Limits of enlightenment rationality in the face of cultura.docxsmile790243
Limits of enlightenment rationality in the face of cultural relativism
Biological universals, symbolic particulars and political discourse
This talk will explore the conceptual underpinnings of cultural relativism and universalism. It will present examples of common issues raised in debates on cultural differences and outline a possible direction in which an analyst of universalist and relativist discourse might proceed.
OutlineOrigins and nature of cultural relativismParadoxes of cultural relativismChallenges to cultural relativism: conservative, liberal, rationalistic/scientificCultural relativism as a cultural patternEnlightment, romaticism, secular humanism and limits of cultural relativism as a political view
Qualifications:
- background in cognitive and text linguistics currently doing PhD research on metaphors in educational discourse at EDU
- cross-cultural trainer for the Peace Corps (visited and worked in over 20 countries)
- run a website on Czech culture (http://www.czechupdate.com) and language (http://www.bohemica.com), translate and teach languages for a living
- taught a course on Czech national identity at universities in Prague and Glasgow
Defining cultural relativism
(the Google way)the ability to view the beliefs and customs of other peoples within the context of their culture rather than one's own.
www.china.org.cn/english/features/Archaeology/98851.htmunderstanding the ways of other cultures and not judging these practices according to one's own cultural ways.
oregonstate.edu/instruct/anth370/gloss.htmlCultural values are arbitrary, and therefore the values of one culture should not be used as standards to evaluate the behavior or persons from outside that culture.
www.killgrove.org/ANT220/cultanthdef.htmlthe position that the values, beliefs and customs of cultures differ and deserve recognition.
www.anthro.wayne.edu/ant2100/GlossaryCultAnt.htmCultural relativism is the principle that an individual human's beliefs and activities make sense in terms of his or her own culture. This principle was established as axiomatic in anthropological research in by Franz Boas in the first few decades of the 20th century, and then popularized in the 1940s by Boas's students. ...
en.wikipedia.org/wiki/Cultural_relativism
Defining cultural relativismThe degree to which an individual or a society is willing to suspend the universality of values and value-based actions (particularly those acquired by primary socialization) in the face of conflicting values held and acted upon by individuals or groups recognized as belonging to another in-group defined social unit.
Origins and nature of relativismNatural relativism (Bible, Jesuits, missionaries, ‘different folks different strokes’/‘when in Rome’ [387 A.D.])Enlightenment (pursuit of happiness)Romanticism (noble savage)Anthropology (Boas, Lévy-Strauss)Linguistics (Whorf-Sapir, Lakoff)Philosophy (pragmatism)
Paradoxes of cultural relativismCultural relativism vs. univer ...
Limits of enlightenment rationality in the face of cultura.docxsmile790243
Limits of enlightenment rationality in the face of cultural relativism
Biological universals, symbolic particulars and political discourse
This talk will explore the conceptual underpinnings of cultural relativism and universalism. It will present examples of common issues raised in debates on cultural differences and outline a possible direction in which an analyst of universalist and relativist discourse might proceed.
OutlineOrigins and nature of cultural relativismParadoxes of cultural relativismChallenges to cultural relativism: conservative, liberal, rationalistic/scientificCultural relativism as a cultural patternEnlightment, romaticism, secular humanism and limits of cultural relativism as a political view
Qualifications:
- background in cognitive and text linguistics currently doing PhD research on metaphors in educational discourse at EDU
- cross-cultural trainer for the Peace Corps (visited and worked in over 20 countries)
- run a website on Czech culture (http://www.czechupdate.com) and language (http://www.bohemica.com), translate and teach languages for a living
- taught a course on Czech national identity at universities in Prague and Glasgow
Defining cultural relativism
(the Google way)the ability to view the beliefs and customs of other peoples within the context of their culture rather than one's own.
www.china.org.cn/english/features/Archaeology/98851.htmunderstanding the ways of other cultures and not judging these practices according to one's own cultural ways.
oregonstate.edu/instruct/anth370/gloss.htmlCultural values are arbitrary, and therefore the values of one culture should not be used as standards to evaluate the behavior or persons from outside that culture.
www.killgrove.org/ANT220/cultanthdef.htmlthe position that the values, beliefs and customs of cultures differ and deserve recognition.
www.anthro.wayne.edu/ant2100/GlossaryCultAnt.htmCultural relativism is the principle that an individual human's beliefs and activities make sense in terms of his or her own culture. This principle was established as axiomatic in anthropological research in by Franz Boas in the first few decades of the 20th century, and then popularized in the 1940s by Boas's students. ...
en.wikipedia.org/wiki/Cultural_relativism
Defining cultural relativismThe degree to which an individual or a society is willing to suspend the universality of values and value-based actions (particularly those acquired by primary socialization) in the face of conflicting values held and acted upon by individuals or groups recognized as belonging to another in-group defined social unit.
Origins and nature of relativismNatural relativism (Bible, Jesuits, missionaries, ‘different folks different strokes’/‘when in Rome’ [387 A.D.])Enlightenment (pursuit of happiness)Romanticism (noble savage)Anthropology (Boas, Lévy-Strauss)Linguistics (Whorf-Sapir, Lakoff)Philosophy (pragmatism)
Paradoxes of cultural relativismCultural relativism vs. univer ...
Music and the New CosmopolitanismProblems and Possibilities.docxgemaherd
Music and the New Cosmopolitanism:
Problems and Possibilities
Sarah Collins and Dana Gooley
“German composer.” “Russian composer.” “French composer.” “American
composer of Italian birth.” “Austrian composer, son of Leopold Mozart.”
These are the first sentences of the articles on Beethoven, Tchaikovsky,
Josquin Des Prez, Menotti, and W. A. Mozart from the New Grove
Dictionary, the central resource of music history research. Though the
sentences sound neutral and descriptive, they represent a particular way of
thinking about the identities of musicians, one we often take for granted:
that the nation to which a musician belongs is a “primary” fact, on par
with birth and death dates. Nations are part of the mental maps that ori-
ent us and help determine where a composer is “coming from” or where a
composer stands in the scheme of music history. Even before Mozart is the
son of Leopold, Grove tells us, he is the offspring of Austria. National tags
emplace musicians not only territorially, but also culturally. To call a mu-
sician “French” is not just to mark a place of birth but also to imply his or
her imbrication with the communal, institutional, and aesthetic affiliations
of the French nation. For reasons both pragmatic and ideological, the
communities of scholarship that shape, interrogate, and revise music–his-
torical narratives have found national frameworks difficult to avoid or
resist.
But national frames, however enabling for certain purposes, can also
be limiting, since the nation is only one among many possible entities or
communities to which music can establish a sense of belonging. Musicians
have often learned their art, acquired status, and reached audiences
through displacements and dislocations that take them beyond national
boundaries. An exceptionally strong talent or a hunger for education
might motivate them to undertake an international tour or seek out a par-
ticular music teacher in a faraway place. “In every time and place for
which a history can be written,” writes Celia Applegate, “one could
probably—in cases definitely—find musicians on the move.”1 Sometimes
these displacements are simply a matter of opportunity. In the fifteenth and
sixteenth centuries, patronage and diplomacy brought Franco-Flemish
doi:10.1093/musqtl/gdx006 99:139–165
The Musical Quarterly
VC The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions,
please e-mail: [email protected]
Deleted Text: -
polyphonists to Italy. In the mid-eighteenth century, Italian troupes traveled
to Paris and had a major impact on the city’s theatrical and intellectual life.
In the first half of the nineteenth century Russia attracted composers and
virtuosos from England, France, Germany, and Italy, many of whom received
patronage allowing them to stay there long-term.
Beyond these territorial movements, music can also displace musi-
cians stylistically and aesthetically. Aaron Copland arrived at his distinc-
tively “American.
Music and the New CosmopolitanismProblems and Possibilities.docxroushhsiu
Music and the New Cosmopolitanism:
Problems and Possibilities
Sarah Collins and Dana Gooley
“German composer.” “Russian composer.” “French composer.” “American
composer of Italian birth.” “Austrian composer, son of Leopold Mozart.”
These are the first sentences of the articles on Beethoven, Tchaikovsky,
Josquin Des Prez, Menotti, and W. A. Mozart from the New Grove
Dictionary, the central resource of music history research. Though the
sentences sound neutral and descriptive, they represent a particular way of
thinking about the identities of musicians, one we often take for granted:
that the nation to which a musician belongs is a “primary” fact, on par
with birth and death dates. Nations are part of the mental maps that ori-
ent us and help determine where a composer is “coming from” or where a
composer stands in the scheme of music history. Even before Mozart is the
son of Leopold, Grove tells us, he is the offspring of Austria. National tags
emplace musicians not only territorially, but also culturally. To call a mu-
sician “French” is not just to mark a place of birth but also to imply his or
her imbrication with the communal, institutional, and aesthetic affiliations
of the French nation. For reasons both pragmatic and ideological, the
communities of scholarship that shape, interrogate, and revise music–his-
torical narratives have found national frameworks difficult to avoid or
resist.
But national frames, however enabling for certain purposes, can also
be limiting, since the nation is only one among many possible entities or
communities to which music can establish a sense of belonging. Musicians
have often learned their art, acquired status, and reached audiences
through displacements and dislocations that take them beyond national
boundaries. An exceptionally strong talent or a hunger for education
might motivate them to undertake an international tour or seek out a par-
ticular music teacher in a faraway place. “In every time and place for
which a history can be written,” writes Celia Applegate, “one could
probably—in cases definitely—find musicians on the move.”1 Sometimes
these displacements are simply a matter of opportunity. In the fifteenth and
sixteenth centuries, patronage and diplomacy brought Franco-Flemish
doi:10.1093/musqtl/gdx006 99:139–165
The Musical Quarterly
VC The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions,
please e-mail: [email protected]
Deleted Text: -
polyphonists to Italy. In the mid-eighteenth century, Italian troupes traveled
to Paris and had a major impact on the city’s theatrical and intellectual life.
In the first half of the nineteenth century Russia attracted composers and
virtuosos from England, France, Germany, and Italy, many of whom received
patronage allowing them to stay there long-term.
Beyond these territorial movements, music can also displace musi-
cians stylistically and aesthetically. Aaron Copland arrived at his distinc-
tively “American ...
Lecture slides for MA Contemporary Art Theory and for MFA Visual Culture students at Edinburgh College of Art.
http://www.eca.ac.uk/pdf/getCourse.php?id=88
Gudrun Wallenböck, Founder and Artistic Director, Hinterland GalleryVictoria Durrer
Gudrun Wallenböck, Founder and Artistic Director, Hinterland Gallery, reflected on her experiences, roles, assumptions and responsibilities in working within intercultural exchanges between nations at Intercultural Relations in Arts and Cultural Management Practice, the fourth seminar of an AHRC funded research network, Brokering Intercultural Exchange: Interrogating the Role of Arts and Cultural Management. The network is based at Queen's University Belfast (PI Victoria Durrer) in partnership with Heilbronn University (Co-I Raphaela Henze). www.managingculture.net
Your Excellencies, Ladies and gentlemen,
I intend to address one issue only, and that is the perilous state of our planet due to threats to peace, compounded by climate change that wastes lives and causes disabilities and disease, and how UNESCO ideals and goals could help. We have always had wars, but in the past 70 years they were fairly simple ones. They were mostly proxy wars between the two major superpowers and as a rule they started when required, finished when required and didn’t spread around unless required.
: The return of philoxenia? Mediatised worldmaking and thanatourist imaginari...Rodanthi Tzanelli
CHSS, Edinburgh Napier, 29 July 2016
The presentation interrogates the rationale of contemporary Greek hospitality through two types of tourism imaginaries in the context of the current European economic crisis. A radical change in the ‘picture’ of the country circulates in global media conduits that connects to past and present conceptions of philoxenia: the love of strangers, who can nevertheless be both tourists and refugees for Greeks. More specifically, I detect the emergence of a new dark and slum imaginary, which is propagated by both native and global intellectuals-activists and artists and globally disseminated in the blogosphere, the press and via other new media formats. I argue that the new imaginary of darkness, which is not dissociated from the gentleness and aesthetic-cum-emotional engagement with the other/stranger, bears the potential to re-invent Greece as a tourist destination. The change, which is informed by the European histories of art, slum and dark tourism, draws on middle-class refinement and philanthropy. But it also has its by-products in the domestic public sphere, which attains a revamped cosmopolitan ethos. This is so, because such blended foreign and domestic activist participation promotes a heroicised native ethos of salvation, closer to native histories of uprooting and forced relocation. The impoverished Greeks are recognised in this new imaginary as welcoming, empathic hosts (phíloi tõn xénõn) for the new non-Greek refugees from war-trodden world zones, and not just for affluent tourists. The paper interrogates the axiological basis of such ‘worldmaking processes’ that exceed but do not eliminate the monetary rationale of hospitality, as this is fed back into dark travel. Fusing cognitive/strategic, aesthetic and emotional motivation, these processes bear the potential to bring together tourism and wider global social imaginaries not in spite of, but in coordination with new neoliberal imaginaries of mobility.
Art is a diverse range of human activities in creating visual, auditory or performing artifacts (artworks), expressing the author's imaginative, conceptual ideas, or technical skill, intended to be appreciated for their beauty or emotional power. Other activities related to the production of works of art include the criticism of art, and the study of the history of art.
Music and the New CosmopolitanismProblems and Possibilities.docxgemaherd
Music and the New Cosmopolitanism:
Problems and Possibilities
Sarah Collins and Dana Gooley
“German composer.” “Russian composer.” “French composer.” “American
composer of Italian birth.” “Austrian composer, son of Leopold Mozart.”
These are the first sentences of the articles on Beethoven, Tchaikovsky,
Josquin Des Prez, Menotti, and W. A. Mozart from the New Grove
Dictionary, the central resource of music history research. Though the
sentences sound neutral and descriptive, they represent a particular way of
thinking about the identities of musicians, one we often take for granted:
that the nation to which a musician belongs is a “primary” fact, on par
with birth and death dates. Nations are part of the mental maps that ori-
ent us and help determine where a composer is “coming from” or where a
composer stands in the scheme of music history. Even before Mozart is the
son of Leopold, Grove tells us, he is the offspring of Austria. National tags
emplace musicians not only territorially, but also culturally. To call a mu-
sician “French” is not just to mark a place of birth but also to imply his or
her imbrication with the communal, institutional, and aesthetic affiliations
of the French nation. For reasons both pragmatic and ideological, the
communities of scholarship that shape, interrogate, and revise music–his-
torical narratives have found national frameworks difficult to avoid or
resist.
But national frames, however enabling for certain purposes, can also
be limiting, since the nation is only one among many possible entities or
communities to which music can establish a sense of belonging. Musicians
have often learned their art, acquired status, and reached audiences
through displacements and dislocations that take them beyond national
boundaries. An exceptionally strong talent or a hunger for education
might motivate them to undertake an international tour or seek out a par-
ticular music teacher in a faraway place. “In every time and place for
which a history can be written,” writes Celia Applegate, “one could
probably—in cases definitely—find musicians on the move.”1 Sometimes
these displacements are simply a matter of opportunity. In the fifteenth and
sixteenth centuries, patronage and diplomacy brought Franco-Flemish
doi:10.1093/musqtl/gdx006 99:139–165
The Musical Quarterly
VC The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions,
please e-mail: [email protected]
Deleted Text: -
polyphonists to Italy. In the mid-eighteenth century, Italian troupes traveled
to Paris and had a major impact on the city’s theatrical and intellectual life.
In the first half of the nineteenth century Russia attracted composers and
virtuosos from England, France, Germany, and Italy, many of whom received
patronage allowing them to stay there long-term.
Beyond these territorial movements, music can also displace musi-
cians stylistically and aesthetically. Aaron Copland arrived at his distinc-
tively “American.
Music and the New CosmopolitanismProblems and Possibilities.docxroushhsiu
Music and the New Cosmopolitanism:
Problems and Possibilities
Sarah Collins and Dana Gooley
“German composer.” “Russian composer.” “French composer.” “American
composer of Italian birth.” “Austrian composer, son of Leopold Mozart.”
These are the first sentences of the articles on Beethoven, Tchaikovsky,
Josquin Des Prez, Menotti, and W. A. Mozart from the New Grove
Dictionary, the central resource of music history research. Though the
sentences sound neutral and descriptive, they represent a particular way of
thinking about the identities of musicians, one we often take for granted:
that the nation to which a musician belongs is a “primary” fact, on par
with birth and death dates. Nations are part of the mental maps that ori-
ent us and help determine where a composer is “coming from” or where a
composer stands in the scheme of music history. Even before Mozart is the
son of Leopold, Grove tells us, he is the offspring of Austria. National tags
emplace musicians not only territorially, but also culturally. To call a mu-
sician “French” is not just to mark a place of birth but also to imply his or
her imbrication with the communal, institutional, and aesthetic affiliations
of the French nation. For reasons both pragmatic and ideological, the
communities of scholarship that shape, interrogate, and revise music–his-
torical narratives have found national frameworks difficult to avoid or
resist.
But national frames, however enabling for certain purposes, can also
be limiting, since the nation is only one among many possible entities or
communities to which music can establish a sense of belonging. Musicians
have often learned their art, acquired status, and reached audiences
through displacements and dislocations that take them beyond national
boundaries. An exceptionally strong talent or a hunger for education
might motivate them to undertake an international tour or seek out a par-
ticular music teacher in a faraway place. “In every time and place for
which a history can be written,” writes Celia Applegate, “one could
probably—in cases definitely—find musicians on the move.”1 Sometimes
these displacements are simply a matter of opportunity. In the fifteenth and
sixteenth centuries, patronage and diplomacy brought Franco-Flemish
doi:10.1093/musqtl/gdx006 99:139–165
The Musical Quarterly
VC The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions,
please e-mail: [email protected]
Deleted Text: -
polyphonists to Italy. In the mid-eighteenth century, Italian troupes traveled
to Paris and had a major impact on the city’s theatrical and intellectual life.
In the first half of the nineteenth century Russia attracted composers and
virtuosos from England, France, Germany, and Italy, many of whom received
patronage allowing them to stay there long-term.
Beyond these territorial movements, music can also displace musi-
cians stylistically and aesthetically. Aaron Copland arrived at his distinc-
tively “American ...
Lecture slides for MA Contemporary Art Theory and for MFA Visual Culture students at Edinburgh College of Art.
http://www.eca.ac.uk/pdf/getCourse.php?id=88
Gudrun Wallenböck, Founder and Artistic Director, Hinterland GalleryVictoria Durrer
Gudrun Wallenböck, Founder and Artistic Director, Hinterland Gallery, reflected on her experiences, roles, assumptions and responsibilities in working within intercultural exchanges between nations at Intercultural Relations in Arts and Cultural Management Practice, the fourth seminar of an AHRC funded research network, Brokering Intercultural Exchange: Interrogating the Role of Arts and Cultural Management. The network is based at Queen's University Belfast (PI Victoria Durrer) in partnership with Heilbronn University (Co-I Raphaela Henze). www.managingculture.net
Your Excellencies, Ladies and gentlemen,
I intend to address one issue only, and that is the perilous state of our planet due to threats to peace, compounded by climate change that wastes lives and causes disabilities and disease, and how UNESCO ideals and goals could help. We have always had wars, but in the past 70 years they were fairly simple ones. They were mostly proxy wars between the two major superpowers and as a rule they started when required, finished when required and didn’t spread around unless required.
: The return of philoxenia? Mediatised worldmaking and thanatourist imaginari...Rodanthi Tzanelli
CHSS, Edinburgh Napier, 29 July 2016
The presentation interrogates the rationale of contemporary Greek hospitality through two types of tourism imaginaries in the context of the current European economic crisis. A radical change in the ‘picture’ of the country circulates in global media conduits that connects to past and present conceptions of philoxenia: the love of strangers, who can nevertheless be both tourists and refugees for Greeks. More specifically, I detect the emergence of a new dark and slum imaginary, which is propagated by both native and global intellectuals-activists and artists and globally disseminated in the blogosphere, the press and via other new media formats. I argue that the new imaginary of darkness, which is not dissociated from the gentleness and aesthetic-cum-emotional engagement with the other/stranger, bears the potential to re-invent Greece as a tourist destination. The change, which is informed by the European histories of art, slum and dark tourism, draws on middle-class refinement and philanthropy. But it also has its by-products in the domestic public sphere, which attains a revamped cosmopolitan ethos. This is so, because such blended foreign and domestic activist participation promotes a heroicised native ethos of salvation, closer to native histories of uprooting and forced relocation. The impoverished Greeks are recognised in this new imaginary as welcoming, empathic hosts (phíloi tõn xénõn) for the new non-Greek refugees from war-trodden world zones, and not just for affluent tourists. The paper interrogates the axiological basis of such ‘worldmaking processes’ that exceed but do not eliminate the monetary rationale of hospitality, as this is fed back into dark travel. Fusing cognitive/strategic, aesthetic and emotional motivation, these processes bear the potential to bring together tourism and wider global social imaginaries not in spite of, but in coordination with new neoliberal imaginaries of mobility.
Art is a diverse range of human activities in creating visual, auditory or performing artifacts (artworks), expressing the author's imaginative, conceptual ideas, or technical skill, intended to be appreciated for their beauty or emotional power. Other activities related to the production of works of art include the criticism of art, and the study of the history of art.
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
Matt Rife Cancels Shows Due to Health Concerns, Reschedules Tour Dates.pdfAzura Everhart
Matt Rife's comedy tour took an unexpected turn. He had to cancel his Bloomington show due to a last-minute medical emergency. Fans in Chicago will also have to wait a bit longer for their laughs, as his shows there are postponed. Rife apologized and assured fans he'd be back on stage soon.
https://www.theurbancrews.com/celeb/matt-rife-cancels-bloomington-show/
Hollywood Actress - The 250 hottest galleryZsolt Nemeth
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Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
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As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
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Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
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1. ANNOUNCEMENT FESTIVALAKADEMIE
22. INTERNATIONALE SCHILLERTAGE
22.06.-02.07.2023
Schöne Welt, da bist du! – Beautiful world, there you are!
Organisation: Johanna-Yasirra Kluhs und Laura Strack
“Beautiful world, where are you?” is the question posed by the festival “Internationale
Schillertage” in 2023. The verse originates from a poem by Friedrich Schiller. The
Festivalakademie (“festival academy”) offers an accompanying framework for
reflecting on the artistic programme and exploring the festival theme in depth.
There are different possible interpretations for the festival topic. For example: “Beau-
tiful world, you have once been there then disappeared, where are you now?” There
is a glimpse of melancholia in the phrase, a nostalgic pity, maybe a conscious or un-
conscious feeling of guilt. Or: “Beautiful world that has never been, where are you
and how do we get to you?” which sounds like utopia and the dream of the unknown
heavenly island beyond the horizon. It reminds us of the great, mighty ship of west-
ern modern age whose crew crosses borders, occupies territories and exports the
so-called progress.
The Festivalakademie chooses a third option of interpreting the topic in the context of
our time. It does not summon utopias or mourns for the lost paradise but calls out
“Beautiful world, there you are!” and gathers concrete, aesthetic and real life prac-
tices that affirm our present time and are constantly transforming it.
The experimental and militant micro-institution École des Actes (Aubervilliers, FR)
develops forms of socialisation, practical politics, scenic art and poetry in the precar-
iat of Parisian suburbs. In “Assemblées”, it works locally on an existential practice of
living together, which does not understand peace as the opposite of war.
Daphné Achermann (Tours, FR) is a dancer, choreographer, pianist and non-medi-
cal practitioner. In her work, she searches for options to enhance our human per-
spective for other living and not-living beings. It is about attentiveness for the disre-
garded, about weeds, undergrowth, the cosmic in the tiniest things – and our own
swarming in it.
Gérald Kurdian is a non-binary musician, performer, radio artist and DJ whose per-
formances with people and machines create hybrid rooms in which the common
boundaries of identity, gender and genre liquefy. In different performative and musi-
cal projects, they work on alternative forms of sexualities and queer micro-policies as
in his latest play “X! (Un opera fantastique)”: Can love and alternative sexualities con-
tribute to healing capitalism?” Alexis Rodríguez Suárez (Bochum, DE), who is a cul-
tural anthropologist and a queer cis man of colour living in the diaspora, works on
practical, interdisciplinary, participative projects of research and creation since 2008.
In the last couple of years, he has developed multiple literary approaches to Border-
lands / La Frontera: The New Mestiza by US-American author Gloria Anzaldúa. The
author combines writing about queerness with history, examination of landscapes
and economic conditions and, by that, creates a poetry of hybridity.
2. The Festivalakademie consists of three two-day workshops that each discuss a con-
crete artistic or political practice. Furthermore, the participants attend the showings and
events of the festival together, meet artists and organizers, dive deep into literature
and reflection and enjoy lively breaks.
The invitation addresses students of artistic and cultural studies as well as people
who work or have worked in artistic jobs or professions of cultural studies. Partici-
pants from other occupations are welcome too. All participants receive a scholarship
for the Festivalakademie that includes staying with a host family in Mannheim, a
grant for travelling expenses and catering.
The Festivalakademie and the festival itself take place in German, French and possibly
English. It is mandatory to know at least one of these languages to participate.
Your application
We ask all interested people to hand in a letter of motivation (ca. one page). You can
base it on the following questions:
What is your practical artistic, scientific, critical or transformative experi-
ence and what are you currently working on?
Why are you interested in the festival and / or its theme?
Please send your applications to ntm.festivalakademie@mannheim.de until 30
April 2023.
About the festival and the Festivalakademie
The “Internationale Schillertage” are a biannual festival for theatre organized by the
Nationaltheater Mannheim since 1978. Curated by Christian Holtzhauer since 2018,
the Schillertage not only discuss Schiller’s dramatic works but the world of his ideas
and their reflection in modern times.
From the first edition on, the Schillertage are known for their diverse theoretical, his-
torical and practical additional program accompanying the festival. Since 2019, theater
scholar Laura Strack and dramaturg Johanna-Yassira Kluhs head the Festivalakade-
mie. They have developed a democratic place for interdisciplinary learning and ex-
change of ideas.
