Suchergebnisse

Este artículo tiene como objeto el análisis de Antes que anochezca (2001), obra póstuma del escritor y disidente cubano Reinaldo Arenas (1943 - 1990). Para llevar a cabo la labor investigativa me propuse revisar el pensamiento teórico de Deleuze y Guattari expuesto en Fafka, por una literatura menor (1978), a los fines de determinar que la autobiografía del cubano se erige como una creación literaria menor en la que encuentran asidero aspectos relacionados con lo desterritorial, lo político y lo colectivo. Puedo concluir que este texto areniano forma parte de las múltiples historias rezagadas y deconstructoras de la revolución cubana protagonizada por un individuo que a luz de las eventualidades políticas, culturales e históricas que rodearon su vida y obra resultó ser un sujeto/escritor abyecto, específicamente por ser homosexual, disidente y contrarrevolucionario. ; This article aims to analyze Antes que anochezca (2001), posthumous work of Cuban writer and dissident Reinaldo Arenas (1943-1990). To carry out the research work I decided to review the theoretical thinking of Deleuze and Guattari exposed in Fafka por una literatura menor (1978), in order to determine that the autobiography of the Cuban writer stands as a minor literary creation in which are handle deterritorial, political and collective issues. I can conclude that this areniano text is part of the many behind and deconstructive stories about Cuban revolution led by an individual who due to the political, cultural and historical contingencies surrounding his life and work proved to be a subject / abject writer, specifically for being homosexual, dissident and counterrevolutionary. ; 57-64 ; jmadriz04@ hotmail.com ; Semestral

Lettered on cover: Compend of military instructions. Mass. volunteer militia. 1857. ; Mode of access: Internet.

minor cosmopolitan -- Preface -- The Passport -- Empty Objects -- Notes on the Representation of Time and Space -- El palito de la jaula del pájaro de la abuela -- Porosity and Planetarity -- When You Died, the City Died with You -- I Don't Feel Postcolonial When I Wake up Every Morning in Delhi (No One Here Does) -- Other Europes, Past and Future -- On Other Poleis -- The minor cosmopolitan weekend Remembered -- Film, Women's Work & -- Labour Organizing -- Feminist Internationalism -- Times are Changing, Minds are also Changing -- Surrealism's Peripheries (feat. Synchronic Constellation - Le Moulin Society and its Time curated by Huang Ya-Li et al.) -- Ambiguous Utopias -- Rest Home -- Of Voices, Noises & -- Colonial Traces -- Bitcoin Mining and Field Recordings of Ethnic Minorities -- Bio-Archiving -- Mumbo Jumbo, Jiggery-Pokery, Cosmopolitricks -- CONSTELLATIONS -- About the authors -- Acknowledgements.

The Japanese painter Kitagawa Tamiji's (1894–1989) unique transnational idea of people's art originated in New York, where he was a migrant worker and a student at the Art Students League (1916–20), developed gradually over the decades of his career in the midst of the well-known muralist art movement in post-revolutionary Mexico (1921–36), and matured during the remainder of Kitagawa's long life in Seto, Japan. Kitagawa's concept of people's art represents the expression of the people's subjective power and is grounded in local grass-roots activities. In his later years, in the 1970s, Kitagawa expressed his adherence to people's art as the "philosophy of a grasshopper" (batta no tetsugaku), a phrase that he repeated as a sort of personal motto. For Kitagawa, the grasshopper or locust (batta) served as an alter ego. In pre-Columbian Mexico, the grasshopper (chapulin in Nahuatl) was associated with a mythical tribal totem, which explains the name of the prominent site Chapultepec Hill (Hill of Grasshopper) in Mexico City, historically an important locus of political power. Although individual grasshoppers are small, Kitazawa explained, they migrate, and "swarms of grasshoppers damage crops in the fields, and can cause famine." He likened art to a grasshopper because art is not only pleasurable and beautiful, but also contains the hidden power to become a formidable enemy. Kitagawa's idea of people's art appears throughout his numerous essays and is further articulated in the recollections of his avid supporter, the art critic, collector, and collaborator for children's art education, Kubo Sadajirō (1909-96). This article investigates how Kitagawa's cross-cultural experiences enriched his idea of people's art and added complexity to his artistic expression after he returned to Japan in 1936. Focusing primarily on Kitagawa's work following his departure from Mexico, I wish to highlight connections to Kitagawa's time in Mexico in order to provide a post-colonial perspective on transnational art by borrowing the concept "minor transnationalism" from the comparative literature scholars Francoise Lionnet and Shu-mei Shih, as introduced in their Minor Transnationalism (2005). This concept of a "minor transnationalism" proposes a transnational perspective through horizontal studies of relationships among minor-peripheral cultures rather than the normative vertical studies of relations between a major-center and minor-cultures on its periphery. Lionnet and Shih argue that their approach allows one to look at cultures being "produced and performed without any necessary mediation with the center," giving insight into "less scripted and more scattered" phenomena that occur across "different and multiple spatialities and temporalities." Thus, dialogues between multiple minor spaces allow the periphery to develop self-awareness, and self-critique. Lionnet and Shih note a level of commensurability and effectiveness in revolutionary philosopher Franz Fanon's attempt to carry his argument well beyond the center's self-critique. Fanon reworked the Hegelian or Sartrean critique of alienation into a context for the minor culture's struggle for national and cultural autonomy and worldwide racial equality. The term "minor'" is not used in a pejorative sense here, but positively to provide scholars the freedom to look at the fluid production of art beyond the normative study frame of Western art verses non-Western art. This essay treats Mexico and Japan as "minor" and non-Western, in terms of the art they produce, as nations that searched for modernity and an identity under the overwhelming power of Western art. Kitagawa's art provides an interesting case of a minor transnationalism operating between Mexico and Japan. By focusing on Kitagawa's minor transnational connections, this essay also questions the way we look at modernities of non-Western art, which are normally studied as phenomena of reception and appropriation of Western art within a fixed framework of center-periphery cultural relations.

Research and teacher "good common sense" have shown that retention and mastering of math concepts is improved by drill and practice. Classroom drill and practice has its share of problems however—students become bored; teachers become overloaded trying to prepare and correct worksheets day after day. Microcomputers can be a highly useful tool in the classroom with hearing-impaired students to overcome these problems. The drill and practice can be highly motivating with immediate feedback to catch mistakes and correct them on the spot. The drill can be individualized so each student can receive practice in skills he or she needs and for varying amounts of time. With record-keeping capabilities of the microcomputer, the teacher can keep track of student progress without having to correct the papers! The Regional Instructional Computer Center at BOCES #2 has written a microcomputer courseware package designed to provide math drill and practice to students; it has proven to be highly motivating for students and easy to use by teachers. The program, called MELBORP, allows the student to either practice by himself/herself, compete against another student, or compete against the computer (MELBORP). The teacher assigns the math objectives to be practiced ranging from whole number concepts, fractions to decimals. Skills are broken down into skill areas and levels corresponding to the New York State math curriculum. Problems are presented to the student, and if the student answers correctly, he or she can play a very short color animated game. The student also has control of the game to play; games are interactive and nonviolent such as hang gliding and parachute jumping. Teachers can see student scores and progress. MELBORP is currently in use in special education and regular classrooms in our area. It is designed to work in a 2 drive APPLE II 48K computer. At the Lincoln Symposium, the educational considerations will be discussed along with a demonstration of the math problems, feedback, and teacher management components.

Translation of Osnovnye print͡sipy operativnogo iskusstva i taktiki. ; Mode of access: Internet.

CONTENT: Single page outlining a military drill BIOGRAPHICAL HISTORY: The Day Family were anglo Indian traders, on the Navajo Reservation in eastern Arizona. The collection includes the personal and business papers of Sam Day, Sr. (1845-1925) surveyor, Indian trader, legislator and United States Indian Commissioner; Anna Day, Sam Sr.'s wife (1872-1932); and of their children, Charles L. Day (1879-1918), Samuel Day, Jr. (1889-1944), United States deputy Marshall

Ghanem reviews 'Campaign Craft: The Strategies, Tactics, and Art of Political Campaign Management' by Daniel M. Shea.