Highway Construction Materials and PracticeSenthamizhan M
Sub grade soil is an integral part of the road pavement structure as it provides the support to the pavement from beneath.
The sub grade soil and its properties are important in the design of pavement structure.
The main function of the sub grade is to give adequate support to the pavement and for this the sub grade should possess sufficient stability under adverse climatic and loading conditions.
Highway Construction Materials and PracticeSenthamizhan M
Sub grade soil is an integral part of the road pavement structure as it provides the support to the pavement from beneath.
The sub grade soil and its properties are important in the design of pavement structure.
The main function of the sub grade is to give adequate support to the pavement and for this the sub grade should possess sufficient stability under adverse climatic and loading conditions.
Film language micro elements toolkit and revision mats for analysing key scen...Ian Moreno-Melgar
A series of 'mats' I use for analysing different aspects of film language. Useful for film and media studies, there is a variety of 'mats' here that I've found to be very useful for students who are analysing or revising when working with whole films, key scenes, or extracts. The final page of this PDF document contains a description/explanation of how I have used these documents in my classroom.
Hopi Kachina TraditionFollowing the Sun and MoonAlph H. SecaPazSilviapm
Hopi Kachina Tradition
Following the Sun and Moon
Alph H. Secakuku and the Heard Museum
1995
Walpi, one of the Hopi villages on First Mesa
Ahöla or Ahölwutaqa
Elderly, wise chief
Ewtoto, spiritual father and Áholi, his assistant
Muyingwa, Germination god
Motsinkatsinam carry out public order
Nata’aska, a Bigmouth Ogre,appears in pairs
Palhikmana is a maiden with several functions
Poliimana is a butterfly maiden who appears
with Poliitaqa, a butterfly man
Kawaykatsinam is a horse katsina.
His songs and prayers are for rain and green pastures for animals
Tokotsi or Tokotskatsina is a Wildcat katsina
Kokopölö is a humpback katsina fertility spirit being
Manang’yakatsina is a chameleon katsina
Tsa’kwynakatsina is a warrior and represents cold moisture
Malatsvetaqa is a Handprint Racer katsina
Marawkatsinam represent moisture and are messengers to the rain gods
Tseveyo is an Ogre katsina whose function is that of a disciplinarian
Photo courtesy Summer 2011 Koshare News
Three generations of Boy Scout Troup 232 Koshare Dancers at the Koshare Indian Museum kiva on June 18, 2011.
Houska: Boy Scout Koshare Dancers Need to Stop Stealing From Natives
Tara Houska • February 12, 2016
It’s an honor. Respect. Appreciation. Tradition. You just don’t understand. So go the familiar excuses made for appropriating culture to the objecting group.
The Boy Scouts are a prime ongoing example of this phenomenon, but perhaps reevaluation will lead to change. In mid-December, the “Koshare Dancers,” a so-called interpretive dance group from Boy Scout Troop 232, located in La Junta, Colorado, cancelled their Winter Dances at the request of the Hopi Nation Cultural Preservation Office. Whether this is permanent remains to be seen.
Koshare Dancers. Photo courtesy Wikipedia.
Since the 1930s, the Koshare Dancers of Boy Scout Troup 232 have been performing their version of Hopi, Lakota, Kiowa, Ojibwe, Blackfoot, Diné and Comanche religious ceremonies. Originally begun by James “Buck” Burshears as the “Boy Scout Indian Club,” mimicking Native American cultures became a core theme of Troup 232.
New members are called “Papooses,” and work toward the rank of “Koshare Brave,” which requires that troops learn five Koshare dances and create their version of traditional regalia. “Clan Chief” follows, upon reaching the rank of Eagle Scout.
Objections by Native Americans have punctuated the history of the Koshare Dancers. As reported by Chip Colwell-Chanthaphonh, in the early 1950s a scout named Charlie Nickerson sought to include a Zuni dance he had read of in the Smithsonian’s Bureau of American Ethnology series, called the Shalako. Photos of the troop engaging in the religious ceremony clad in mock regalia reached the nearby Zuni.
Tribal leaders were so angered they called upon the local Indian Commissioner to file a report and threatened to close their reservation borders. Thinking he coul ...
Film language micro elements toolkit and revision mats for analysing key scen...Ian Moreno-Melgar
A series of 'mats' I use for analysing different aspects of film language. Useful for film and media studies, there is a variety of 'mats' here that I've found to be very useful for students who are analysing or revising when working with whole films, key scenes, or extracts. The final page of this PDF document contains a description/explanation of how I have used these documents in my classroom.
Hopi Kachina TraditionFollowing the Sun and MoonAlph H. SecaPazSilviapm
Hopi Kachina Tradition
Following the Sun and Moon
Alph H. Secakuku and the Heard Museum
1995
Walpi, one of the Hopi villages on First Mesa
Ahöla or Ahölwutaqa
Elderly, wise chief
Ewtoto, spiritual father and Áholi, his assistant
Muyingwa, Germination god
Motsinkatsinam carry out public order
Nata’aska, a Bigmouth Ogre,appears in pairs
Palhikmana is a maiden with several functions
Poliimana is a butterfly maiden who appears
with Poliitaqa, a butterfly man
Kawaykatsinam is a horse katsina.
His songs and prayers are for rain and green pastures for animals
Tokotsi or Tokotskatsina is a Wildcat katsina
Kokopölö is a humpback katsina fertility spirit being
Manang’yakatsina is a chameleon katsina
Tsa’kwynakatsina is a warrior and represents cold moisture
Malatsvetaqa is a Handprint Racer katsina
Marawkatsinam represent moisture and are messengers to the rain gods
Tseveyo is an Ogre katsina whose function is that of a disciplinarian
Photo courtesy Summer 2011 Koshare News
Three generations of Boy Scout Troup 232 Koshare Dancers at the Koshare Indian Museum kiva on June 18, 2011.
Houska: Boy Scout Koshare Dancers Need to Stop Stealing From Natives
Tara Houska • February 12, 2016
It’s an honor. Respect. Appreciation. Tradition. You just don’t understand. So go the familiar excuses made for appropriating culture to the objecting group.
The Boy Scouts are a prime ongoing example of this phenomenon, but perhaps reevaluation will lead to change. In mid-December, the “Koshare Dancers,” a so-called interpretive dance group from Boy Scout Troop 232, located in La Junta, Colorado, cancelled their Winter Dances at the request of the Hopi Nation Cultural Preservation Office. Whether this is permanent remains to be seen.
Koshare Dancers. Photo courtesy Wikipedia.
Since the 1930s, the Koshare Dancers of Boy Scout Troup 232 have been performing their version of Hopi, Lakota, Kiowa, Ojibwe, Blackfoot, Diné and Comanche religious ceremonies. Originally begun by James “Buck” Burshears as the “Boy Scout Indian Club,” mimicking Native American cultures became a core theme of Troup 232.
New members are called “Papooses,” and work toward the rank of “Koshare Brave,” which requires that troops learn five Koshare dances and create their version of traditional regalia. “Clan Chief” follows, upon reaching the rank of Eagle Scout.
Objections by Native Americans have punctuated the history of the Koshare Dancers. As reported by Chip Colwell-Chanthaphonh, in the early 1950s a scout named Charlie Nickerson sought to include a Zuni dance he had read of in the Smithsonian’s Bureau of American Ethnology series, called the Shalako. Photos of the troop engaging in the religious ceremony clad in mock regalia reached the nearby Zuni.
Tribal leaders were so angered they called upon the local Indian Commissioner to file a report and threatened to close their reservation borders. Thinking he coul ...
This presentation was designed under the umbrella of the course Digital Modernisms. It was a course delivered from the university of Edinburgh and it was mainly focused on discovering digital tools like NodeExcel, Voyant tools, Zotero, MapBox, ManyEyes and more.Through these we experimenting with the analysis of literary texts.
Digital Humanities
http://www.drps.ed.ac.uk/13-14/dpt/cxenli11198.htm
n this course we will examine the intersection of Digital Humanities and Modernist Studies. In recent years scholars of literary modernism have embraced the potential of digital technologies, exploring the innovative modes of analysis and critical methods they make possible and thereby generating new insights into modernist literature. At the same time, many of the key paradigms that we associate with modernism¿ideas about the radical and the new, the inter-medial and the experimental¿have underpinned debate about the value of digital media and digital scholarship. We will analyse projects and discussions that have resulted from this mutual engagement, evaluating their contribution to Modernist studies, considering the kinds of questions that they raise, and contextualising them in broader debates about the future of humanities scholarship. In parallel, we will also conduct our own practical exploration of digital humanities tools and methods, experimenting with technologies such as encoding, text mining, network analysis, and mapping, in order to collaboratively analyse and explore modernist texts.
Parasystole Journey: Visiting Ancient Light Tribes During Shamanic Journeys B...Margaret E. Gill
What I have done during these journeys can be explained by using Michael Talbot's view, as described in his book, "The Holographic Universe". I have "plucked out scenes from the long-forgotten past." And in so doing, I have changed what happened.
Here is his explanation:
"In a holographic universe, even time and space could no longer be viewed as fundamentals. Because concepts such as location break down in a universe in which nothing is truly separate from anything else, time and three-dimensional space, like the [two] images of the fish on the TV monitors, would also have to be viewed as projections of this deeper order. At its deeper level, reality is a sort of superhologram in which the past, present, and future all exist simultaneously. This suggests that given the proper tools it might even be possible to someday reach into the superholographic level of reality and pluck out scenes from the long-forgotten past."
This document describes my original contact with the Ancient Alien Light Tribes, in April of 1988. It is excerpted from "Paintings of the Rhombi Chronicles: a Series of Lucid Dreams and Journeys."
Please see that Slideshare document, Draft 4, for a full updated explanation of the paintings mentioned in page 2 of this excerpt.
1
P e b La H e
T e Ne S ea R e
By Langston Hughes (1921)
I e kno n i e :
I e kno n i e ancien a he o ld and olde han he flo of h man blood in h man ein .
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln en do n o Ne O lean , and I e een
its muddy bosom turn all golden in the sunset.
I e kno n i e :
Ancient, dusky rivers.
My soul has grown deep like the rivers.
https://www.poetryfoundation.org/poets/langston-hughes
2
M e S
By Langston Hughes (1922)
Well, on, I ll ell o :
Life fo me ain been no c al ai .
I had ack in i ,
And splinters,
And boards torn up,
And places with no carpet on the floor
Bare.
But all the time
I e been a-climbin on,
And eachin landin ,
And nin co ne ,
And ome ime goin in he da k
Whe e he e ain been no ligh .
So bo , don o n back.
Don o e do n on he e
Ca e o find i kinde ha d.
Don o fall no
Fo I e ill goin , hone ,
I e ill climbin ,
And life fo me ain been no c al ai .
https://www.poetryfoundation.org/poets/langston-hughes
3
I, T
By Langston Hughes (1925)
I, too, sing America.
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I ll be a he able
When company comes.
Nobod ll da e
Say to me,
Ea in he ki chen,
Then.
Besides,
The ll ee ho bea if l I am
And be ashamed
I, too, am America.
https://www.poetryfoundation.org/poets/langston-hughes
4
T e Wea B e
By Langston Hughes (1925)
Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway. . . .
He did a lazy sway. . . .
To he ne o ho e Wea Bl e .
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming f om a black man o l.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan
Ain go nobod in all hi o ld,
Ain go nobod b ma elf.
I g ine o i ma f o nin
And ma o ble on he helf.
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more
I go he Wea Bl es
And I can be a i fied.
Got the Weary Blues
And can be a i fied
I ain ha no mo
And I i h ha I had died.
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He le like a ock o a man ha dead.
https://www.poetryfoundat ...
1
P e b La H e
T e Ne S ea R e
By Langston Hughes (1921)
I e kno n i e :
I e kno n i e ancien a he o ld and olde han he flo of h man blood in h man ein .
My soul has grown deep like the rivers.
I bathed in the Euphrates when dawns were young.
I built my hut near the Congo and it lulled me to sleep.
I looked upon the Nile and raised the pyramids above it.
I heard the singing of the Mississippi when Abe Lincoln en do n o Ne O lean , and I e een
its muddy bosom turn all golden in the sunset.
I e kno n i e :
Ancient, dusky rivers.
My soul has grown deep like the rivers.
https://www.poetryfoundation.org/poets/langston-hughes
2
M e S
By Langston Hughes (1922)
Well, on, I ll ell o :
Life fo me ain been no c al ai .
I had ack in i ,
And splinters,
And boards torn up,
And places with no carpet on the floor
Bare.
But all the time
I e been a-climbin on,
And eachin landin ,
And nin co ne ,
And ome ime goin in he da k
Whe e he e ain been no ligh .
So bo , don o n back.
Don o e do n on he e
Ca e o find i kinde ha d.
Don o fall no
Fo I e ill goin , hone ,
I e ill climbin ,
And life fo me ain been no c al ai .
https://www.poetryfoundation.org/poets/langston-hughes
3
I, T
By Langston Hughes (1925)
I, too, sing America.
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I ll be a he able
When company comes.
Nobod ll da e
Say to me,
Ea in he ki chen,
Then.
Besides,
The ll ee ho bea if l I am
And be ashamed
I, too, am America.
https://www.poetryfoundation.org/poets/langston-hughes
4
T e Wea B e
By Langston Hughes (1925)
Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway. . . .
He did a lazy sway. . . .
To he ne o ho e Wea Bl e .
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming f om a black man o l.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan
Ain go nobod in all hi o ld,
Ain go nobod b ma elf.
I g ine o i ma f o nin
And ma o ble on he helf.
Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more
I go he Wea Bl es
And I can be a i fied.
Got the Weary Blues
And can be a i fied
I ain ha no mo
And I i h ha I had died.
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He le like a ock o a man ha dead.
https://www.poetryfoundat ...
REALITY THROUGH THE ARTSPeople express themselves throug.docxcatheryncouper
REALITY THROUGH THE
ARTS
People express themselves through
sound
visual images
movement
What kind of realities are
expressed?
• What people do - what are the big
emotions? Love? Hate? Success? Greed?
• Events and records of events.
• What people look like? Portraits.
• Natural phenomena - explanations.
• Human relationships and abstract
relationships.
• How something feels – ecstasy, fear, awe,
joy .
Modes of Expression
• Sound = Singing
– Chanting
– Speaking
• Visually = Pictures
– Sculpture
– Buildings
– Body Decoration
– Writing
• Movement = Dancing
• Combinations
This is Pierre, abstract artist
Chimpanzee “Pierre”
• Pierre is an adult
Chimpanzee male.
Adult chimps have an
equivalent mental
capacity of a human
five year old.
• Here’s what an adult 5
year old makes -
Modes of Expression
• Here’s what a 5 year old
human makes!
Jackie Hart, kindergarten
class, Los Altos
• What’s the difference
between this and the
chimpanzee’s expression?
Pierre
Jackie Hart
Richard Anuskiewicz, Florescent Compliment
Now, here’s what an abstract artist makes who is an adult human. What’s
different? Concept?? Motor control of the brush?? Space? What creates
the sense of motion in Anuskiewicz’s, in Pierre’s, in Jackie’s?
Think of ‘art’ instead of ‘Art’
ART AS TECHNOLOGY
A system of tools (as technologies)
people use to adapt to their physical
and mental environments to secure survival.
• Acts as a tool for communication with
• people (each other, strangers, others)
• the environment
• the universe and about universal concepts.
ART AS TECHNOLOGY
• People communicate with art
• Tool for making intangible concepts/ideas - tangible or
visible.
• Acts as a form of recreation, mental healing and therapy.
• Becomes important in specific social/economic/religious/
and political contexts.
• where mnemonicsystems can be employed to store
information that the culture knows is important to
their survival or continuity.
Let’s look at some examples!
People communicate with images
To identify:
To remember:
To honor:
Art As Technology
Images used as warning:
Art as Technology
Images can make the invisible - visible and tangible
Nora Ezell,
Jones Valley
Quilt
Designs come
from codes
used in the
Underground
Railway during
slavery in the
US.
Ernesto Salazar,
“si se puede!”
Bob Haouzus, Apache,
Borders (sculpture)
Harry Fonseca, Nissenan,
Maidu Creation Myth
In traditional cultures, masks may be used to represent status, heritage,
identity
Mohawk Hard Hat
Mohawk men currently work
in construction, building sky-
scrapers in Manhattan.
Kwakiutl Transformation Mask
They are proud of their work Family crest masks that show
because they are not afraid of (literally) the original ancestor
heights so they’re the ones who of the clan and the animal, bird
rivet the I-beams in place as the or fish/marine mammal with
skyscraper goes up and u ...
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
2. INDEX
• Introduction
– Author
– Characters
– Plot
• Topic: the journey
- External journey
- Internal journey
-Culture
-Loss of identity
• Conclusion
3. Author
Paule Marshall
-She is an American author. She was born in Brooklyn (New York) in 1929.
Her family belong to the Barbadian culture since they emigrated to the
USA. Also, she married a Haitian businessman and they travelled several
times from NY to the Caribbean Islands.
-She is also the author of Daughters, Brown Girl, Brownstones, The chosen
place, The timless people, Soul clap hands and sing, and Reena and other
stories.
-Her major themes are based on travelling, psychic reintegration, and gender
relations in a patriarchal, postcolonial, capitalist, and white supremacist
world.
4. Characters
• Avey Johnson (Avatara)
• Jerome Johnson
• Marion Johnson
• Annawilda Johnson
• Sis Johnson
• Thomasina Moore
• Clarise
• Lebert Joseph
• Rosalie Parvay
• Great-aunt Cuney
6. Plot
• The widow Avey Jonhson is doing a Cruise on the Biance Pride
with her friends.
• She starts feeling sick and abandons the cruise in Grenade.
• She meets Leberth Joseph and they go to Carriacou Island.
• Joseph helps her to remind her origins.
• She recovers her culture.
8. Topic: the journey
-The internal journey
Culture
- Language:
*No communication with out-islanders.
“Excuse me, do you know where I might find a taxi?... He turned
to her with a polite smile and, pointing toward the empty
roadway, spoke rapidly in Patois; seconds later, still smiling at her
over his shoulder, he was moving away in the crowds… She
realized then with a start that everyone around her was speaking
Patois.” (67)
9. The internal journey
*Inability to speak Patois (Creole dialect).
But, hearing it reminds her origins.
“…She had heard it that first time and it had fleetingly called
to mind the way people spoke in Tatem long ago. There had
been the same vivid, slightly atonal music underscoring the
words. She had heard it and that night from out of nowhere
her great-aunt had stood waiting in her sleep…”(67)
10. The internal journey
*Avey’s lack of comprehension in Patois
emphasizes her cultural ineptness and her
isolation from those around her. She feels
uncomfortable and confused with their
cultural traditions. However, this is the
starting point to consider that she had
forgotten origins.
11. The internal journey
Culture
- Dance and Music
*She remembers her aunt dancing the Ring
Shout.
“The old woman (she had been young then) had been caught
“crossing her feet” in a Ring Shout being held there and had
been ordered out of the circle.” (33)
12. The internal Journey
*She used to dance with Jay at home.
“Sometimes the most frivolous things from those vanished years on
Halsey Street came to mind. One night, she caught herself reliving
the ridiculous dances Jay used to stage just for the two of them in
the living room whenever the mood struck him.” (123)
“Moreover (and again she only sensed this in the dimmest way),
something in those small rites, an ethos they held in common, had
reached back beyond her life and beyond Jay’s to join them to the
vast unknown lineage that had made their being possible.” (137)
13. The internal journey
*Ceremonial dances in Carriacou
-The dance rituals derivates from the Sacred West African
Circle Dance, function not only as a healing rite but as unique
spiritual ties which bind blacks together throughout the
diaspora.
“So you know, you remember Juba,” he repeated, giving it the wide meaning. “Come,
show me how they dances it where you’s from”.
“She went back to shaking her head. “No one dances it anymore. It’s only
something you might hear or read about.””
“In Carriacou is mainly the women dances the Juba, “…”They does it in pairs,
facing each other and holding the long skirt to their dresses up off the ground”-
with one handle delicately lifted an imaginary hem off the floor.” (178).
14. The internal Journey
*Praise song:
”one of the most widely used poetic forms in Africa; a
series of laudatory epithets applied to gods, men,
animals, plants, and towns that capture the essence of
the object being praised. Professional bards, who may be
both praise singers to a chief and court historians of their
tribe chant praise songs…”
Encyclopedia Britannica
15. The Internal Journey
Loss of identity
-Body: Spiritually and Physically
*Dreams
-Avey’s dreams are the first signs that show this disconnection
with the past.
“There had been the dream three nights ago, to begin with. As a rule she
seldom dreamed. Or if she did, whatever occurred in her sleep was always
conveniently forgotten by the time she awoke. It had been like this ever
since the mid-sixties. Before then, she had found herself taking all the
nightmare images from the evening news into her sleep with her(….)Her
dreams were a rerun of it all.” (31)
16. The internal journey
*Mirror
-The mirror is a sign that reveals her loss of
identity.
“She easily recognized them both in the distant mirror. But for a long
confused moment Avey Johnson could not place the woman in
beige crepe de Chine and pearls seated with them.” (48)
17. The internal journey
*Sickness
-She starts feeling sick in the boat.
"the vaguely bloated feeling she could in no way account for ... the mysterious
clogged and swollen feeling which differed in intensity and came and went
at will" (52).
-She feels sick in the hotel in Grenada.
“her mind, (…), had been emptied of the contents of the past thirty years
during the night, so that she had awakened with it like a slate that had
been wiped clean, a tabula rasa upon which a whole new history could be
written.” (151)
18. The Internal Journey
*Vomits
-She purges herself in order to clean her body and mind.
“She vomited in a long loud agonizing gushes…” (204)
“The contractions changed directions ... moving down into the well of her
body. All of a sudden, before she could even grasp what was taking place,
the powerful spasms were reaching deep into her. She tried clearing her
head of the dimness. She started to ask herself some unformed question.
But it was already too late. Because with a sudden shift in direction, the
bloated mass that couldn't be--whatever was left of it--was being
propelled down also. Down past her navel. Down through the maze of her
intestines. Down into her bowel ... the clenched muscles easing,
relinquishing their hold under the pressure, and then, quickly, the
helpless, almost pleasurable giving way. (207)
19. The internal journey
*Cleaning
-Joseph and Rosalie are the ones who introduce her to the
culture.
-They help her in the initiation to the culture by cleaning her.
“Slowly, in a manner designed to put Avey Johnson at ease, she washed a hand, an
arm, a shoulder, a breast, bathing only one side of her at a time which made it
easier to keep her covered.” (219-220)
-After the cleaning, she feels different and ready for the
ceremony
“Meanwhile, Rosalie Parvay had turned her attention to the upper half of her legs
which she had left for the last. And her touch, Avey Johnson realized, her body
stiffening momentarily, had changed.” (223)
20. Conclusion
• The author shows the odyssey of Avey Johnson who needs to
find her cultural roots.
• She can reach her culture doing the external and internal
journey.
-The external journey introduces her to the past memories.
Therefore, she begins an internal journey.
-The internal journey provokes her an extreme physical
discomfort, illness, purging, healing, bathing, and dancing.
• Finally, Avey has been able to make an emotional journey that
has restored her awareness of her cultural inheritance.
21. Conclusion
The fiction of Paule Marshall: reconstructions of history, culture, and gender.
Dorothy Hamer Denniston. (130)