...around six million Jews during World War 2. There was extermination by the German Nazi’s who followed their leader Adolf Hitler. On September 1, 1939 was the turning point the people because the most horrifying event was yet to happen. On this day Hitler began his reign and terror with his Autocratic leadership over the people of Germany. Adolf Hitler was on a mission to make the Nazi party the strongest power and have all people follow his reign. Hitler thought the Aryan race was the most intelligent and perfect race and sought out to exterminate all who were not. Hitler believed that the superiority of the Aryan race was being in danger of the Jewish race. Hitler also thought that the Jewish race, who was a small part of the population, were slowly taking over the country. While Germany was starting to take a turn for the worst Jewish owned companies started to take big hits as they were collapsing under financial pressure and declining profits. As part of Germany’s Reign Jewish owners were forced to sell out there companies to the Nazi-German government because of Aryanization policy put in place by the Nazi Government. Aryanization kept the non-Aryans from owning businesses and also made sure that all Jewish property to be owned by the Nazi’s. As all this began taking places Jewish people were losing everything being forced into poverty. Hitler wanted to...
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...is beautiful as being oblivious to the Holocaust’s reality, therefore making it inappropriate. However, A filmmaker is not a historian, and is not responsible for Depicting the holocaust as accurate as possible, the film does in fact present the dichotomy of life before and after the holocaust, without leaving out the fact that thousands of people were murdered and battered in the duration of the holocaust. it is the honest presentation of human relations, the main focus between the love of a father and son and the artistic form presented in the film that make the film appropriate. It’s appropriate because filmamkers who portray the holocaust are not obligated to depict the horrors of the events. Holocaust filmmakers are not necessaraly historians who seek to portray historic events as they actually happen. It IS appropriate because the film presents, the dicotamy of Life before the holocaust and after. It is apporpiate becausebinigni was never oblivious to the holocaust in his film, because there are scenes that actually show the raw heartlessness of the holocaust. “Life is Beautiful” is a movie about the holocaust famous for the perspective the director chose to portray it. The movie isn’t about the brutality and deaths that other films are notorious for displaying, but about the story of a father, who works so hard to keep the truth from his only child. “Life is...
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...Media, Medicine and American Expectations What constitutes the media? Changed over time? What constitutes medicine? Health or health culture as alternate name to describe what course encompasses? Bert Hanson – medical breakthrough = social phenomenon * How has promise of medical breakthroughs influenced: media culture and patients expectations relationship between medicine and media place of medicine in American political culture How and why does the medical community use media to communicate with public? Increasingly interdependent spheres w/ differing perspectives on vision of media’s role is in “media-ted” world What makes health “news”? Producing Medical Heroes How and why has American society selected its medical heroes? How has this changed over time? What functions do depictions of heroic doctors (Walter Reed, and House, M.D.) and patients serve? How have fictional medical characters – in novels, Hollywood films, on TV – shaped expectations of medical culture? VD, HIV, and the Media How did the media contribute to the publics perception of venereal diseases and HIV? What images (both visual, and stories told to make a point) came most powerfully to cultural prominence? What were the aims of medical and public health authorities, the state, and media professionals in working to make those images publically visible? What role did the media play in changing public’s image of HIV? Stigmatization, Destigmatization, and Medical...
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...GLOBALIZATION BACKLASH AND THE RISE OF ANTI-HEGEMONIC PARTY STATES Diego Olstein Hebrew University of Jerusalem Contents Introduction: Globalization and Anti-Hegemonic Party State………………………………..5 Part I: Principle Chapter 1: Defining Anti-Hegemonic Party State………………………………………………….18 Chapter 2: Anti-Hegemonic Party State and Domestic Features of Political Regimes…………………………………………………………………………………………… 44 Chapter 3: Anti-Hegemonic Party State and Exogenous Perspective on Political Regimes……………………………………………………………………………………………75 Part II: History Chapter 4: The Global Rise of Anti-Hegemonic Party States and Globalization Backlash 1917-1945...…………………………………………………………….91 Chapter 5: The Big Leap of Anti-Hegemonic Party States: The Second Wave 1946-1975…………………………………………………………………………………………………………………111 Chapter 6: Globalization Anew and the Marginalization of Anti-Hegemonic Party States 1976-2010………………………………………………………142 Conclusions Introduction: Globalization and Anti-Hegemonic Party State In 1997 the European Commission defined Globalization “as the process by which markets and production in different countries are becoming increasingly interdependent due to the dynamics of trade in goods and services and flows of capital and technology. It is not a new phenomenon but the continuation...
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...Anthropology Lecture 1 introduction Common Misconceptions with Drugs . The effect of a drug is caused solely by its pharmacological properties and effects. . Some drugs are instantly addictive . The gateway/ stepping stone theory - the use of 1 drug leads to the use of other more dangerous drugs What are drugs ? Krivanek's definition : Drugs are substances that are introduced into the body knowingly but not as food. Therefore illicit drugs, legal recreational drugs and legal but regulated pharmaceutical drugs that aren't recreational at all. - Whether if a drug is considered bad and is prohibited depends on the culture of the society in a particular period. What is culture ? The definition of culture = Through Roger keesing and Andrew Strathern's definition it is a system of shared ideas, rules and meanings that underlie and are expressed in the ways that human live. - This includes : law, beliefs, political economy, media and popular culture - this perceives ideas about what is normal and abnormal to society. " Culture is always changing and contested, not unified" Enthography as a method for studying drug use It is a process of observing, recoding and describing other peoples way of life through intimate participation the community being studied". - Participation observation, involving yourself in the life of the community , taking up the life of the other person, observing their actions, asking questions and learning what questions...
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...Area of Study: Belonging * ‘As You Like It’ written by William Shakespeare * ‘Towelhead’ directed by Alan Ball in * ‘The Surfer’ written by Judith Wright | As You Like It | Towelhead | The Surfer | Language Form and Structure | * ‘As You Like It’ is a stage play in the form of a comedy * It also qualifies as a pastoral romance * Shakespeare wrote the lines of the play in both verse and prose | * ‘Towelhead’ is a film | * Poem * 3 stanzas * Free verse | Personal, cultural, historical and social context | * Written during the reign of Elizabeth I and ironically, both Rosalind and Celia would have been played by men * Appealing nature to both lower and higher classes * Used as a model of social critique | * Set in Houston, Texas during the 1990s * Occurred during the Gulf War * Follows the sexual awakening of Jasira (an American-Lebanese girl) | * Set in Australia | Identity One’s sense of belonging is built upon their exploration of self and the confidence they establish through their own identity. | Identity is explored most obviously with Rosalind’s disguise as Ganymede. This concealment of her true identity allows Rosalind to discover whether Orlando truly loves her. It also allows Rosalind to gain a deeper understanding of herself. This is seen through the use of dramatic irony, this enhances the audience’s connection with the characters and adds to the humour of the play. “Nay, you must call me Rosalind”. Ultimately, it...
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...Contents Introduction 3 At the Turn of the Century 4 The 20th Century Literary Background 5 Modernism 6 Poets of the First World War 11 The Interwar Years 13 British Postwar Literature 19 Conclusion 27 References 29 Introduction The 20th century seems to be the most dramatic and unique: it witnessed two world wars and great social, economic and political changes. All this events could not but find their reflection in the arts in general and in the literature in particular. The urgency of the work is determined by the complexity of the period considered and variety of forms and trends which appeared during the century. The object of the project is British literature. The aim of the project is to consider the peculiarities and distinct features of the British literature of the 20th century. In order to gain the project’s aim, during its implementation the following practical issues were studied: - the most distinguished writers of the period; - their contribution to development of the British literature; - key topics. The project’s aim and issues considered predetermined the choice of methods of research. During the project’s implementation the following methods were used: critical survey of the sources on the issue considered, as well as comparison and analysis. Theoretical value of the project is constituted by the analysis of the peculiarities and distinct features of the British literature of the 20th century. Practical value of the project...
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...made by Völkerpsychologie and crowd psychology. 4 Describe the two contrasting images of ‘the person’ in social psychology. 5 Identify the roots of and describe the historical development of both experimental and critical social psychology. 6 Describe the main elements of Modernism and Postmodernism, and how these relate to contemporary social psychology. 7 Explain how these two approaches are different, and why they cannot be integrated. Introduction On a March night in 1964, Kitty Genovese was attacked by a maniac as she came home from work at 3 A.M. Thirty-eight of her Kew Gardens neighbors came to their windows when she cried out in terror – but no one came to her assistance. Even though the attack, which resulted in her death, lasted more than half an hour, no one even so much as called the police. . . . The thirty-eight witnesses to Kitty 3 4 FOUNDATIONS AND PRINCIPLES Genovese’s murder did not merely look at the scene once and then ignore it. Instead they continued to stare out, fascinated, distressed, unwilling to act but unable to turn away: they were neither helpful nor heroic, but their behavior was not indifferent or apathetic either. (Latané and Darley 1976: 309–10) This is one of the most famous of social psychology’s stories, told and re-told in social psychology textbooks ever since. The question of why nobody came to Kitty’s aid was first raised in a report, just after the incident, in the New York Times,...
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...E SSAYS ON TWENTIETH-C ENTURY H ISTORY In the series Critical Perspectives on the Past, edited by Susan Porter Benson, Stephen Brier, and Roy Rosenzweig Also in this series: Paula Hamilton and Linda Shopes, eds., Oral History and Public Memories Tiffany Ruby Patterson, Zora Neale Hurston and a History of Southern Life Lisa M. Fine, The Story of Reo Joe: Work, Kin, and Community in Autotown, U.S.A. Van Gosse and Richard Moser, eds., The World the Sixties Made: Politics and Culture in Recent America Joanne Meyerowitz, ed., History and September 11th John McMillian and Paul Buhle, eds., The New Left Revisited David M. Scobey, Empire City: The Making and Meaning of the New York City Landscape Gerda Lerner, Fireweed: A Political Autobiography Allida M. Black, ed., Modern American Queer History Eric Sandweiss, St. Louis: The Evolution of an American Urban Landscape Sam Wineburg, Historical Thinking and Other Unnatural Acts: Charting the Future of Teaching the Past Sharon Hartman Strom, Political Woman: Florence Luscomb and the Legacy of Radical Reform Michael Adas, ed., Agricultural and Pastoral Societies in Ancient and Classical History Jack Metzgar, Striking Steel: Solidarity Remembered Janis Appier, Policing Women: The Sexual Politics of Law Enforcement and the LAPD Allen Hunter, ed., Rethinking the Cold War Eric Foner, ed., The New American History. Revised and Expanded Edition E SSAYS ON _ T WENTIETH- C ENTURY H ISTORY Edited by ...
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...-“Strauss versus Brains and Genes or the postmodern vengeful return of positivism.” This essay first started as an answer to what I deemed very problematic, i.e. the disputation which I found in bad faith (un-authentic to use a philosophical term or an existentialist term), of the mediatic, dashing Harvard cognitivist/linguist, Steven Pinker, in his article “Neglected novelists, embattled English professors, tenure-less historians, and other struggling denizens of the Humanities, Science is not your Enemy—a plea for an intellectual truce,” (The New Republic--August 19). Then the counter-arguments against Steven Pinker’s conception of the “human animal” developed into an essay arguing that the New Positivism, not science, or technology per say, was the enemy of humanism and its avatars as such. The point is not to become a postmodern anti-scientific Luddite. Genomics are changing the world in ways we barely imagine yet and will re-define what it means to be human (a becoming already imagined by science fiction writers, social critics and critical thinkers such as the feminist Donna Haraway with her “Cyborg”). The point is also not to turn “anti-brainiac.” Without a brain we would become vegetative, a vegetal…, i.e. a purely “natural body,” a “zombie.” If we make use of this “computer” allegory which is an analog but not a homologue, and which is used ad nauseam used by psycho-biologists, without a hard-drive there is no software. But is this a reason to say that the software...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal 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...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...******Created by ebook converter - www.ebook-converter.com****** ******ebook converter DEMO - www.ebook-converter.com******* ******Created by ebook converter - www.ebook-converter.com****** KOINONIA HOUSE Coeur d’Alene, Idaho 83816-0347 ******ebook converter DEMO - www.ebook-converter.com******* ******Created by ebook converter - www.ebook-converter.com****** COSMIC CODES Copyright © 1999 by Koinonia House Revised 2004 P.O. Box D Coeur d’Alene, ID 83816-0347 Web Site: http://www.khouse.org Second Printing 2004 Third Printing 2011 ISBN 978-1-57821-072-5 Design and production by Koechel Peterson & Associates, Minneapolis, Minnesota. Scripture quotations in this book are taken from the King James Version of the Bible. All rights reserved. No portion of this book may reproduced in any form without the written permission of the Publisher. Printed in the United States of America. ******ebook converter DEMO - www.ebook-converter.com******* ******Created by ebook converter - www.ebook-converter.com****** “Cosmic Codes was the authoritative resource that we relied on in the research of our PAX-TV/Discovery Channel television special Secrets of the Bible Code Revealed. It’s absolutely packed with fascinating factual information on all of the Bible-related codes.” DAVID W. BALSIGER PRODUCER, SECRETS OF THE BIBLE CODE REVEALED “Chuck Missler writes from a technological and Biblical background in this cutting-edge analysis of the hidden codes...
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...HISTORY AND THEORY STUDIES FIRST YEAR Terms 1 and 2 Course Lecturers: CHRISTOPHER PIERCE / BRETT STEELE (Term 1) Course Lecturer: PIER VITTORIO AURELI (Term 2) Course Tutor: MOLLIE CLAYPOOL Teaching Assistants: FABRIZIO BALLABIO SHUMI BOSE POL ESTEVE Course Structure The course runs for 3 hours per week on Tuesday mornings in Terms 1 and 2. There are four parallel seminar sessions. Each seminar session is divided into parts, discussion and submission development. Seminar 10.00-12.00 Mollie Claypool, Fabrizio Ballabio, Shumi Bose and Pol Esteve Lecture 12.00-13.00 Christopher Pierce, Brett Steele and Pier Vittorio Aureli Attendance Attendance is mandatory to both seminars and lectures. We expect students to attend all lectures and seminars. Attendance is tracked to both seminars and lectures and repeated absence has the potential to affect your final mark and the course tutor and undergraduate coordinator will be notified. Marking Marking framework adheres to a High Pass with Distinction, High Pass, Pass, Low Pass, Complete-toPass system. Poor attendance can affect this final mark. Course Materials Readings for each week are provided both online on the course website at aafirstyearhts.wordpress.com and on the course library bookshelf. Students are expected to read each assigned reading every week to be discussed in seminar. The password to access the course readings is “readings”. TERM 1: CANONICAL BUILDINGS, PROJECTS, TEXTS In this first term of...
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