ayna Zweiman is a multidisciplinary artist and designer. Her independent practice combines architecture, art, craft and new media to focus on experiences that overlap physical, virtual and conceptual spaces. Perhaps best known as the co-creator/co-founder of The Pussyhat Project, an international network and movement of women's rights supporters, Zweiman has become a leading advocate of using design innovation to enact social change. The Pussyhat Project became a worldwide phenomenon at the 2017 Women's Marches with one of the largest crowd-sourced art advocacy projects ever. She is also the creator and founder of Welcome Blanket, a reconceptualization of the 2000-mile length of the proposed border wall as 2000-mile length of yarn to make individual welcome blankets for new immigrants coming to the United States. Zweiman's work has been exhibited and published internationally. In 2017, her work has been nominated for the Beazley Design of the Year by the Design Museum in London, acquired by the Victoria & Albert Museum, and awarded the first ever Brand of the Year by the School of Visual Arts. Zweiman was awarded in 2017 as one of "The 25 People Who Defined Visual Culture" by Artsy. Zweiman received her AB from Brown University in visual arts and economics and her Masters in Architecture from Harvard University Graduate School of Design. She lives and works in Los Angeles. In her talk, Zweiman questions how can we use design and architecture to craft the world we wish to see? We will investigate the overlap between individual stories and collective conversations, between craft and politics, and between physical and virtual communities in both Pussyhat Project and Welcome Blanket. Join Zweiman to discuss how these design interventions create social change by reimagining our spaces and systems.
Die vorliegende Monographie über den Maler Joseph Ignaz Mildorfer (1719-1775) umfasst vierzehn Kapitel, die mit dem Lebenslauf beginnend die verschiedenen Etappen im Werk des Malers veranschaulichen. Dabei wurde grosser Wert auf die soziologischen, politischen und ästhetischen Kriterien gelegt, welche die Entwicklung dieses eigenwilligen Künstlers bestimmten. In eine angesehene Malerfamilie in Innsbruck geboren, erlebte Mildorfer neben seiner konventionellen Ausbildung in der väterlichen Werkstatt hier auch den Beginn einer internationalen Monumentalmalerei, die erst durch den Import süddeutscher Maler auf tiroler Boden um sich griff. Mit diesen frühen Anregungen versehen, gelang es dem jungen Maler bei seiner Ankunft in der Kaiserstadt denn auch mit erstaunlicher Sicherheit den, für eine erfolgreiche Karriere imperativen, grossen Preis der Wiener Akademie zu gewinnen. Im Fahrwasser Paul Trogers, als dessen begabtester Schüler er von den Zeitgenossen gerühmt wurde, stellten sich in rascher Folge prestigereiche Angebote ein. Dem erstaunlich grossen Erstlingswerk, der malerischen Gesamtausstattung der Wallfahrtskirche am Hafnerberg, schloss sich bald der erste kaiserliche Auftrag an. Doch Österreich befand sich im Erbfolgekrieg, der die künstlerische Auftragssituation ernstlich bedrohte und auch Mildorfer zwang, nach Alternativen zu suchen. Und solche fand er in der Schlachtenmalerei. In diesem Genre schuf der junge Künstler Werke von einer aufrührenden Intensität, die ihn weit über seine Kollegen an der Akademie herausragen liessen, und ihm eine eigene Nische boten. Sicherlich machten gerade diese Bilder die letzten grossen Mäzene der Monarchie auf Mildorfer aufmerksam, was zu seiner Berufung als Hofmaler der Herzogin Maria Theresia von Savoyen, geborener Prinzessin von Liechtenstein führte, und eine lang anhaltende Zusammenarbeit mit den verschiedenen Zweigen der Familie Esterházy nach sich zog. Als Krönung rief Nikolaus Fürst Esterházy Mildorfer schliesslich nach Esterháza, um jenes Schloss zu freskieren, dessen aufwendige Gestaltung seinem Besitzer den Beinamen "der Prachtliebende" bescherte. (Die gründliche Aufarbeitung des Fürstlich Liechtensteinischen Archivs in Vaduz beantwortet nun endlich die Frage nach Art und Ausmass des tradierten, aber nie geklärten Arbeitsverhältnisses unseres Malers mit dem Hause Liechtenstein). Mildorfers Wahl zum wiener Akademieprofessor markierte nicht nur den Höhepunkt dieses Künstlerlebens, sondern spielte auch ganz wesentlich in eines der spannendsten Kapitel der wiener Kunst des 18. Jahrhunderts hinein. Unter seiner Ägide nämlich entstand hier der vielzitierte "Einheitsstil der Wiener Akademie", der von der Fülle seiner Schüler, allen voran Franz Anton Maulbetsch getragen wurde und Mildorfer zum Urheber dieses faszinierenden Phänomens macht. Die Arbeiten in den ehemaligen Kronländern kompletieren sein Werk als das eines typischen Mitteleuropäers des 18. Jahrhunderts. Manche, der oft schwer nachvollziehbaren Eigenschaften dieses kontroversen Malers müssen allerdings aus dem Zeitgeist gedeutet, und unter dem Begriff "Maler der Empfindsamkeit" verständlich gemacht werden. Mildorfer umfassend zu bearbeiten ist ein Desideratum, denn ohne ihn als Verbindungsglied zwischen Paul Troger, seinem Lehrer und Franz Anton Maulbertsch, seinem Schüler voll zu erfassen, wird immer ein Baustein im Gefüge der österreichischen Barockmalerei fehlen. ; This monograph on Joseph Ignaz Mildorfer (1719-1775) consists of forteen chapters, that after having given an overall curriculum, depict the various stations in the painter's working process. Special emphasis has been given to such criteria as the socio-economic, political and esthetic impacts, that shaped the development of this intriguing artist. Mildorfer was born into a distinguished family of painters in Innsbruck, where he was taught the basics of his profession. However, he was also exposed to the newly imported paintings from southern Germany, which at this time sparked Tyrolian tradition with international flavor. Partly due to those early stimuli, the young painter managed to instantly gain the renowned "big prize" of the Academy, upon his arrival in Imperial Vienna. This distinction was a prerequisite to any further career. Praised by his contemporaries as the most prodigious pupil of Paul Troger, Mildorfer soon was offered remarkable employments. His first major task, the complete decoration of the pilgrimage church at Hafnerberg near Vienna, comprising works in fresco and oil was soon to be followed by a commission from the Imperial court. But Austria was plagued by a raging War of Succession, which cast its shadow upon the job market, forcing Mildorfer to venture out into alternative fields. This he found in the painting of battlescenes. In this genre the young artist produced works of such rebellious intenseness that surpassed all his colleagues' endeavors and saved him a special niche. It might well be that those particular paintings drew the attention of the last great sponsers of the monarchy to Mildorfer, resulting in his being appointed painter of the court to the Duchess of Savoy, neé Maria Theresia Princess of Liechtenstein. (By way of scholarly work in the Princely Archives of Liechtenstein we have now established answers to questions regarding character and extend of Mildorfers work for the Duchess, that up till now has been obscured). In addition this period marked the beginning of a long lasting relationship with various branches of the Esterházy family, culminating in Mildorfer's appointment to Esterháza. Here he was commissioned to paint al fresco in Duke Nikolaus Esterházy's castle, one of the last manifestations of feudal style, the elaborate adornment of which promted the Duke with the attribute "The Magnificent". When Mildorfer was elected Professor at the Academy (kaiserlich-königliche Hofakademie der Mahler, Bildhauer und Baukunst) this not only marked the zenith of his career but also had major impact on one of the most thrilling phenomena within eighteenth century Viennese art. It was under his leadership that a movement took center stage, that was aprostophized the "Einheitsstil der Wiener Akademie". Carried out by an array of his scholars, notably Franz Anton Maubertsch this faszinating manifestation had Mildorfer's ideas at its core. With his contributions in the Crown Lands of the Habsburg monarchy in mind, his work makes him a typical Central-European artist of the eighteenth century. However some of his lesser graspable traits can only be understood out of the "Zeitgeist" and must be explained under the term of "painter of the sensibility". Since Mildorfer is the link between Paul Troger, his teacher and Franz Anton Maulbertsch, his student, a comprehensive biography of this artist is an absolute must. Only that makes a profound understanding of the third generation of Austrian barock-painting possible.
The German Geophysical Society was founded in 1922 as the Deutsche Seismologische Vereinigung. One of the 24 founders of this society was Karl Friedrich Almstedt. Born in 1891 and deceased in 1964, Almstedt represents a generation of academics and scientists who grew up during the decline of the European empires, experiencing the devastations of the two World Wars and the cruelties of the Nazi era as well as the resurrection of academic and cultural life in post-war Germany. A detailed biographical sketch of Karl Almstedt's life is presented through historical notes on his social, political, and scientific environment.
Roberta (Robbie) Jaffe grew up in New York in the 1950s, and moved to Florida when she was sixteen. She attended the University of Florida and University of South Florida, and graduated with a degree in sociology. During and after college she was deeply involved in the United Farm Workers (UFW) movement as a field organizer and boycott organizer for the state of Florida. Jaffe first came to the Santa Cruz area with her then-husband, Jerry Kay, who was also active in the sustainable agriculture movement. They farmed ten acres near Elkhorn Slough, and in 1976, Jaffe helped start the first farmers' market in Santa Cruz County, at Live Oak School. After that marriage ended, Jaffe studied horticulture at Cabrillo College with Richard Merrill, and took a position with a CETA (Comprehensive Employment and Training Act) program called Project Blossom. As part of that program, she co-founded a school garden at Green Acres School in Live Oak, a semi-rural area near Santa Cruz, California. This was the genesis of the Life Lab Science Program, which grew into a groundbreaking nonprofit organization that works with schools throughout the United States to develop school gardens and curriculum for teaching science and nutrition. Jaffe served as founding executive director of the program for many years. Jaffe earned a second master's degree in education from UC Santa Cruz, with an emphasis in agroecology. She met and married Steve Gliessman (also the subject of an oral history in this series). In 2001, they co-founded the Community Agroecology Network (CAN). CAN defines its goals as, "to help a network of rural, primarily coffee-growing communities in Mexico and Central America develop self-sufficiency and sustainable growing practices, and direct market coffee to consumers in the United States." Jaffe is the co-author of "From Differentiated Coffee Markets Towards Alternative Trade and Knowledge Networks," in Confronting the Coffee Crisis: Sustaining Livelihoods and Ecosystems in Mexico and Central America, and many Life Lab publications, including The Growing Classroom. Ellen Farmer interviewed Robbie Jaffe on May 5, 2007, at Jaffe's house in Santa Cruz, California. Farmer's MA thesis (in public policy) at California State University at Monterey Bay focused on the coffee crisis. As a graduate student, she worked with Jaffe at CAN, and brought her knowledge of the economics and politics of coffee growing in Latin America to the interview.
Roberta (Robbie) Jaffe grew up in New York in the 1950s, and moved to Florida when she was sixteen. She attended the University of Florida and University of South Florida, and graduated with a degree in sociology. During and after college she was deeply involved in the United Farm Workers (UFW) movement as a field organizer and boycott organizer for the state of Florida. Jaffe first came to the Santa Cruz area with her then-husband, Jerry Kay, who was also active in the sustainable agriculture movement. They farmed ten acres near Elkhorn Slough, and in 1976, Jaffe helped start the first farmers' market in Santa Cruz County, at Live Oak School.After that marriage ended, Jaffe studied horticulture at Cabrillo College with Richard Merrill, and took a position with a CETA (Comprehensive Employment and Training Act) program called Project Blossom. As part of that program, she co-founded a school garden at Green Acres School in Live Oak, a semi-rural area near Santa Cruz, California. This was the genesis of the Life Lab Science Program, which grew into a groundbreaking nonprofit organization that works with schools throughout the United States to develop school gardens and curriculum for teaching science and nutrition. Jaffe served as founding executive director of the program for many years.Jaffe earned a second master's degree in education from UC Santa Cruz, with an emphasis in agroecology. She met and married Steve Gliessman (also the subject of an oral history in this series). In 2001, they co-founded the Community Agroecology Network (CAN). CAN defines its goals as, "to help a network of rural, primarily coffee-growing communities in Mexico and Central America develop self-sufficiency and sustainable growing practices, and direct market coffee to consumers in the United States."Jaffe is the co-author of "From Differentiated Coffee Markets Towards Alternative Trade and Knowledge Networks," in Confronting the Coffee Crisis: Sustaining Livelihoods and Ecosystems in Mexico and Central America, and many Life Lab publications, including The Growing Classroom.Ellen Farmer interviewed Robbie Jaffe on May 5, 2007, at Jaffe's house in Santa Cruz, California. Farmer's MA thesis (in public policy) at California State University at Monterey Bay focused on the coffee crisis. As a graduate student, she worked with Jaffe at CAN, and brought her knowledge of the economics and politics of coffee growing in Latin America to the interview.
Prepared by the Pennsylvania Historical Commission and cooperating agencies, Pennsylvania Historical Survey--WPA, Pennsylvania Social Studies Council, State Council of Defense : Pennsylvania, keystone of democracy : Pennsylvania history on microfilm
In this study, I classify and examine a literary device that I term 'the myth of the found text' so as to explore how such stories operate to authorize and reinforce, especially religious, authority. Here I contend that individuals or groups in specific socio-historical contexts construct stories of found texts as a kind of conjuring trick, one that functions to confer the storyteller's power and stature. By appealing to the authority of an ancient text allegedly newly recovered, these mythmakers are able to situate social programs and religious reforms in an imagined, ideal antiquity—an exemplary past. The creation and telling of such myths can thus be seen as a political manoeuvre, a manoeuvre that constructs an authority (the 'found' text) that is then cleverly protected from contestation. While we may be quick to impugn such strategies, they have much in common, I argue, with 'religion' and with scholarship itself. ; October 2018
The study aimed to describe the use of metaphor in the Jakarta Post. The wordsused in the Jakarta Post will beanalyzed by using theoretical frameworks proposedby Lakoff and Johnson (1980). In conducting the research, the writer is dealingwith two purposes: (1) examine metaphorical expression used in the Jakarta Post(2) find out types of metaphor used in the Jakarta Post. There are 50 metaphoricalexpressions used in the Jakarta Post that have chosen as the data of the study.Having analyzed the data, the writer draws twoconclusions. First, metaphoricalexpression is also used in political issues. Politic has compared with other relatedthings such as circus, expensive business, and holy that conceptualizes politic inthe terms of others. Second, there are three types of metaphor used in the Jakartapost, namely structural metaphor, orientation metaphor and ontological metaphor.Among the three types of metaphors, orientation and ontological metaphor are themost frequent use in the Jakarta Post and structural metaphor is rare one.Keywords: metaphor, type of metaphor, the Jakarta post
In: Gao , J , Kørnøv , L & Christensen , P 2013 , ' The politics of SEA indicators : Weak recognition found in Chinese guidelines ' , Impact Assessment and Project Appraisal , vol. 31 , no. 3 , pp. 232-237 . https://doi.org/10.1080/14615517.2013.786925
The use of indicators is not only technical and science-led, but also a value-laden social process, and thus concerns public participation, political judgment and decision-making. This article approaches the Chinese SEA indicator system from a science-policy interface and aims at: 1) contributing to the general recognition of indicators functioning at science-policy interfaces in SEA, and 2) analysing, through a Chinese case-study, to what extent national guidelines mediate the science-policy interaction. The overall finding is a strong emphasis on technical/science aspects found in the Chinese SEA guidance, and a weak explicit recognition that policy plays a role in choosing and using indicators. Recent development, however, indicates a growing recognition of the politics involved and thus also leads to more involvement of stakeholders.
Cet article examine le rôle souvent occulté et pourtant essentiel de la traduction comme source d'innovation et de créativité dans l'histoire littéraire et la théorie. Il s'appuie sur plusieurs exemples allant du fameux épisode de la création d'Ève à partir de la "côte d'Adam" dans la Bible de Jérôme, basée sur la traduction fautive du mot hébreu "qaran" en latin et reflétant le biais patriarcal de Jérôme, à la traduction, tronquée du Deuxième Sexe de Simone de Beauvoir (1946) par le zoologiste retraité Howard M. Parshley qui allait néanmoins inspirer des études marquantes de la seconde vague féministe américaine telles que "The Feminine Mystique" (1963) de Betty Friedan et "Sexual Politics" (1970) de Kate Millett. L'exemple le plus développé retrace l'interaction productive de la traduction et de la réécriture dans la fiction d'Angela Carter, de "The Fairy Tales of Charles Perrault" (1977) jusqu'à ses célèbres "stories about fairy stories" recueillies dans "The Bloody Chamber and Other Stories" (1979) et "American Ghosts and Old World Wonders" (1992). Je propose de lire les variations de Carter sur "Aschenputtel" dans "Ashputtle or The Mother's Ghost" comme un correctif à sa traduction de la morale de "Cendrillon ou la Petite Pantoufle de Verre" de Perrault. La poétique traductive (translational poetics) de Carter démontre ainsi l'impact crucial de la traduction – y compris des erreurs – sur la démarche de l'écrivain, qui associe la (re)lecture créative inhérente à l'activité de traduction au travail de (ré)écriture jusqu'à en faire la matrice à partir de laquelle elle a élaboré son oeuvre singulière.
Annotation: This article highlights the turning points in the life of Mahmudhoja Behbudi, his hard work due to some fanatical and tsarist government, his attention to the education of young people and his invaluable services in this direction. prohibited
The functional screening of a Pseudacanthotermes militaris termite gut metagenomic library revealed an array of xylan-degrading enzymes, including P. militaris 25 (Pm25), a multimodular glycoside hydrolase family 10 (GH10). Sequence analysis showed details of the unusual domain organization of this enzyme. It consists of one catalytic domain, which is intercalated by two carbohydrate binding modules (CBMs) from family 4. The genes upstream of the genes encoding Pm25 are susC-susD-unk, suggesting Pm25 is a Xyn10C-like enzyme belonging to a polysaccharide utilization locus. The majority of Xyn10C-like enzymes shared the same interrupted domain architecture and were vastly distributed in different xylan utilization loci found in gut Bacteroidetes, indicating the importance of this enzyme in glycan acquisition for gut microbiota. To understand its unusual multimodularity and the possible role of the CBMs, a detailed characterization of the full-length Pm25 and truncated variants was performed. Results revealed that the GH10 catalytic module is specific toward the hydrolysis of xylan. Ligand binding results indicate that the GH10 module and the CBMs act independently, whereas the tandem CBM4s act synergistically with each other and improve enzymatic activity when assayed on insoluble polysaccharides. In addition, we show that the UNK protein upstream of Pm25 is able to bind arabinoxylan. Altogether, these findings contribute to a better understanding of the potential role of Xyn10C-like proteins in xylan utilization systems of gut bacteria. IMPORTANCE Xylan is the major hemicellulosic polysaccharide in cereals and contributes to the recalcitrance of the plant cell wall toward degradation. Members of the Bacteroidetes, one of the main phyla in rumen and human gut microbiota, have been shown to encode polysaccharide utilization loci dedicated to the degradation of xylan. Here, we present the biochemical characterization of a xylanase encoded by a Bacteroidetes strain isolated from the termite gut metagenome. This ...