..."In the first two seconds of looking –in a single glance – they were able to understand more about the essence of the statue than the team at the Getty was able to understand after fourteen months . . . Blink is a book about those first two seconds." Gladwell begins his introduction with the story of a kouros – an ancient Greek sculpture of a young naked male – that was acquired by the J. Paul Getty Museum in 1983. Kouroi are very rare. As a result this particular kouros was being sold for $10 million. Because of the hefty price tag, the Getty Museum was very careful when testing to see if the kouros was a forgery. However, after 14 months of analysis, the Getty determined that the kouros was in fact real, and bought the statue. Many scholars did not agree that the kouros was real. To them, something about the statue didn’t look right. When Thomas Hoving, the former director of the Metropolitan Museum of Art in New York, looked at the statue the first word that came to his mind was “fresh”. When Angelos Delivorrias, director of the Benaki Museum in Athens, first laid eyes upon the statue he felt a wave of immediate disgust. For a long time the validity of the kouros was hotly debated. Finally, the Getty’s case began to fall apart. As it turned out, a lot of the documents used to prove the statue’s authenticity were forged. Also, as experts began to examine the statue in great detail, they came to the realization that it used a hodgepodge of styles from many different places...
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...For the exclusive use of Z. Xu, 2016. 9-701-132 REV. MARCH 8, 2002 GIOVANNI GAVETTI Ducati By the end of 2000, Federico Minoli had won his battle. Over the past five years, the “turnaround i artist” -- as Forbes magazine dubbed him –- had transformed a company on the verge of bankruptcy into one of the most profitable motorcycle manufacturers in the world; a mechanical concern into a global brand; a fast motorcycle into a symbol of Italian design and tradition, extreme performance, and technical excellence. Under Minoli, Ducati had enjoyed explosive growth and profitability. Revenues had quadrupled since 1996; EBITDA had grown from 33.4 million Euros in 1997 to around 60.0 million Euros in 2000; the market share had gone from 5.1% in the sport bikes segment in 1997 to 6.7% in 2000 (see Exhibit 1). Despite this success, Minoli was concerned with the future of the company. He knew that Ducati could not grow indefinitely, and was struggling with what strategy might overtake these bounds. Minoli and the rest of Ducati’s top management team were considering different alternatives. One alternative was to attack Harley Davidson’s niche with a Ducati interpretation of a cruiser. Was this broadening of Ducati’s traditional niche the right move to sustain the profitable growth of the company? The Market for Motorcycles in 2001 The roots of the motorcycle industry date back to 1868, when Louis Perraux installed a steam engine on a rudimentary bicycle. In 1894...
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...9-701-132 REV. MARCH 8, 2002 GIOVANNI GAVETTI Ducati By the end of 2000, Federico Minoli had won his battle. Over the past five years, the “turnaround i artist” -- as Forbes magazine dubbed him –- had transformed a company on the verge of bankruptcy into one of the most profitable motorcycle manufacturers in the world; a mechanical concern into a global brand; a fast motorcycle into a symbol of Italian design and tradition, extreme performance, and technical excellence. Under Minoli, Ducati had enjoyed explosive growth and profitability. Revenues had quadrupled since 1996; EBITDA had grown from 33.4 million Euros in 1997 to around 60.0 million Euros in 2000; the market share had gone from 5.1% in the sport bikes segment in 1997 to 6.7% in 2000 (see Exhibit 1). Despite this success, Minoli was concerned with the future of the company. He knew that Ducati could not grow indefinitely, and was struggling with what strategy might overtake these bounds. Minoli and the rest of Ducati’s top management team were considering different alternatives. One alternative was to attack Harley Davidson’s niche with a Ducati interpretation of a cruiser. Was this broadening of Ducati’s traditional niche the right move to sustain the profitable growth of the company? The Market for Motorcycles in 2001 The roots of the motorcycle industry date back to 1868, when Louis Perraux installed a steam engine on a rudimentary bicycle. In 1894, the Hildebrand brothers and Alois Wolfmüller produced...
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...Kritika Ku ltu ra NEW SCHOLARS FORUM Gay Language: Defying the Structural Limits of English Language in the Philippines Norberto V. Casabal Lyceum of Subic Bay, Philippines nvcasabal@yahoo.com Abstract Gay language has achieved a higher degree of acceptance in recent years in the Philippines. Both gays and nongays can be heard uttering gay expressions. But the main role of gayspeak for gay people in the Philippines is to function as an “armor” to shield themselves from the chasm and the social stigma caused by gender differences. From a linguistic point of view, this paper not only describes the nature of this gay language and how expressions are coined; it also looks at how code mixing (gayspeak + English language) is made possible. This paper also examines how this code-mixing creatively violates the grammatical structure of the use of the English language in the Philippines. Keywords code-mixing, gayspeak, gender difference, Philippine English, street-talk About the author Norberto V. Casabal is Head for Academic Affairs of Lyceum of Subic Bay. He is currently pursuing his MA in English Language and Literature Teaching at the Ateneo de Manila University. Introduction Binabae and bakla are familiar words in Filipino street-talk. But what about badaf, baklush, and baklers? These are a little confusing for the average Filipino speaker, while the expressions Bading Garci, pa-mihn, pa-girl, X-men, will lose most expert speakers of the Filipino language. These are terms which...
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...sheet Mercurochrome Hit-the-spittoon Under the carpet A public announcement Many-headed monsters Methwold Tick, tock Book Two The fisherman's pointing finger Snakes and ladders Accident in a washing-chest All-India radio Love in Bombay My tenth birthday At the Pioneer Cafe Alpha and Omega The Kolynos Kid Commander Sabarmati's baton Revelations Movements performed by pepperpots Drainage and the desert Jamila Singer How Saleem achieved purity Book Three The buddha In the Sundarbans Sam and the Tiger The shadow of the Mosque A wedding Midnight Abracadabra Book One The perforated sheet I was born in the city of Bombay ... once upon a time. No, that won't do, there's no getting away from the date: I was born in Doctor Narlikar's Nursing Home on August 15th, 1947. And the time? The time matters, too. Well then: at night. No, it's important to be more ... On the stroke of midnight, as a matter of fact. Clock-hands joined palms in respectful greeting as I came. Oh, spell it out, spell it out: at the precise instant of India's arrival at independence, I tumbled forth into the world. There were gasps. And, outside the window, fireworks and crowds. A few seconds later, my father broke his big toe; but his accident was a mere trifle when set beside what had befallen me in that benighted moment, because thanks to the occult tyrannies of those blandly saluting clocks I had been mysteriously handcuffed to history, my destinies indissolubly chained to...
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...Chua / The Making of Jose Garcia Villa’s A Footnote to Youth 9 THE MAKING OF JOSE GARCIA VILLA’S FOOTNOTE TO YOUTH Jonathan Chua Ateneo de Manila University jchua@ateneo.edu This article recounts the story behind the publication of Villa’s stories and his book Footnote to Youth: Tales of the Philippines and Others (1933) in the United States. First, the conditions of the American literary marketplace are briefly described. Second, documents pertaining to the realization in print of Villa’s stories and his book are analyzed as sites of negotiations between colonial subject (Villa) and the colonial master (his American editors and publishers). Finally, an account of how Villa was made to circulate in the Philippines after the publication of his stories and his book in the United States is given. From these discussions the article hopes to show that Villa’s self-fashioning by publication was both subject to and critical of the colonial condition, alternately reinforcing it and challenging it. Abstract Philippine literature in English, book history, postcolonialism, exotic, author Keywords Jonathan Chua teaches at the Department of Interdisciplinary Studies of the Ateneo de Manila University. He is the editor of The Critical Villa: Essays in Literary Criticism by Jose Garcia Villa (2002). His edition of the collected short stories of Jose Garcia Villa is forthcoming from the Ateneo de Manila University Press. About the Author Kritika Kultura 21/22 (2013/2014):...
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... IGNORE clarity / clear [2] 3. (i) transports water (up plant); ACCEPT alternative wording for transport e.g. movement DO NOT ACCEPT up and down DO NOT ACCEPT water and sugars transports, minerals / ions, (up plant); ACCEPT alternative wording for transport IGNORE ref nutrients / solutes DO NOT ACCEPT sugars support (plant / stem / shoot); ACCEPT keeps plant upright 1 max (ii) Functions: F1 (lignin), strengthens / thickens, the (xylem) wall; ACCEPT support only if in specific context of supporting the xylem wall F2 waterproofing (wall) / AW; ACCEPT waterproofs cell F3 (improving) adhesion of water (molecules); DO NOT ACCEPT adhesion and cohesion when used together F4 (spiral) pattern allows flexibility / stretching / movement; Flexibility / stretching must ref, pattern of lignin laid down i.e. spirals Explanation: E1 prevents collapse of xylem; E2 (water) under tension / at low pressure / negative pressure; DO NOT CREDIT loss of water unqualified E3 reduces (lateral) loss of water, through wall; E4 increases capillarity / AW; ...
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...[pic][pic] [pic]Copyright © 2005 West Chester University. All rights reserved. College Literature 32.2 (2005) 103-126 [pic] | |[pic][pic][pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | | | | | | | | | | | | | | | | | |Access provided by Northwestern University Library ...
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...‘GUNDA’ AND ‘LOHA’ A STUDY OF CULT FILM CULTURES KSHITIJ PIPALESHWAR A dissertation submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Media and Cultural Studies School of Media and Cultural Studies Tata Institute of Social Sciences Mumbai 2013 i DECLARATION I, Kshitij Pipaleshwar, hereby declare that this dissertation entitled ‘ ‘Gunda’ and ‘Loha’ : A Study of Cult Film Cultures’ is the outcome of my own study undertaken under the guidance of Assistant Professor K.V.Nagesh Babu, Centre for Critical Media Praxis, School of Media and Cultural Studies, Tata Institute of Social Sciences, Mumbai. It has not previously formed the basis for the award of any degree, diploma, or certificate of this Institute or of any other institute or university. I have duly acknowledged all the sources used by me in the preparation of this dissertation. 3rd March 2013 Kshitij Pipaleshwar ii CERTIFICATE This is to certify that the dissertation entitled ‘‘Gunda’ and ‘Loha’ : A Study of Cult Film Cultures’ is the record of the original work done by Kshitij Pipaleshwar under my guidance and supervision. The results of the research presented in this dissertation/thesis have not previously formed the basis for the award of any degree, diploma, or certificate of this Institute or any other institute or university. 4th March 2013 K.V.Nagesh Babu Assistant Professor Centre for Critical Media Praxis School of Media...
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...now herself a hunted woman. Who put the $500,000 price on her head--a man or a monster? It's not just her own skin she needs to save; the rivalry between her werewolf boyfriend, Richard, and Marcus, the other alpha werewolf in his pack, has come to full boil. And there's always Jean-Claude, the vampire who's been waiting for just the right moment to slip inside Anita's head and heart. 1 The most beautiful corpse I'd ever seen was sitting behind my desk. Jean-Claude's white shirt gleamed in the light from the desk lamp. A froth of lace spilled down the front, peeking from inside his black velvet jacket. I stood behind him, my back to the wall, arms crossed over my stomach, which put my right hand comfortably close to the Browning Hi-Power in its shoulder holster. I wasn't about to draw on Jean-Claude. It was the other vampire I was worried about. The desk lamp was the only light in the room. The vampire had requested the overheads be turned out. His name was Sabin, and he stood against the far wall, huddling in the dark. He was covered head to foot in a black, hooded cape. He looked like something out of an old Vincent Price movie. I'd never seen a real vampire dress like that. The last member of our happy little group was Dominic Dumare. He sat in one of the client chairs. He was tall, thin, but not weak. His hands were large and strong, big enough to palm my face. He was dressed in a three-piece black suit, like a chauffeur except for the diamond stickpin in his tie. A beard...
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...Those of us who've been invited to participate in the first reunion on the fortieth anniversary of the Freedom Rides have been asked to write down our memories of the summer of 1961, as one part of an oral history project. Mine won't be typical, but that's alright. None of them will be, for we were a remarkably diverse group, the 300 or so of us who were arrested in Jackson in May-June of that year, convicted of "disturbing the peace", detained at the Hinds County Jail, and transported upstate to the maximum security facility at Parchman State Penitentiary to serve our six month sentences. South Carolina My road to Jackson probably began in December, 1960. Benjy Rosen, my roommate at Middlebury College in Vermont, had agreed to join me on a non-stop run to Florida for the first week of Christmas break. With the savings from a job on an oil rig the previous summer and a great deal of help from my Dad, who was a corporate executive in New York, I'd bought a new Morgan+4, a British racing car. We thought it'd be cool to use it as an airplane - straight to Florida from Vermont in 30 hours, a week in the sun, and back home to New York for Christmas. We got lost, of course, and found ourselves at a small filling station, surrounded by fields, on a back road in South Carolina. It was a two person operation - an older white man in overalls was the owner and watched us from the doorway of the station, and a young black man almost our age pumped the gas. Groggy from the overnight...
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...maStuff My Stocking M/M Romance Stories that are Nice and… Naughty Stuff My Stocking: M/M Romance Stories that are Nice and… Naughty An M/M Romance Group Publication copyright 2010 With stories by: M.J. O'Shea Brian Jackson Deanna Wadsworth Missy Welsh Jade Archer Michael S. Xara X. Xanakas Mark Alders Em Woods Rachel Haimowitz SJD Peterson Kari Gregg Kim Dare A.J. Llewellyn Serena Yates Ocotillo Jessica Freely Heinrich Xin William Cooper Wren Boudreau Selah March Sarah Madison Stephani Hecht Amy Lane Angela Benedetti edited by: Diane W. (mailto:diane.goodreads@gmail.com) Jason B. Kathy H. Stuff My Stocking: M/M Romance Stories that are Nice and… Naughty What you’ve gotten yourself into… The stories you are about to read are the product of a very special project sponsored by the Goodreads M/M Romance groupthe online community for readers who love to read about men in love (Male/Male). The group moderators issued an invitation for members to choose a photo and pen a Letter to Santa asking for a short M/M romance story inspired by the image; authors from the group were encouraged to select a letter and write an original tale. The result was an outpouring of creativity that shined a spotlight on the special bond between M/M romance writers and the people who love what they do. This book is an anthology of those letters and stories. Whether you are an avid M/M romance reader or new to the genre, you are in for a delicious treat. So sit back, relax and enjoy...
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...THE GIVER Lois Lowry ← Plot Overview → The giver is written from the point of view of Jonas, an eleven-year-old boy living in a futuristic society that has eliminated all pain, fear, war, and hatred. There is no prejudice, since everyone looks and acts basically the same, and there is very little competition. Everyone is unfailingly polite. The society has also eliminated choice: at age twelve every member of the community is assigned a job based on his or her abilities and interests. Citizens can apply for and be assigned compatible spouses, and each couple is assigned exactly two children each. The children are born to Birthmothers, who never see them, and spend their first year in a Nurturing Center with other babies, or “newchildren,” born that year. When their children are grown, family units dissolve and adults live together with Childless Adults until they are too old to function in the society. Then they spend their last years being cared for in the House of the Old until they are finally “released” from the society. In the community, release is death, but it is never described that way; most people think that after release, flawed newchildren and joyful elderly people are welcomed into the vast expanse of Elsewhere that surrounds the communities. Citizens who break rules or fail to adapt properly to the society’s codes of behavior are also released, though in their cases it is an occasion of great shame. Everything is planned and organized so that life is as convenient...
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...sounds at first like something you’d expect to see young people doing on a California beach, not a torture technique that involves forced simulated drowning. Less remarkable, perhaps, but possibly more relevant for most of us, we’ve heard the term “downsized” used when someone is fired or laid off. “Ethnic cleansing” covers everything from deportation to genocide. What we have to say may be important, but the words we choose to say it with can be equally important. The examples just given are cases of a certain type of linguistic coercion—an attempt to get us to adopt a particular attitude toward a subject that, if described differently, would seem less attractive to us. Words have tremendous persuasive power, or what we have called their rhetorical force or emotive meaning—their power to express and elicit images, feelings, and emotional associations. In the next few chapters, we examine some of the most common rhetorical techniques used to affect people’s attitudes, opinions, and behavior. Rhetoric refers to the study of persuasive writing. As we use the term, it denotes a broad category of linguistic techniques people use Moore−Parker: Critical Thinking, Ninth Edition 5. Persuasion Through Rhetoric: Common Devices and...
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...AS English Language [pic] [pic] [pic] Fiction style models and tasks – 2012/2013 Style Model Workbook Style models are examples of a type of writing used to give you an idea of the features used when adapting a particular style and form. As you will be required to include a fiction and non-fiction annotated style model as part of your coursework folder we have compiled a selection of materials to give you a head start. The two booklets (one fiction, one non-fiction) will contain the type of extracts you should be looking for and the questions that accompany them will help you to annotate the materials appropriately. You will be given some of the extracts to study in class and some to complete as homework tasks. There may be some materials that you haven’t been directed to by your teachers, these will make very good additional preparation and you should look at these in your own time. All the resources, and some additional style models, can be found in the AS Language section of Moodle. AS LANGUAGE COURSEWORK You must keep all work during the production of the coursework in your folder. You will need all drafts and style models for part of your final grade. Criteria • Two pieces of your own writing • Each piece must have a different audience and purpose • You should write with a specific genre in mind • Pieces should be designed with a real publication in mind • Two...
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