During our visit to the Blanton Museum on Thursday we analyzed Francisco de Goya’s series of prints including La tauromaquia (1815-1816)‚ Los desastres de la guerra (1810-1820)‚ Los disparates (1815-1823) and other paintings selected to be featured in the exhibit. The first room was headed by a self portrait of Goya in Traje de luces introducing the La tauromaquia series. I was taken aback when I walked into the first exhibit room and saw the amount of detail in each of Goya’s pieces. We can only
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combat.. killing people; perhaps even your own family. Well that’s just a glimpse at what it’s like to become a child soldier. Former child soldier‚ Ishmael Beah says he ‘sometimes feels that living in New York City‚ having a good family and friends‚ and just being alive is a dream‚ that perhaps this second life of mine isn’t really happening.’ (Beah) But what are child soldiers you might ask? They are any children under the age of 18‚ recruited by an armed
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Twenty- one. A guard of the Tomb of the Unknown Soldier takes twenty-one steps during his walk across. This number alludes to the twenty-one gun salute‚ the highest honor given any military of foreign dignitary. The guards hold their task in their highest regards. They look their ability to guard the Tomb of the Unknown in highest regards. Similarly‚ it would be an indescribable honor for me to be able to lay the wreath upon the Tomb. Three reasons why it would be such an honor to be able to
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INTRODUCTION: THE RESEARCH PROBLEM This paper purports to discuss the child soldiers forcibly produced and abused by the armed conflict between the National Army and the rebel Lord’s Resistance Army (LRA) in Uganda. Despite the fact that horrifying violence perpetrated against children in Africa has gained growing concern‚ most people assume childhood exploitation is an ‘inevitable tragedy’ inflicted by armed conflicts. Moreover‚ the children are approached in a holistic manner although each country
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The Universal Museum – a valid model for the 21st century? Introduction In October 2002‚ the International Group of Organisers of Largescale Exhibitions‚ also known as the Bizot Group — a forum comprising directors of 40 of the world’s major museums and galleries — gathered in Munich for their annual informal discussion.1 The meeting was convened specifically to address the problem of how to confront the growing number of requests for repatriation of objects from ‘universal’ museums and in particular
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Shauna Crawford Mr. Meadows ENG 102 20 January 2014 Soldier Do not speak unless spoken to; always begin and end your sentence with “Drill Sergeant;” stand up straight; lace up your boots tighter; blouse your pants like this; do not say sorry‚ try harder; curl those damn fingers; thirty inch steps precisely not baby ones; just look forward to chow time; lights out is at 2100 sharp; wake up is at 0400; quit making excuses; this is how you shine your shoes; this is how you make a bed; this is how
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The Unrecognized Soldier In the beginning of the short story “Soldier Home‚” by Ernest Hemingway‚ the main character‚ Harold Krebs is introduced as a young‚ religious‚ college frat boy who joins the Army along with some of his fellow peers. He spent 2 years in the Rhine and even took a photo with 2 unattractive German Ladies. When Krebs returns home to an almost unnatural world he feels unfit and unwelcome due to the lack of compassion and notoriety from his home town of Oklahoma. Hemingway says
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Digital (in) Museums The project is structured as a subjective analysis over the “state of the art” of digital applications in museums and exhibition. First‚ it will investigate the concept of adding value‚ though digital supports‚ to traditional observations of artworks. In a
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the military reserve forces were called up.Educational guesses of how many Irish males had fought in the First World War differ‚ but it is now generally accepted that approximately 200‚000 soldiers from the island of Ireland served over the course of the war.Most of them would not be the professional soldiers and Territorials who fought in those first violent confrontation in 1914‚ but were
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Are Seltz’s new Japanese museums ‘counter-museums’ by Patterson’s definition? Patterson and Seltz introduce new museums differing in subject matter‚ context and methodology‚ but sharing analogous goals. The Jim Crow Museum of Racist Memorabilia (JCM) in the United States is touted by Patterson as a ‘counter-museum’ that ‘seek[s] to engage visitors as active participants in dynamic‚ continuing memorial processes’ (66)‚ and one that ‘seeks to use products of intolerance to teach understanding’ (68)
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