Academic literature on the topic 'Orrin King'

Fotografias premiadas se consagraram na história da humanidade por capturar fatos incríveis de uma determinada época. Nomes como: Herald Tribune, Ruth Orkin, Robert Doisneau, Kevin Carter e outros exibiram fotografias que durante anos se sustentaram como uma espécie de narrativa documental produzindo no mundo um efeito de verdade. Fotografias que ao serem revistadas anunciam outras narrativas, novas miradas, leituras, escrita, cultivo de pensamentos. E se a fotografia for deslocada da representação do real para cogitar sobre si novos percursos e sentidos? Dois movimentos animam esta reflexão: a) tomar fotografias que marcaram fatos históricos não para buscar a verdade, mas para assumir o valor de superfície contido na imagem e refletir sobre realidade e ficção; b) entender que a fotografia é texto ficcional e pode ajudar a expandir a noção de pós-verdade indo ao encontro das diferenças, transbordando significados, significantes e sentidos. PALAVRAS-CHAVE: Fotografia; ficção; pós-verdade. ABSTRACT Award-winning photographs have been made sacred in the history of humanity by capturing incredible events of a particular era. Names such as: Herald Tribune, Ruth Orkin, Robert Doisneau, Kevin Carter and others exhibited photographs that for years have held up as a kind of documentary narrative producing in the world a true effect. Photographs that, when searched, announce other narratives, new looks, readings, writing, thoughts. What if the photograph is moved from the representation of the real to think about new paths and senses? Two movements animate this reflection: a) taking photographs that marked historical facts not to seek the truth, but to assume the surface value contained in the image and in order to reflect about reality and fiction; understanding that photography is a fictional text and it can help to expand the notion of post-truth by meeting differences, overflowing meanings KEYWORDS: Photography; fiction; Post-truth. RESUMEN Fotografías ganadoras son consagrados en la historia humana mediante la captura de increíbles hechos de determinadas épocas. Nombres como: Herald Tribune, Ruth Orkin, Robert Doisneau, Kevin Carter y otros exhibieron fotografías que desde hace años llevan a cabo un tipo de narrativa documental que produce en el mundo un efecto real. Fotografías estas que al seren revisitadas anuncian otras narrativas, nuevas miradas, lectura, escritura, cultivo de pensamentos. Y si la fotografia for desplazada de la representación real para pensar sobre si misma nuevos caminos y direcciones? Dos movimientos animan esta reflexión: a) tomar fotografías que marcaron hechos históricos no para buscar la verdad, sino para tomar el valor de superficie de la imagen y reflexionar sobre realidad y ficción; b) comprender que la fotografía es un texto de ficcional y puede ayudar a ampliar el concepto de pos verdad yendo al encuentro de las diferencias, desbordando significados, significantes y sentidos. PALABRAS CLAVES: Fotografía; la ficción; pos verdad.

"The strength of America is in its diversity, and this diversity includes theIslamic component, which is part of the American mainstream now." Soproclaimed ISNA secretary general Sayyid M. Syeed while inauguratingthe sixth annual ISNA Islam in America Conference, which is now part ofthe American academic calendar.Held in Chicago on July 5-7, four conferences were featured: Islam inAmerica, Islam among Latino Americans, Islam in American Prisons, andMuslim Refugee Resettlement in America. The mainstream American mediawas there in full to cover these events.l n his inaugural address, Syeed said that Muslims must continue toshape their public identity as they further integrate into mainstreamAmerican society. He added that while public perceptions about Muslimsand Islam have improved over the last 30 years, there is still work to bedone. He stated that ISNA will continue to serve Muslim Americans andpromote understanding among all Americans, and that INSA has receiveda federal faith-based initiative grant for a project.Mary Ann Peters, American ambassador to Bangladesh, remarked inher keynote address that America derives its strength from diversity andstressed that there is no acceptable level of intolerance in America. Sheinformed the audience that she had reached out to over 2,000 Bangladeshireligious leaders to promote womens' rights in their country, and that pro­moting democracy overseas serves American interests. She would like tosee better relations between the U.S. and Muslim countries, and mentionedthat the American government has accepted her suggestion of regularexchanges of religious scholars between the two countries.Shaikh Hamza Yusuf focused on the Prophet's conduct and remindedeveryone that he never repaid persecution, insults, or injury with anger orin kind. Addressing the mainstream media's treatment of Muslims, Yusufsaid that instead of simply criticizing the media, Muslims must form anorganization similar to the Anti-Defamation League that could correct andinform their detractors. Dr. David Schwartz, another keynote speaker whorecently retired as religious services administrator for the Federal Bureau ofPrisons, said that Islam is a positive element in inmates' lives. He vehementlyrejected the insinuation that American prisons are being used as ...

King Lear has been extensively used by Shakespearean critics in South Africa for the discussion of land ownership issues. This essay alludes to the work of Martin Orkin and Nicholas Visser, who brought postcolonial and materialistic critiques to bear upon the play in the late twentieth and early twenty-first centuries. The essay itself carries the investigation forward to present times, when the text asks to be read in relation to expropriation without compensation: a land proposal being ventilated at the highest political level. The issues which emerge are diverse and unexpected. King Lear’s gifts of land to his daughters are actually ‘deals’ requiring the compensation of their public declarations of love for him. For various reasons this strategy fails. The reader is then invited by the play’s imagery to see the body of the old king as a piece of ‘real estate’ that is incrementally expropriated by the ageing process and the onset of dementia. Spenser’s allegory of the House of Temperance in Book II of The Faerie Queene is discussed as a likely influence here. By the end of the play, Lear is divested of his own bodily health and cognitive ability by the arch expropriator, ‘time’, and its subaltern, the fallible human cell. With regard to critical reception, this essay argues that King Lear has complexity and substance enough to engage the interest of postcolonialists, materialists and universalists alike – even in relation to a topic as specific as land.

This article is about a research study conducted to describe the system,type, and function of form of address in wayang kulit, the Javanese leather-puppetshadow play. The subject under study was a recording of such a play titled KarnaTandhing performed by Timbul Hadiprayitna as the puppet master. The researchmethod applied was descriptive in nature. The research data were obtained bymeans of a listen-and-write technique and analyzed by means of contextualinterpretation.The research results are as follows. 1. The system of form of address inwayang kulit consists of aspects of (1) relation between the addresser andaddressee, (2) sex/gender, (3) setting (place, time, and atmosphere), (4) purpose,(5) honoring, (6) doer, vocation, or profession, (7) marriage and love, (8) mentionof dwelling place, (9) religion and belief, (10) use of pronoun, (11) zero, and (12)mention of specific identity. In type, the form of address can be, among others, (1)a pronoun, (2) a proper name: a pre-adult name, an alternative name, or dasanama,(3) a title attributed due to position of authority, (4) a name others use to call one,(5) a hereditary form of address, (6) paraban ‘a name given due to intimacy’, (7)poyokan ‘a derogatory or mocking name’, (8) a profession, (9) a doer of an act, (10)an expression of fondness, (11) an expression of being proud of one, (12) anexpression of friendship, (13) an expression of displeasure, annoyance, or anger,(14) an expression in self-introduction, (15) an expression for peprenahan/mbasakke ‘showing how one is related to the other by blood, age, etc.’, (16) anexpression related to where one dwells, (17) an expression related to position ofauthority, (18) an expression in honoring, (19) an expression used due to marriage:adult name, husband’s name, name of first child, (20) a form of address used whenaddressing a god, goddess, or God, (21) a form of address for the wife of a king,(22) a form of address of zero nature, (23) an expression of cursing, (24) a form ofaddress of specific nature, (25) a noun plus mu, e, or ne, (26) a noun, (27) a nounplus ku, (28) a form of address related to religion, (29) a form of address related tokinship plus e or ne, (30) a form of address used falsely/in playacting/pretence, and(31) a form address to point one out. In function, the form of address can be (1)honorific, i.e., to honor one, (2) to call out to one, (3) to call one with an attribute,(4) mbasakke ‘to show how one is related to the other by blood, age, etc., (5) tomock the other, (6) to show intimacy/to make intimate, (7) to show one’s place oforigin, (8) to introduce oneself, (9) to build a certain atmosphere, (10) to besarcastic, (11) to clarify one’s identity, (12) to be used falsely in dramatization orin a play or in pretence, and (13) to make a comic effect.Keywords: form of address, wayang kulit, system, type, function