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to edit it out of the episode. Crystal Clarke shared the drawing, which depicts a blurry ménage à trois, to her Twitter afterwards (her tweet is no longer available except as a reference in her interview with The Pemberley Podcast). This exemplifies Georgiana’s humor and strong perspective, and it also shows how she is often censored. In Regency society, it is easier for her to be a muse than to be a creator. Meanwhile, it is socially acceptable for Charles to have her sit for hours while he
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at home, and too much offended to admit her; and as she retired down the street, could not withhold one glance at the drawing-room windows, in expectation of seeing her there, but no one appeared at them. At the bottom of the street, however, she looked back again, and then, not at a window, but issuing from the door, she saw Miss Tilney herself. She was followed by a gentleman, whom Catherine believed to be her father, and they turned up towards Edgar’s Buildings. Catherine, in deep
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of a female, Jewish Holocaust rescuer-survivor. Based upon extensive personal interviews, this paper explores the layers of deceptive and/or conflicted gendered and religious identities that Peperzak employed, embraced, or rejected during her rescue work. This talk contributes toward a more integrated and nuanced understanding of the complexity, and the costs, of Holocaust rescue while drawing attention to the agency of Jewish women in resistance to the Nazis’ genocidal ambitions. “Quaker Relief
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different categories of ‘race’ will position us to explore various context-specific strategies for addressing the continuing, and very real, affects of this invented category.IHON 258: PovertyThis course is a social science based investigation into poverty, drawing primarily on the disciplines of sociology, economics, and history. Students will examine, interpret, compare and discuss quantitative measures of poverty, and both scholarly literature and popular press works by a variety of social scientists
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UK filtered through Cracknell’s twentieth-century film bears the imprint of a similar ideology. Mary’s persuasive genius is that she makes audiences laugh while drawing attention to power imbalances. If she makes us laugh, we need to ask: are we laughing at her or with her. Then we need to ask why, not childishly, but with open-eyed curiosity. Read Previous “You assume just because I hate something I don’t want to do it?” LATEST POSTS “You assume just because I hate something I don’t want to do
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religious and historical tradition of Lutheranism, this does not and cannot mean that we all have to understand these ideas in the same way. Like the non-Huguenot villages of Le Chambon, some of us at PLU may connect and identify with these ties that bind drawing on our own experiences, histories, traditions and spiritual views. Nevertheless we, as a faith community, do share these commitments even if we act on them differently. Maintaining these ties that bind will also mean being attentive to our
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8 – Oct 6: PLU Faculty Show Oct 13 – Nov 10: University of Puget Sound Printmaker Janet Marcavage’s new work uses patterned imagery and the repetitive process of printmaking to explore the routines and surroundings of everyday life. Nov 17 – Dec 15: Juried Student Exhibition Feb 9 – Mar 9: Ceramicist and PLU alumna Heather Cornelius juxtaposes the human figure with other organic forms, drawing out truths about the feminine condition and human life in general. Mar 16 – Apr 13: Tacoma sculptor
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in consultation with advisor Design/Technical 78 semester hours 4 semester hours from: ARTD 101: Drawing I (4) ARTD 102: 2D Design/Color Theory (4) ARTD 202: 3-D Design (4) THEA 160: Introduction to Theatre (4) or THEA 102: FYEP 102: DJS Seminar (4) THEA 225: Running Crew I (6) THEA 250: Acting I – Fundamentals (4) THEA 255: Theatrical Production (4) THEA 279: Hand Drafting (2) THEA 280: Computer-Aided Drafting (2) THEA 290: Stage Management (2) THEA 299: The Profession of Theatre (2) THEA 330
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personalization of language study brought about by the emphasis on communication in recent years, a traditional instructional relationship still dominates. In the foreign language classroom, the teacher’s language competence, reinforced by the students’ relative linguistic incompetence, can lead to the teacher’s over-controlling the production of meaning. Teachers must actively resist this tendency. Feminist pedagogy can inform the practice of foreign language teaching by drawing on cooperation rather than
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structures of the modern world function by drawing lines, enforcing labels, building binaries, and constructing logics that are meant to describe all things perfectly. To be sure, it can be useful to label, draw lines, articulate binaries, and form logic—a world that discarded each mental process completely would be incomprehensible. Genocide is not solely the product of logic, its labels, and the subsequent hierarchy of meaning to which they give rise: it is the result of a totalized, enforced version
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