices they saw fit. Though they loved him, the strict enforced manner that dwindled overtime led to major idiosyncrasies observed in Edward’s life, captivating not only his personal actions, but also the work he presented within the art world as well. The misunderstood and twisted role Edward’s art plays amongst society, has moved far beyond June 10th, 1994, seen as the day of his passing. This appears to be just one reason he has infatuated so many individuals to study his performance today. Analyzing how his earlier life affected his art work later in life with greater depth, the passage below will dive into the make up of the man behind the controversial artwork, and the answer exactly what it is that made his instillations so shocking even today. A boisterous and intelligent child Walter Hopps gave claim to the early life biological information stated below, where Lawrence and Ella are viewed to instill an unusual amount of self advocation in the roots of Edwards earlier years (24-27). This then, had a positive for the great amount of skills within is handyman capabilities, but negative strides in his rebellious acts inside his characteristics. A working-class family, the Kienholz raised their children on a wheat farm in extreme labor conditions, wanting to ensure a standard of work ethic be...
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...Steve Jobs' successor is making his mark and trying to keep the Apple magic going. Apple CEO Tim CookFORTUNE -- In February of this year, a group of investors visited Apple as part of a "bus tour" led by a research analyst for Citibank. The session started with a 45-minute presentation by Peter Oppenheimer, Apple's chief financial officer, and the 15 or so investors who attended the session were treated to Apple's unique brand of hospitality: They met in a threadbare conference room in Apple's Town Hall public conference center at the 4 Infinite Loop building in Cupertino, Calif., where the refreshments consisted of "three stale cookies and two Diet Cokes," in the words of one participant. All that, save the meager refreshments, is routine for big public companies in Silicon Valley, which use the check-ins as opportunities to communicate with large owners of their stock. What shocked the Apple (AAPL) investors that day was that CEO Tim Cook popped into the room about 20 minutes into Oppenheimer's talk, quietly sat down in the back of the room, and did something unusual for a CEO of Apple: He listened. He didn't check his e-mail once. He didn't interrupt. After the CFO finished, Cook, at that point chief executive of Apple for all of five months, stood to offer his remarks. He strode confidently to the front of the room and held court in the no-nonsense style that has become his trademark. "He was in complete control and knew exactly who he was and where he wanted to go," says...
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...London, 1816–1817 date of first publication · January 1, 1818 publisher · Lackington, Hughes, Harding, Mavor, & Jones narrator · The primary narrator is Robert Walton, who, in his letters, quotes Victor Frankenstein’s first-person narrative at length; Victor, in turn, quotes the monster’s first-person narrative; in addition, the lesser characters Elizabeth Lavenza and Alphonse Frankenstein narrate parts of the story through their letters to Victor. climax · The murder of Elizabeth Lavenza on the night of her wedding to Victor Frankenstein in Chapter 23 protagonist · Victor Frankenstein antagonist · Frankenstein’s monster setting (time) · Eighteenth century setting (place) · Geneva; the Swiss Alps; Ingolstadt; England and Scotland; the northern ice point of view · The point of view shifts with the narration, from Robert Walton to Victor Frankenstein to Frankenstein’s monster, then back to Walton, with a few digressions in the form of letters from Elizabeth Lavenza and Alphonse Frankenstein. falling action · After the murder of Elizabeth Lavenza, when Victor Frankenstein chases the monster to the northern ice, is rescued by Robert Walton, narrates his story, and dies tense · Past foreshadowing · Ubiquitous—throughout his narrative, Victor uses words such as “fate” and “omen” to hint at the tragedy that has befallen him; additionally, he occasionally pauses in his recounting to collect himself in the face of frightening memories. tone · Gothic, Romantic, emotional...
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