text:
We speak English
The title alludes to signs on bars on the Spanish costas that proudly proclaim this fact; they might as well add that they don't speak any Spanish.
The Brits abroad are not a pretty sight, shaven headed, pink, fat blokes in their England strips, looking for all the world like giant babies and their loud Wrinklefagskin women smoking Superkings. They settle on the coast of Spain in their thousands, there solely for the climate and the cheap booze; they have absolutely no intention of integrating with the Spanish at all. I hate them, and feel deeply ashamed as one of their countrymen when I have to be among them; they're loud, thick and aggressive.
In inviting this tidal wave of immigration into Spain the Spanish started to do a bit of soul-searching when, amongst all the other bad apples a real minger settled in their midst. I'm talking of Tony Alexander King, the Holloway strangler. He was responsible for the rape and murder of at least two young women on the Costa del Sol .
I've picked two such delightful specimens in an English bar jokingly accusing each other of the crime. There is always a not-so-subtle undercurrent of violence around these drunken pigs which I've chosen to allegorise through the murderous intent of the two bull terriers that they are holding.
The seated protagonist is modelled directly on the butcher in Hogarth's Beer Street ; that knowing leer of the cockney geezer has been around a long time.
We speak English
27x39cm, Edition of 20
I can't resist the spectacle of Semana Santa in Cordoba . It's just a bit of spectacle people will say. I wonder if you could dismiss the Nuremberg rallies in the same way.
23x32cm, Edition of 20
La siesta de Narizota
This translates as Big nose's siesta. Silver tongued cavalier that I am, that's a nick name I had for my girlfriend Betty. The etching was done in Barcelona and evokes the cavernous darkness of the ancient houses on the barrio gotico.
la siesta de Narizota
20x18cm, Edition of 20
Spider naevus
An alcoholic in Glasgow 's famous Saracens Head where they used to serve wine by the pint.
Spider Naevus
24x24cm Edition of 10
A castle in the middle of nowhere, a common thing to find in Aragon . I worked in situ on this one, drawing directly onto a grounded plate.
19x27cm, Edition of 15
Calvito was my nick name for Calvin Russel. A weak pun on his name and the fact that he's bald. This is him working in his studio on Southgate road.
22x16cm, Edition of 20
Funky Vernon
Funky Vernon was the chef at the Rosemary Branch. He got the sack in the end, either for serving chicken to a group of vegetarians, or for inviting theatre goers to watch him wash his penis in the theatre toilet, I forget which.
Funky Vernon
Sex Puppy
A very rare drypoint, done just before leaving Exeter for good.
Sex Puppy
22x18cm unique
Eyeing up the talent
Bart's Tavern in Exeter . Tables are set up the length of the skittle alley, at the end of that are the gents toilet. Connoisseurs of the male form could position themselves her to view the selection as every man must at some point go to the toilet.
Eyeing up the talent
12x17cm, Edition of 15
Lovell's Wharf
As seen from a riverside pub in Greenwich .
Lovell's Wharf
10x18cm, Edition of 20
25x15cm, Unique


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McIlroy feels ready to land a big one
Rory McIlroy believes he can shrug off the pressure on his shoulders and become the youngest Open winner for 107 years.
The Holywood hotshot, 21, will be playing in only his third Open when he tees it up with Lucas Glover and Tim Clark tomorrow.
And he insists that while he has another 30 years to contend for majors, he's ready to join the immortals like Seve Ballesteros, Tiger Woods and Jack Nicklaus by winning the Claret Jug at the Home of Golf.
Inspired by pal Graeme McDowell's US Open win, McIlroy said: "I'm not putting myself under pressure to perform. I'm just quite confident. I've played well on this golf course before and I feel as if I'm hitting it well coming in.
"Seeing G-Mac win, it just feels like it's the right time to go out and play well and win one of these big events."
McIlroy's never shot worse than 69 in eight competitive rounds on the Old Course.
The bookies have made his second favourite behind world No 1 Tiger Woods and he sees no reason why he can't go out and give the punters a big pay-day.
Unafraid of the pressure, McIlroy said: "I think a lot of people are backing me because they want me to do well more than anything else.
"I knew that I'd come in here as one of the favourites and if I go out and play this golf course the way I know I can, I should have a good chance.
"I've played well here in the past and if I don't let the occasion get the better of me, there's no reason why I shouldn't be able to do it again.
"I'm expecting myself to play well and I'm sure a lot of people are expecting me to play well."
The world No 9 intends to feed off some memorable performances in the Dunhill Links Championship at St Andrews.
In 2007, he earned his tour card when he finished third and backed that up claiming eighth place in 2008 and second last season.
Becoming overawed by the occasion is a danger but McIlroy has tried hard to escape the spotlight,
He practiced on the Old Course last Friday and Saturday but then headed home to continue his perparations, playing links golf with his dad at Royal County Down.
He said: "You can get swallowed up with the whole occasion because it's St Andrews and it's the Open, especially being the 150th anniversary and everything.
"I'm just trying to stay as low profile as possible, if that's possible, take it easy and make sure that I'm full of energy on Thursday morning and ready for the next four days."
World No 11 McDowell is ten years older that McIlroy but still believes his close pal has enough experience not to be overawed by the occasion.
McDowell said: "Rory is a very experienced young man for a 21 year old golfer. He's been on the big stage before. I don't think there's any risk he'll get overexcited.
"It's great to see the sort of inspiration that the like of me winning at Pebble can bring to your friends and your colleagues and British and Irish golfers in general.
"I'm sure there will be a lot of guys out there this week that will have watched me at Pebble and believe they can win a major sooner rather than later.
"It's great to be able to have a part of a purple patch of European golf right now. I really think Rory has a great chance this week.
"I think he loves this golf course and he's got a pretty mature head on young shoulders, and he's got the game to do it."

subset: commoncrawl


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Top left to right- Cream Ornate Glasses Anna-Karrin Karlsson Red- Celine Pink- Prada
What a beautiful sunny, spring day! Days like these really inspire me to start looking for spring/summer clothes. I am obsessed with Feline shaped sunglasses at the moment and I'm looking for the perfect pair myself. There are so many to choose from on the high street as well as the designer brands above. Granted the shape doesn't suit everyone but I for one love them so much that I'll run the risk! I have chosen some of my favourites above, the red Celine pair really caught my eye.
Which are you preferred shaped sunglasses this summer?


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"I heard my body is a topic of conversation so I wanted to say, I'm proud of my body and you should be proud of yours too, no matter who you are or what you do." –Lady Gaga, 2017.
I have to ask, what has become of us? Do mature adults routinely ridicule individuals for "pot bellies," and make fun of tummy "rolls?" Have we regressed to the fifth grade playground?
Lady Gaga gave the world a truly impressive half-time show at Super Bowl LI, then was criticized for her body in the comments thereafter. I wonder how many of her critics could even approach her level of fitness, endurance and athleticism; yet many outspoken individuals on social media and elsewhere resorted to schoolyard bully tactics in order to cast a shadow on her great performance.
While I'm thankful to have such a high profile example to illustrate "fat shaming," I'm pained by the continued pressure of media (social and otherwise) to conform to a certain ideal weight and appearance. The past president of the IFSO (International Federation for the Surgery of Obesity and Metabolic Disorders) once said, "We're trying to make a patient a certain weight, where G-d and the genes say otherwise."
People come in many shapes and sizes. We have the opportunity to influence those shapes and sizes, to some degree, as individuals and as physicians. Shaming someone for not conforming to a physique that represents an extremely small portion of the human species is not appropriate – especially when that someone totally rocked the Super Bowl half-time show.
Let's get healthy together, and let's grow up a bit.
Matt Metz, M.D., F.A.C.S.


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Angela Brennan: Rustic Deities - Art Collector
|Courtesy: Roslyn Oxley9 Gallery, 2015
An assemblage of exuberant artefacts, Angela Brennan's Rustic Deities converses with the classical history of ceramics and painting, through her characteristically jocular optic. Sensual and robust, Brennan's clay renditions navigate the line between the domestic and divine, continuing her playful enquiry into paradoxical forms.
Angela Brennan has exhibited extensively in Australia and overseas since 1989. Brennan graduated with a Bachelor of Fine Art from RMIT University in 1981 and received a Bachelor of Arts from the University of Melbourne in 1992. Brennan was recently included in the National Gallery of Victoria's major exhibition of 2014, Melbourne Now. Selected solo exhibitions include the survey exhibition Angela Brennan: Every Morning I Wake Up on the Wrong Side of Capitalism, Monash University Museum of Art, Melbourne, 2006 and Plantation, TCB art inc., Melbourne, 2011. Group exhibitions include NEW 2013: Selected Recent Acquisitions, The University of Queensland Art Museum, Brisbane, 2014 Kaleidoscope: Art and Colour, National Gallery of Victoria, Melbourne, 2011 and Roads Cross: Contemporary Directions in Australian Art, Flinders University Art Museum & City Gallery, Adelaide, 2012. Angela Brennan has been exhibiting with Roslyn Oxley9 Gallery since 1993. Rustic Deities will be her eleventh solo exhibition with the gallery.
Opening: 6pm Thursday 15 January 2015
Exhibition closes: 14 February 2015
Location: Roslyn Oxley9 Gallery, 8 Soudan Lane, Paddington NSW 2021
Contact: 02 9331 1919
Email: email@example.com


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text:
With the crucial UN Climate Conference taking place in Paris, 30 Nov–11 Dec 2015, it is fitting to look at some alternative ideas that have been published partly in an attempt to influence it. In a previous article I introduced Pope Francis' environmentalist manifesto, Laudato si', as a radical social justice document, and noted that recent papal writings have developed four concepts on debt, waste, ecology, and poverty. In that article I focused on Francis' concept of 'ecological debt', so here I will overview the remaining three: 'the culture of waste', 'integral ecology', and 'the earth as the poor'.
1. 'The Culture of Waste'
This concept is targeted at the global socio-economic system and the prevalent culture of consumerism engendered by it. Criticism of these builds on familiar environmentalist and anti-capitalist themes including:
- Our pernicious obsession with acquiring, and pride in, possessions. (Laudato si', §209)
The unsustainable volume and nature of the waste generated by both businesses and homes. (§21)
The scandal that about a third of food is wasted while starvation is a still a reality for many people. (§50)
The decline in the lifetime which commodities are produced to have, and the increased frequency at which consumers are persuaded to upgrade and discard them. (§26)
- The unsustainable exploitation of natural resources such as oceans and forests, exacerbated by the tragedy of the commons. (§195)
Also related to the tragedy of the commons is the aspect of the system Francis gives the greatest emphasis to, namely, the triple failure of markets, democracies, and technoscience (§105) to respect the environment. He describes the root problem here as "collective selfishness" (§204), the lack of collective responsibility meaning that particular individuals and groups tend to escape the duty of care. Markets fail by narrowly focusing on "the maximization of profits" so that the common good is treated as an externality: "businesses profit by calculating and paying only a fraction of the costs involved." Even democracies have shown "little concern… about whether [this] is at the cost of future resources or the health of the environment", "as long as production is increased". (§195) This is because democracy too is prone to being determined by short-term thinking, and hence is powerless to make up for that failing in the market. In the words of philosopher Giles Fraiser, democracy has "become a way of aggregating desire rather than challenging it." Any moral quality to our consumer choices are also treated as externalities. And while cleaner technologies can lessen the environmental impact of our addiction to immediate gratification, "with the increasing power of technoscience, [in Fraiser's interpretation] more of the world becomes subject to human will and desire, so more wants can be realised. But again, science [like the economy and the government] does not distinguish between wants and needs."
Furthermore, the void left empty by all this collective inaction is itself significant, because it creates more space for climate change denial to expand like a polluting gas. Its clout, and the attraction of its lies appear all the stronger in the absence of coherent action. But as an editorial in The Tablet points out, we must remember that "it is not insignificant that those critical voices denying that climate change has a human cause are most often closely associated with a free-market ideology which is opposed to state regulation of almost any kind."
From these intoxicating aspects of consumerism grows the critical problem of the "culture of waste", or "throwaway culture". (§22) Outlined in Francis' speech for the 2013 World Environment Day, this idea is that excess and waste have become normalised in the case of food and other commodities, and that the mentality surrounding this has then spread and been applied to human relationships also. In this mentality, those of us who are not economically useful become seen as disposable, like last year's smartphone. The culture of waste is perpetuated by the consumerist system. Primary value is given to consumption–i.e. to profit–instead of care and respect for human life. The Pope continues:
"A person dying is not news, but if the stock markets drop ten points it is a tragedy! Thus people are disposed of, as if they were trash. … Many say, yes, that's right, it's true… but the system continues as before, because… Man is not in charge today, money is in charge… [Yet] God… did not give the task of caring for the earth to money, but to us, to men and women: we have this task!"
Francis' proposed solution is for us to reinvigorate the "culture of care" (Laudato si', §231) by attending to every person, especially those excluded on an economic logic, and by promoting practices of solidarity and 'encounter' with the earth as well as with each other. This begins with things as simple as visiting the elderly and sick, and spending time out in nature.
2. 'Integral Ecology'
Sustainability requires a science of the relations of organisms to one another and to their physical surroundings, one which integrates not just the biological environment, but all the interconnected aspects of life: economics and politics, (§§141-2) culture, (§§143-6) spirituality, (§§147-8) and everyday life (§§149-55). Francis contrasts this integral ecology with "the technocratic paradigm", (§§106-20) which the theologian Leonardo Boff summarises as the dominant "belief that all ecological problems can be solved with technoscience. This is a misleading endeavour [he continues, quoting the Pope] because it implies 'separat[ing] what is in reality interconnected'. (§111)" The paradigm is also characterised by "the fragmentation of knowledge", and by "loss of appreciation for the whole" more generally. (§110) Examples of this thinking which Francis opposes as counter-productive are the trading of carbon credits and geo-engineering, but he has given tentative support to GMO crops.
According to the theologian Matthew Shadle, Francis' rejection of the technocratic paradigm is a rejection of "reductive science as our only way of relating to the natural world." For Francis, the natural world is not something outside of or opposed to us–as technocratic solutions assume–but something we are inextricably related to, evolving as and remaining parts of it. (§§111-39) Our biological nature is something we must be mindful of if we are to put this relationship with nature right. (§68) This relationship is the "human ecology", (§5) a concept introduced by Pope John Paul II, who declared that "respect for life and for the dignity of the human person extends also to the rest of creation." John L. Allen Jr. has pointed out that while the idea of natural law has been mostly expurgated from the relativistic public sphere, Pope Emeritus Benedict XVI "believes that environmentalism is leading people back to the idea, …because it proves that limits on what human beings can do without paying a price aren't just arbitrary but absolutely, objectively real."
Consequently, Benedict developed the concept of human ecology as a source of moral responsibilities, revealing for Shadle, that "the mistreatment of the natural world" involves "the denial of our true being".
Francis has further developed the concept as one part, alongside environmental and societal ecology, of integral ecology. Contrary to the hysteria of some conservative critics, he does not believe that reversing industrial development is the solution to the current crisis. Instead, we need to bring the various systems of society into continuity with nature's biological and geological systems, a task that positively requires human ingenuity and technological development. Francis cautions that a society enacting such a synthesis must respect 'the common good', ensuring that individuals have access to all that is necessary for them to seek fulfilment as human beings. (§156) An 'integral ecology' then, should facilitate our transition towards practices harmonious with the natural cycles of the environment; practices "capable of preserving resources for present and future generations, while limiting as much as possible the use of non-renewable resources, moderating their consumption, maximizing their efficient use, reusing and recycling them." (§22)
The moderation of consumption is the crucial point here; Francis describes the solution as "sobriety" in the face of the intoxicants of consumerism. Part of the aforementioned culture of care, sobriety is a perspective aimed at life with greater moderation and reflection. Fraiser comments that "a sense that there is such a thing as having enough, and finding contentment with enough… is far from a counsel of despair. There is an enormous personal freedom to be discovered in being content with not having everything."
Sobriety is essential because technological or economic changes ultimately cannot achieve sustainability without individuals making inner improvement at embracing lower consumption. (§§222-7) As an editorial in The Guardian put it, "this is a moral problem, which demands a moral solution". This mindset, along with the science of integral ecology, must become embedded throughout lifelong education, promoting an "ecological citizenship". (§§203-11) Such 'education for transition' tells us to be mindful of the ways in which we "directly and significantly affect the world around us", and of the "nobility" of caring "for creation through little daily actions", for example, "using public transport or car-pooling". (§211)
3. 'The Earth as the Poor'
This is a simpler concept, yet one that is brings coherence to the rest through the underlying theme of integrating "questions of justice in debates on the environment, so as to hear both the cry of the earth and the cry of the poor." (§49) Burdened, maltreated, and abandoned, the environment is identified with the poor, with all outcasts. (§2) This has profound consequences in the context of Catholic thought because "Jesus identifies with the poor of every kind and makes active love towards them the condition for entering the kingdom." (Catechism, §544, cf. Matt. 25:31-46)
The implications of this are not confined to mystical approaches to God through service, however. Responding to the Latin American Bishops's Conferences at Medellin (1968) and Puebla (1979), Catholic social theory emphasises the 'preferential option of the poor'. This principle is related to the view of prioritarianism in philosophy, which was part of John Rawls' reasoning the first part of his difference principle. For Rawls, prioritarianism led to the belief that an addition to the inequality permitted by the basic institutions of society is only justified if it results in improving the welfare of the worst off. The option for the poor, by contrast, is the belief that they should be the first that we reach out to help, and the first to be considered for the impacts of any public policy- this also functioning as a criterion by which to judge such policies. This principle is pertinent when the poor claim they are not being heard at current climate negotiations. It also takes us back full circle to the concept of 'ecological debt', a moral debt accrued by the rich world to meet the costs of resisting climate change in the poor world and elsewhere.
To include the earth itself among the poor is to insist that justice cannot be done for the worst off in society at the expense of the environment, or vice versa. Rather, we need an "integrated approach to combating poverty, restoring dignity to the underprivileged, and at the same time protecting nature." (§139)


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Local government has a history going back more than 175 years in Australia, which is longer than the existence of any state government. A key question that the Federal Governments has sought to address through funding local government is how to best ensure that councils are able to provide local services and infrastructure.
The modern era of federal funding for local government began in the 1970s with the Whitlam Government recognising that rapid changes in responsibilities faced by councils required direct support from the Commonwealth. This led to the creation of personal income transfers under the Fraser Government at a rate of 2% of personal income tax revenue. This was subsequently reduced by the Hawke Government to 1% of total Commonwealth tax revenue (CTR).
The current arrangement, comprising a general purpose payment and an identified local road grant making up the Financial Assistance Grants (FAGs), was established in 1991. While the current indexation process was put in place in 1994 and some changes were brought about under the Local Government (Financial Assistance) Act 1995, the system for local government Commonwealth funding has remained relatively unchanged for more than twenty years.
Up until 2000, both states and local government each received a Financial Assistance Grant and were indexed on the same basis, but the introduction of the GST in that year saw the states receiving a GST grant, linked to the GST tax revenue. Local government's arrangements remained unchanged. While GST revenue continues to increase at a higher rate than FAGs, FAGs as a proportion of CTR have been declining to its lowest rates. In fact, by the time the Federal Government's freeze on the indexation of FAGs ends in 2017, it will constitute just half of the proportion of CTR than it did in 1996.
Analysis by the Productivity Commission in 2008 showed that local government generates 90% of its revenue from its own sources, including rates and service charges. This is in contrast to state governments that obtain only about 50% of their revenue from their collection mechanisms.
Local government, throughout its history, has demonstrated its flexibility and creativity as well being a largely self-reliant partner.


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Cadets Move Spring Training To Pennsylvania
When the Cadets move in for three weeks of Spring Training at the end of May, the corps will be considerably closer to major transportation hubs and more than four hours nearer to its hometown of Allentown, Pa.
Spring Training 2008 will be held in Johnstown, Pa., about 70 miles east of Pittsburgh. The corps will be housing in dormitories at the University of Pittsburgh at Johnstown and using practice fields and facilities of both the university and the neighboring Richland School District.
Read the rest of the article here.
Posted by News Editor on Tuesday, February 26th, 2008. Filed under DCI World.


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Saw this on the Ragin Cajun Hoops Twitter account. Seems like a nice promotion to me. Hope people take advantage of it. Help spread the word about this deal.
Retweeted Ragin' Cajuns (@ULRaginCajuns):
Are you planning to make it out to the "Final Four" home games at the @cajundome?! Take advantage of our FINAL FOUR promotion that will get you tickets to all 4 home games for 1/2 price! Tickets can only be purchased in person or by calling (337) 265-2100. #GeauxCajuns


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Welcome to Darkflux Studios
Darkflux Studios was founded in Nottingham, United Kingdom in August 2016. We have a simple mission - create fun, but affordable games.
We're hard at work on our first game, Tank Warz!, a classic looking, fun, arcade shooter that pits you against some formidable enemies.
Latest from Tank Warz!
Combat Formidable Enemies
Use your combat skills to destroy the enemy, without being destroyed!
Low-Poly Old-School Look
With it's retro look and feel, you'll want to go back for more.
Now with Options
Control your graphics and audio settings.


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A healthy dental practice produces both time and money.
Want a Kick-Ass Dental Practice and Free Time Too?
- Do you remember what your family and friends look like?
- Why does it feel like your staff constantly needs to be managed and won't take responsibility?
- Do you own your practice or do you feel like it somehow owns you?
Upcoming Summits
Making Money Is Killing Your Practice GOTT Summit Just Announced For Feb 2019 In Southern CA!
Past Summits
Get back to the passion that brought you into business in the first place.
You didn't go into business to work 80 hours a week and lose money while you're on vacation.
But that's exactly what happens to most business owners.
We want to break you out of that cycle and get you to where your practice throws off both time and money.
You'll learn:
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Founder, Crankset Group
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Just real, actionable content that you can implement right away and use to create a practice you'll enjoy for decades to come.
$1710 per person
Fee includes tuition, food and beverage, and 12 CE credits (ADA/CERP recognized)*
Please contact Krista Valentine, firstname.lastname@example.com, or 303.669.2349 for additional details.
*The Colorado Dental Association designated this activity for 12 continuing education credits. The CDA is an ADA CERP Recognized Provider. ADA CERP is a service of the American Dental Association to assist dental professionals in identifying quality providers of continuing dental education. ADA CERP does not approve or endorse individual courses or instructors, nor does it imply acceptance of credit hours by boards of dentistry.
Alan Markowitz, DMD
"A must! I don't know of any offices that should not do this seminar."


text:
Results 1 - 4 of 4
PI Pendant Watch
Sales price: $23.31
Sales price without tax: $21.99
Tax amount: $1.32
PI Silver Money Clip
Sales price: $8.47
Sales price without tax: $7.99
Tax amount: $0.48
Due to the everchanging availability of our stock, our online store is set up as a catalog without the ability to actually purchase the items. If you are interested in one or more items, please click on the "Ask a question..." button on that item and let us know what color, size, etc. you are interested in. We will search our inventory and if we have it available, we will contact you to make arrangements for payment and shipping. Don't despair, it may well be here.


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No. 11 Memphis takes down Tulsa
Memphis, TN (Sports Network) – Joey Dorsey posted 13 points, 11 rebounds and
three blocked shots, as the 11th-ranked Memphis Tigers downed the Tulsa Golden
Hurricane, 72-59.
Robert Dozier posted 12 points and eight rebounds and Jeremy Hunt had 11
points for Memphis (16-3, 6-0 Conference USA), which has won its last eight
outings. Every triumph during the current streak has come by double figures,
including a 61-44 romp over East Carolina on Saturday, and all 11 home games
have resulted in victory thus far for the Tigers.
"It's a good win for us," Memphis coach John Calipari said. "We're still
trying to get guys to understand to play harder than the guys we're playing
Ray Reese scored 17 points for Tulsa (12-6, 2-3), which is a stellar 12-1 on
its home floor this season, but has lost all four of its true road games to
date. Ben Uzoh posted 10 points and 12 rebounds for the Golden Hurricane, who
have also lost three straight overall, including a heart-breaking 69-67
setback to Houston in a home game on Saturday.
Jamel McLean's jumper with 2:34 remaining brought Tulsa within 10, 66-56, but
the Tigers rattled off the next six points, as Mark Hill's trey with 1:02 was
too late to spark a Hurricane rally.
With the game close throughout the opening minutes, Memphis blew it open on a
12-0 run capped by a pair of Dozier free throws with 7:33 remaining for a
31-17 Tigers lead. Tulsa kept it close, outscoring the Tigers 13-7 the rest of
the way for a 38-30 Memphis halftime lead.
The game sustained a slow tempo, with only six total points scored off the
fast break (Memphis 4, Tulsa 2).
Memphis shot 25-for-63 (40 percent) from the field, compared to 21-for-62 (34
percent) by Tulsa, which did manage to win the rebounding battle 46-41.
"We won the war on the boards, and I'm proud of that," Tulsa coach Doug Wojeik
said. "We really hustled."
Game Notes
Memphis continued to play without leading scorer Chris Douglas-Roberts, who is
recovering from a high ankle sprain…Tulsa owns a 12-11 edge in the all-
time series with Memphis, but the Tigers recorded a 78-67 win in the most
recent meeting last season.


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International Business Practices and Human Rights Risk Consulting:
Anchored in the UN Guiding Principles on Business & Human Rights, we help you navigate this rapidly shifting landscape to understand your risks and embrace opportunities.
- Human Rights Due Diligence & Impact Assessments
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We offer small group and organization-wide training programs in support of the implementation of corporate social responsibility policies with a strong focus on human rights. Whether you require support in advocating for the adoption policies or in managing the process of putting them into practice, we can help you with our specialized programs or programs customized for your needs. Specific upcoming workshops include the following:
- Introduction to the UN Guiding Principles on Business & Human Rights: what it is, why it matters, and what it means for you.
- Introduction to human rights due diligence: new risks and opportunities for business.


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- Home >
- Economics & Finance
- > Dr. Johnson
Dr. Melvin N. Johnson
Office: AWC J404
|Academic Credentials
|Curriculum Vitae
Recent Publications
Refereed Articles
Johnson, M. N. (2013). Financial and Related Issues Among Historically Black Colleges and Universities. Journal of Intercollegiate Sport, 2013 (6), 65-75.
Johnson, M. N., Kasibhatla, K. M., Arize, A., Grivoyannis, E., & Malindretos, J. (2005). A Multivariate Test of Causality Between India's Domestic Credit and Foreign Exchange Reserves, In Cheng Lee and Alice Lee (Eds.), Advances in Financial Planning and Forecasting (pp. 243-260). Center for Pacific Basin Business, Economics, and Finance Research, Vol. I(2005).
Presentation of Non-Refereed Papers
Kasibhatla, K. M., Malindretos, J., & Johnson, M. N. (2002). Multivariate Tests of Cointegration between Domestic Credit and International Reserves. Eastern Business and Economic Association Annual Conference, Paradise Island, Bahamas.
Johnson, M. D., Johnson, M. N., & Scales, G. (2001, April). Planning for a Virtual Campus: Attributes of a Successful Launch. Proceedings of the 20th World Conference on Open Learning and Distance Education, Dusseldorf, Germany.
Johnson, M. N. & Newman, E. M. (1995). Information Technology at North Carolina A&T State University. Proceedings of the Minority University - Space Interdisciplinary Network (MUSPIN) Fifth Annual Users Working Group Conference, Baltimore, Maryland.
Johnson, M. N. (2013, January). Financial and Related Issues Among Historically Black Colleges and Universities. NCAA Scholarly Colloquium 2013, Dallas, Texas.
Kasibhatla, K. M., Johnson, M. N., & Stewart, D. (2003). Bond Rate and Inflation Rate Dynamics. Eastern Economic Association Annual Conference, New York, New York.
Kasibhatla, K. M., Stewart, D., & Johnson, M. N. (2003). Stochastic Trends in Major Equity Markets: A Comparative Study. Eastern Economic Association Annual Conference, New York, New York.
Working Papers
Johnson, M. N. (2013). "FINANCIAL AND RELATED ISSUES AMONG HISTORICALLY BLACK COLLEGES AND UNIVERSITIES" targeted for Journal of Intercollegiate Sport.
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Watch Ace Hood "Bedroom Music" Video.
Ace Hood's musical situation is improving with every new release, and Ace Hood "Bedroom Music" Video will most definitely help the cause. It's a fine addition to the growing body of work Ace Hood has been developing since stepping foot in the game. We're looking forward to what Ace Hood has in store.
Did y'all catch Ace Hood's latest visual for Ace Hood "The Cypher 2" Video?
If you dig this, visit Ace Hood's profile for the latest info, news, songs, and mixtapes. Remember to follow Ace Hood on Facebook and Twitter.


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February 1, 2014 | by Nicole White
This year, Black History Month converges with the 50th anniversary of the Civil Rights Movement, and the nation's notable gains in equality give us much to celebrate. But equality in health and access to care continue to be areas of serious concern.
"Across most illnesses including cancer, African-Americans have the worst outcomes," said Kimlin Tam Ashing, Ph.D., director of City of Hope's Center of Community Alliance for Research & Education. "African-Americans get cancer at younger ages, have more aggressive cancers, have more treatment-resistant cancers and lower five-year survival than the general population."
Half of African-American men and a third of African-American women will be diagnosed with cancer in their lifetimes. The causes of cancer health disparities are complex, stemming from such factors as genetic susceptibility, stress and immune function, and family history.
In her research, Ashing has pinpointed several health care system factors that feed into the disparity, including limited access and use of preventive care, limited access to high-quality care, and delays in diagnosing and treating disease. Other studies point to a higher incidence of chronic conditions and illnesses among African-Americans with cancer. Lifestyle factors including smoking, diet and sedentary routines also play a role.
When cancers are examined individually, the disparities become even clearer. Black men are 60 percent more likely than white men to be diagnosed with prostate cancer, and the death rate for prostate cancer is 2.4 times higher in African-American men than in white men. Black women have a greater-than-average risk of premenopausal-onset, triple-negative and inflammatory breast cancers that are more difficult to treat.
African-Americans have the highest rate of colorectal cancer and mortality of all racial groups in the U.S. The incidence rate of cervical cancer is 34 percent higher for black women than white women, and they are twice as likely to die from the disease.
"Health care systems must gain the trust and confidence of the African-American community to engage in lifesaving early detection and screening to catch tumors when they are small, localized, contained and highly treatable, and even curable," Ashing said.
Given the higher cancer burden on African-Americans, Ashing said, they must be especially aware of the early detection tests for the five most common cancers: mammograms for breast cancer, Pap tests for cervical cancer, PSA tests for prostate cancer, colonoscopy for colon cancer, and – under a new U.S. Preventive Services Task Force recommendation – low-dose CT scanning for those at highest risk of lung cancer.
"Health care systems must be more accountable to their most vulnerable patients by ensuring timely and quality care delivery, and integrated care that attends to other serious chronic health conditions," she said. "Personal cancer prevention and control practices involve talking and doing."
"Talking" means discussing cancer with family members in a way that reveals familial risk. "Doing" includes eating more fruits and vegetables while reducing meat consumption. Increased activity – such as through dance or walking – can reduce cancer risk and promote greater well-being after cancer treatment.
"The most important behavior is to avoid tobacco products," Ashing said. "If you smoke, quit; and if you drink alcohol, reduce alcohol consumption to less than one drink per day for women and two drinks per day for men."
Ashing said that the African-American community has many strengths upon which to draw when it comes to promoting greater health and reducing cancer risk.
"The African-American community has for generations found joy, comfort and strength in its creative cultural expression of music, dance, writing and poetry, and spirituality," she said. "These can be protective for cancer survivors, especially as they strive for a new normal post-cancer diagnosis and treatments."
Peer-based support groups have been an effective part of supportive and emotional care for many African-American breast cancer survivors. Also, individual and family counseling can help mitigate the depression and anxiety common among cancer patients – issues that are less likely to be addressed among African-Americans.
To reduce cancer health disparities and achieve cancer equality, cancer care for the whole person must be the standard of care for African-Americans.


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Dew Wings
Jesa Naquines 4/29/2015 12:07:44 PMWowww..this is very nice. A shot of a torpor state dragonfly jeweled with water drops all over its body! Great work @Timothy #1616196
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Urban Wed was fun! It was nice meeting some of the vendors, especially those who have blogs I follow. Unfortunately I forgot my camera, but Jen Huang was there snapping away, so I've posted a few of her lovely photos.
To be honest, I don't think I really learned anything at the event that I couldn't have learned from a vendor's website, but the event space was very nicely decorated, and it was fun seeing people's portfolios in real life.
I did say hello to Bryn of Paper Finger, and she said she might start teaching a calligraphy class. I'd be first in line to sign up if she did! She also let me play with some of her rubber stamps, which was fun.
Hatch Creative Studio did a lot of the styling, including this gorgeous table:
The stamped books on the mantle are cute:
I loved seeing Paper+Cup in person. Very impressive-- they have a huge portfolio, with lots of different styles. There's a Paper+Cup book coming out soon, styled by Randi Brookman Harris, and I can't wait to get my hands on it!
Sam Beasley of Samuelle Couture was there with a few of her beautiful dresses. She also had a bunch of sketches on her table, complete with fabric swatches, and those were really fun to look through. (I'd frame one if they were for sale!)
There was a photo booth, with props courtesy of Paper Finger. I guess the hipster mustache trend isn't over yet!
And there were adorable little cupcakes by Nine Cakes. The frosting-to-cake ratio was a little much for me, but they were so cute!
All and all, a very fun evening. And now I really want to learn calligraphy! Paper Finger, are you reading this?
(This is not a complete list of the vendors present. I couldn't find photos for all of them. All photos by Jen Huang Photography.)


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At three years old, a chatty, little boy named Owen Suskind ceased to speak, disappearing into autism. Then one day, his father donned a puppet — Iago, the parrot from Aladdin — and asked "what's it like to be you?" And poof! Owen replied, with dialogue from the movie.
Life, Animated is a documentary by Roger Ross Williams which interweaves classic Disney sequences with scenes from Owen's life.
Watch the film at Buxton Pavilion Arts Centre on January 16 at 7.30pm.
For further details, contact 01298 72190 or www.buxtonoperahouse.org.uk


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When taken by itself, 5.1 may not *absolutely* require use of <th> to identify headers in simple data tables (tables with only one row of column headers and one column of row headers). But together with Guideline 3 ("Use markup and style sheets and do so properly") I think that <th> *isI required, since it exists specifically to identify header cells. "Good design is accessible design." John Slatin, Ph.D. Director, Accessibility Institute University of Texas at Austin FAC 248C 1 University Station G9600 Austin, TX 78712 ph 512-495-4288, f 512-495-4524 email firstname.lastname@example.com web http://www.utexas.edu/research/accessibility/ -----Original Message----- From: email@example.com [mailto:email@example.com] On Behalf Of Tina Holmboe Sent: Friday, September 03, 2004 12:08 pm To: email@example.com Subject: Re: Does 5.1 absolutely require TH? On 3 Sep, Bailey, Bruce wrote: > 5.1 For data tables, identify row and column headers. For example, > in HTML, use TD to identify data cells and TH to identify headers. Indeed - and the code sample you mention definetly needs a row of table headers so that it is possible to tell which type of data is in which column. It's possible to guess, certainly, but wouldn't it be better to avoid that ? -- - Tina Holmboe Greytower Technologies email@example.com http://www.greytower.net/ [+46] 0708 557 905Received on Friday, 3 September 2004 17:43:16 UTC
This archive was generated by hypermail 2.3.1 : Tuesday, 13 October 2015 16:21:29 UTC


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Email Phishing Scams Indicators and Best Practices
Please review the following indicators and be on guard for scams:
Look closely at the sender's email address – the "from" line in these fraudulent emails usually very closely resembles a legitimate address. Close inspection may reveal unusual characters or structure that may help confirm that the email is fraudulent.
Check email images and graphics – often images and graphics in these fraudulent emails are out of place or incorrect. This results when a fraudulent message attempts to reference an image from a legitimate entity's … more


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Making our planet more productive
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Mother of a New World? Stereotypical
Representations of Black Women in Three
Postapocalyptic Films
Abstract: This essay explores three cinematic representations of Black matriarchs who play prophetic roles in redeeming humanity in the midst of apocalyptic change: Ika (Quest for Fire), Kee (Children of Men), and The Oracle (The Matrix trilogy). Not only do these courageous women resist the politics of domination, rebelling against a dying status quo, but they "give birth" to the leaders needed to rebuild a world in chaos and decay. One film ends with a pregnant woman rubbing her belly as she stands on the precipice of evolutionary change; another positions a mother and newborn adrift, waiting to be found by leaders of a new world order; in the third, a character sacrifices herself to empower resistance fighters with ideas and the means to choose their survival in a postapocalyptic world. Defying the politics of an annihilating patriarchy, these women portend a return to a naturally evolving world. However, despite their powerful influence, they can be understood, problematically, as modern-day reinventions of Black female stereotypesIka as Jezebel, Kee as Hagar, the Oracle as Mammybecause they, and the indices for understanding their roles in the community, are wedded to White patriarchs and to their own gendered functions as nurturing or sexual(ized) beings.
Keywords: feminism, Black literary theory, Womanist theory, Black film criticism, The Matrix, Children of Men, Quest for Fire
Copyright by Karima K. Jeffrey
Affirming the critical ways in which many Black viewers respond to Hollywood films, bell hooks argues that Black female spectators often "construct a theory of looking relations where cinematic visual delight is the pleasure of interrogation" (1992, 126). Such a notion, framed within the context of hooks's commitment to feminist criticism, allows for "a radical departure from the 'totalizing agenda' of feminist film criticism, and the beginning of an oppositional spectatorship for black women" (Smelik 2014). Contributing to this "oppositional spectatorship" is the goal of this paper, one rooted in a gesture outlined in hooks's earlier work, Talking Back: Thinking Feminist, Thinking Black (1989). In Talking Back, hooks addresses "the church of the home" (5), where Black women express themselves and their ideas freely, but "true speaking"she contestsis not solely the articulation of words but discovering a platform from which speaking reflects "an act of resistance, a political gesture that challenges the politics of domination" (8). Such expression demonstrates "a courageous act" that must be heard because it offers "a threat" to oppressive, hegemonic forces wielded to annihilate and silence marginalized, potentially rebellious, voices and perspectives (hooks 1989, 8, 6). "Talking back" to hooks and Womanist discourse regarding representations of and reactions to Black women's bodies, this paper explores three cinematic representations of Black women who play prophetic roles in redeeming humanity in the midst of apocalyptic change. Ika (Quest for Fire), Kee (Children of Men), and The Oracle (The Matrix trilogy) all resist the politics of domination in ways that empower a new generation. These courageous women are matriarchs for those rebelling against a dying status quo. Moreover, they "give birth" to leaders needed to rebuild a world that finds itself in chaos and decay. One film ends with a pregnant women rubbing her belly as she and her mate stand on the precipice of evolutionary change; another woman cradles her newborn infant on the margins of a war-torn world, realizing that her child will be the key inspiration for a new world order; the third character impregnates resistance fighters with ideas and the final sacrifice needed to empower humans to choose their survival in a postapocalyptic world. Defying the politics of an annihilating patriarchy, these women portend a return to a naturally evolving world. However, despite the implicit nobility of their deeds and the fact that they seem to demonstrate political agency, the aforementioned characters must also be understood as modern-day reinventions of Black female stereotypesIka as Jezebel, Kee as Hagar, the Oracle as Mammybecause they, and the indices for understanding their power, are inextricablyand perhaps problematicallywedded to White patriarchs and to their own womanly functions as nurturing or sexual(ized) beings.
I have three aims for this paper. First, I am interested in looking at an image prevalent in five popular postapocalyptic films: The Matrix trilogy, including The Matrix (Wachowski 1999), The Matrix Reloaded (Wachowski 2003a), and The Matrix Revolutions (Wachowski 2003b); Children of Men (Cuarón 2006); and Quest for Fire (Annaud 1981). This image involves the pairing of a leading White male father figure with a Black matriarch; together they serve indelibly memorable roles in securing (in the case of Quest for Fire, literally through procreating) the existence and survival of a new breed of humankind in the moment of rebirth that is instigated in the aftermath of an apocalypseor in face of an impending apocalypse. Second, I apply a Womanist lens to my reading in an effort to problematize these representations of Black women. For although initially it may seem provocatively empowering that these Black characters provide the nurturance and/or physical means for "mothering" the descendants of a new world order, Womanist theoryalong with the substantial repository of African-American literary criticism about Black women and Black women's bodiesforces us to contend with the legacy slavery has imprinted on our American imaginings, where a privileged White male imperialist gaze was able to not only subjugate and appropriate the physical bodies of Black women but, consequently, has created restrictive, pejorative identifiers for defining these women and their roles. Third, I want to conclude my discussion with an appeal from Womanist and Black feminist critics, such as Barbara Christian, bell hooks, Angelyn Mitchell, Sherley Anne Williams, and Trudier Harris, who compel us to keep "talking back" to and about representations of not just Black women but all men and women in literature and film; for such discussions are necessary if we ever hope to better understand, engage with, andwhen necessarychallenge modern-day assumptions about the societies in which we live or hope to live.
Let's begin with the literary-theoretical definitions of the stereotypical roles that inform my textual analyses of the films.1 In the introduction to her groundbreaking book The Black Woman, Toni Cade Bambara wrote: "We are involved in a struggle for liberation: liberation from the exploitive and dehumanizing system of racism, from the manipulative control of a corporate society, liberation from the constrictive norm of mainstream culture, from the synthetic myths that encourage us to fashion ourselves rashly from without (reaction) rather than from within (creation)" (quoted in Mitchell and Taylor 2009, 3). Understandably, the forms needed to challenge problematic societal norms should be forged based on insight and discretion, not rash reaction, but how can one "create" such a discourse without responding ("reacting") to the circumstances against which the author/critic resists? Moreover, such a response becomes the impetus for the very creation Bambara calls for, theoretical terms and creative texts that draw attention to a system of racism that continues to exploit and constrict gender roles in our society. Thus, when critiquing the prevalence of Black female stereotypes in modern films that seem to represent egalitarian, multicultural societies, it is necessary to define stereotypes for women, showing how the origins for these restrictive roles began within the institution of seventeenth-century slaveryAmerica's earliest, and its most lucrative and exploitive, capitalist system.
In her introduction to Beyond Slavery: Overcoming Its Religious and Sexual Legacies, Bernadette Brooten describes slavery as "an economic institution [that was] not separate from marriage, sexuality, family, and childbirth [because the] concept of owning another human being's body led to the right of sexual access to that body," which included control over "the sexual and reproductive functions of enslaved girls and women [as] central to the institution of slavery" (2010, 10). In this patriarchal institution, slaveholders not only dictated the destiny of the bodies of Black men and women but also wielded tremendous power over White women's bodies. In "Mammy's Daughters," Frances Smith Foster attempts to contextualize these dynamics by listing four categories that denote the terms and roles set forth for White women living in the pre-Civil War era in the United States, roles available to White but not Black women. They could be either a woman, a lady, a maid, or a wench: "'Women' were mature and comfortably settled in their rightful gender roles"; women who adhered to the "cult of true womanhood" were placed on a pedestal (Foster 2010, 269). Honored for their "piety, purity, submissiveness, and domesticity" (Carby 1987, 23), they were devoted to their husbands and families. However, in Foster's assessment, the title of "true woman" was reserved for a select few, those who were "marri[ed] to men of substance and [had] significant social standing" (Foster 2010, 269). The second category, ladies, "were women of property or the property of landed men. Young 'ladies' were ofttimes known as 'maids.' All 'ladies' and 'maids' were 'women,' but not all 'women' were or could claim the prerogatives of 'ladies'" (that is, owning property or being the property of landed men) (26970). Wenches were relegated to the lowest social orders, "and had little, if any, claim to respect, honor, or deference"; they "worked indoors and outdoors, doing dirty work that dirtied [them]" and were "routinely subjected to sexual exploitation" (270). Thus, "wench" was a "defiled" term, equivalent to "strumpet consort, or both" (270). These were the categories by which White women could be identified, roles to which most Black women could never aspire due to the prominence of slavery.2 For them, the most realistic social title would be that of wench, and some mixed-race Black women were referred to in this way.3
The images made available to Black women were hypersexualized, based on the functions they (and by extension their bodies) performed in the community. They could be "wenches," women who "worked indoors and outdoors, doing dirty work that dirtied [them]"; women "routinely subjected to sexual exploitation" (Foster 2010, 270), or "Mammies," a model of submissive complicity with a racist, patriarchal order (Foster 2010, 270).4 Other monikers included being identified as a "Hagar" or "Jezebel," appellations appropriate for young Black women who would eventually become, in many cases, Mammy figures. "Mammy" was a "respectable asexualized" (White 1999, 46) woman of African descent who "nurse[d] other people's children" and was viewed as "a beloved paragon of practical domesticity" because she embracedand, furthermore, embodiedher tasks as "nurse and nurturer" (Foster 2010, 270). However, the Mammy could never be "a model of maternity" because, if she was married, the matrimony was not acknowledged or legally sanctioned by society, and if she gave birth to her own children, her responsibilities to White children superseded her loyalties to her own offspring (Foster 2010, 272). Her other options, and most likely her utility before becoming a Mammy, were dictated by the Jezebel/Hagar dichotomy. Jezebel was the "vixen" or "treacherous seducer," often the product of miscegenation and/or a willing seeker of an interracial relationship (White 1999, 34). Hagar represented "the [Black] sexual surrogate" or victim. Both Hagar and Jezebel represented "soiled sexual beings" who "[n]either [invite] our respect or admiration," for they were never seen as "dignified, demure, or particularly pious" (Foster 2010, 271). Even if they attempted to be seen as chaste, their marginalized status as Black women often prevented them from being understood as anything other than a "Tragic Mulatta" (White 1999, 2829, 44). Tragic Mulattas were mixed-raced women of African descent who willingly pursued a relationship with a White man, in the hopes of protecting themselves and/or their family while aspiring to adhere to the "cult of true womanhood." Often, Tragic Mulattas sought to enjoy some semblance of a functioning, traditional family unit, yet such efforts were generally unsuccessful, often resulting in the women choosing suicide when they or their children remained shackled to slavery.5 Moreover, according to rules of socialization within the plantocracy, Black womenirrespective of their identification (e.g., as Jezebel or Hagar) and only with the exception of the Mammywere expected to service the sexual needs of White men (Foster 2010, 271). In essence, women of African descent could not escape being vilified, victimized, or considered in terms of their sexualized roles. By describing these roles as sexualized, I am calling attention not only to sexuality and/or sexual function per se but also to the role Black women's "sex," their genderas femaleswas expected to fulfill. For their domestic and/or maternal tasks were essential in limitingwhile also definingtheir purposes: Mammy was an asexual nurturer, Jezebel was a seductress, and Hagar functioned as a sexual surrogate for a barren woman, while all were strategic pawns in a hegemonic system that they would never control.
Why do I highlight these stereotypical terms as a preamble to an analysis of the matriarchal figures depicted in The Matrix trilogy, Children of Men, and Quest for Fire? I find attention to these images necessary because the Black heroines in the above movies can be viewed as extensions of the historically established restrictive representations of women of African descent. Such representations are only reified by the ways in which these Black women are beholden or irrevocably weddedpun intendedto White patriarchs and thus, by extension, to the social constraints dictated by a White male hegemony. For example, the Oracle in The Matrix trilogy might be understood as a modern-day Mammy due in part to her rapport with the Source; Ika in Quest for Fire appears as a Jezebel because of her prurient displays and acquiescence in a sexual relationship with Naoh; Kee, from Children of Men, can be discussed as a symbolic Hagar because she is a victim and sexual surrogate, denied control over her body, her child, and her circumstances.
Directed by Jean-Jacques Annaud, Quest for Fire (1981) chronicles a moment in hominid evolution that predates the existence of Homo sapiens. The hero, Naohplayed by Everett McGillappears to be a Neanderthal, which some describe as a subspecies of Cro-Magnon man, a hominid group seemingly of European descent, living in a northern terrain with the climate of a European geography (Encyclopedia Britannica 2012). He has a protruding ridged forehead, broad nostrils, and the stooped stature of Homo neanderthalensis. Played by Rae Dawn Chong, Ika, on the other hand, belongs to the most evolved population of hominids in existence, a racialized group whose bodies appear darkened and mud-covered (certainly their complexions are darker than those of Naoh's tribe); this community has mastered technologies not yet understood by the other hominid groups. They make fire, build housing, harvest crops, and have sophisticated weaponry. Some archeologists endow Cro-Magnons with these capabilities and suggest that such advancements enabled Cro-Magnons (who resided regionally in Northern Europe) to overpower, and overpopulate, the Neanderthals (Encyclopedia Britannica 2012). In the film, however, Ika's people have mastered advanced technologies, unlike any of the other species, and they live in a warmer climate. The only other species we encounter are a group of cannibals who appear to represent Homo erectus or Homo habilis; their physical development is more ape-like and the fact that they eat other hominids demarcates them as less civilized and the least evolved of all the groups.6 Annaud depicts an apocalyptic world because clearly all the species are on the verge of extinction. Lacking the ability to make fire, Naoh's tribe and the cannibals must find or keep embers burning in order to warm themselves and cook their food. As they migrate in search of shelter, meals and warmth, sleeping in caves as their primary form of shelter, they carry the fire with them, and when the embers are extinguished, they must find or steal another group's firehence the film's name. Ika's people, as stated previously, know how to make fire, so they need not seek it. However, although they are a more sophisticated, civilized group of hunter-gatherers, members of Ika's group lack the physical strength and dominance of the NeanderthalsNaoh's tribeand they appear to be the primary diet of choice for the cannibals. Therefore, although they do not migrate to follow their food sources, experimenting with early forms of farming and sending out hunters and scavengers to provide victuals, they are frail, diminutive, and malnourished. As a result, when Noah encounters Ika, he is rescuing her from a group of cannibals who have captured her and another woman. Naoh and two other Neanderthals are traveling to find fire because someone in their tribe doused the embers they used to keep warm and cook their meat. In their travels, Naoh's team encounters the cannibals who have their own traveling conflagration. Using crafty strategies, outright combat, and brute force, they steal the fire and free the women. Due to the obvious strength of the Neanderthals, Ika remains with Naoh and his peers, hoping to survive and safely return to her home in the south. However, the Neanderthals are headed north, aware that their tribe's survival depends on their speedy return. Eventually, Ika leaves the group to return to her village, but Naoh pursues her; they have formed a bond and appear to be "falling in love," although it is also possible to infer that she has seduced hima point I will return to below. When Naoh arrives in the village, the chief invites him to procreate with women in Ika's tribe; an entourage is lined up outside the chief's hut. I think it is safe to assume that the chief hopes to use Noah to strengthen the tribe's bloodlines. Initially, Naoh is only interested in finding Ika, a low-ranking member of her tribe who is forbidden to interact with the guest. It is only when the chieftain shows him how to make fire that a disillusioned Naoh resigns himself to living a life of excess in the village, even if it means the demise of his own people and separation from the individual he desires, Ika. He remains in the chief's hut, depressed and complacent, accepting gifts of women, food, and intoxicating drink. With Ika's help, and the intervention of his compatriots who have come to the camp to rescue him, Naoh is forced to return to his people (he is knocked unconscious and carried out of the village). Ika joins the Neanderthals, leaving her own tribe behind. She is willing to abandon her people and continue traveling with Naoh to return fire to his species. The film ends with Ika residing with Naoh's species. She teaches them how to make fire, and the last visual depicts a pregnant Ika snuggling with Naoh as they look at the moon and he rubs her belly.
I equate Ika with the Jezebel image because of the seductive ways in which she is portrayed in the film. The Neanderthal women, similar to the men, are scantily clad in loincloths, but Ika is completely nude, only covered by mud, and when she undertakes to travel with the Neanderthals, she is first desired by one of Naoh's companions, who attempts to rape her, before she begins a relationship with Naoh. She literally fights off the one and flees to the other, yet when she enters Naoh's arms, seeking protection, he forces himself on her. After this forced coupling, Naoh continues to initiate intercourse with Ika, and although she first resists, she does not attempt to flee and eventually has sex with him willingly. Their child represents an important shift in human evolution because presumably the unborn infant will be a member of the Homo sapiens species, a hybrid hominid that will be instrumental in shaping a new world of existence for humankind. Historically, Jezebels accepted the likelihood of being raped and often entered willingly into consummated relationships with their abusers after the first, forced encounter, hoping that such a relationship might ensure their survival and warrant some protection from the more brutal aspects of slavery.
In Children of Men (2006), directed by Alfonso Cuarón, Kee can be viewed as an emblematic Hagar. Living in a postapocalyptic Europe, humans can no longer conceive and no child has been born in eighteen years. Moreover, due to the destitute nature of thingslack of resources, etc.the society shuns immigrants and the poor and illiterate populations, pushing disenfranchised communities to the margins of society and cordoning them off in ghettos where they are expected to annihilate one another. A poor, Black woman, Kee is relegated to this group of "unwanted" social refuse, yet she has one unprecedented value: she is pregnant, naturally able to conceive when no one else can. As a result, she is discovered by leaders of the resistance movement, who hope to monopolize her as a pawn towards their political gain. Clive Owen's character, Theo, is obligated to protect her; his ex-wife, Julian (the love of his life and mother of his deceased child played by Julianne Moore) is one of the people Kee (a lesser-known actress, Clare-Hope Ashitey) trusts, and before Julian is murdered by her fellow resistance leaders, she enlists Theo's help and gets his promise that he will do everything (including give his life) to protect Kee and her child. In spite of the resistance fighters' resolve to "protect"which really means "use"this pregnant woman, Kee never asks for their intervention, and as a result she is not only confused by the presence of these activists in her life but she distrusts them, although she consents to follow, first the group and then Theo. In the aftermath of Julian's death and Theo's efforts to fulfill his promisekeep Kee and her child safethe film shows the immoral disintegration of this broken society. For example, people in mainstream society go to work every daypresenting a semblance of today's reality: they eat, sleep, work, have relationships, etc.but the "society" at large is plagued by terrorists' attacks intended to create fear and instability while unveiling government conspiracies that are deluding and controlling the population. In essence, the well-to-do live in a state of social apathy while immigrants and the poor remain hidden, ostracized, and disenfranchised. The film ends with Kee and Theo fleeing a war zone in one of the ghettos, where the rebels and government military are killing civilians and combatants alike. An armistice occurs because Kee's daughter, born the night before, cries, and as people hear the wailing of an infant, they are moved because no one has seen or heard a baby in almost two decades. Fulfilling his promise, Theo swiftly moves Kee through the mayhem, getting her to a boat and rowing out to sea, where she is to be met by separatists who have established an egalitarian community among a squadron of ships and submarines. Ironically, this group is not defined by the boundaries and laws monitored by corrupt, landlocked governments. Wounded in the battle, Theo dies before the rescue ship arrives. As a result, Kee finds herself alone with her child, awaiting further assistance from the leaders of a new hegemony. She doesn't even hold the oars to row the boat; they rest in the hands of her deceased savior.
Kee sits as an assenting victim in this political chess match that will use her child as a pawn for (an)others' political agenda. In essence, she has become a sexual surrogate inliterally and figurativelygiving birth to a new world order. Although she is not a substitute sexual partner or commissioned sex therapistmodern connotations for a sexual surrogate (IPSA 2014)she can be understood as a surrogate in the context of the original biblical story about Hagar and her son. In the Christian Bible, Abram/Abraham has a barren wife, Sarai/Sarah. Upon her behest, he has sex with Hagar, Sarai/Sarah's maidservant; the union brings forth Ishmael, Abram/Abraham's first-born child (Genesis 16: 116). Because Sarai/Sarah believed that she would be unable to give Abram/Abraham an heir, she identified Hagar as her sexual surrogate, a concubine with whom her husband can procreate. In the case of Children of Men, Kee provides the society with an heir, someone to not only inherit but sustain the legacy of a dying humanity. Moreover, she will possibly provide the means for more children to be born, not only from her womb but also from the wombs of her children; it is significant that she has given birth to a daughter, a point that I think cannot be overlooked. Therefore, although Theo is not the biological father of this child, nor will he participate in the new world Kee's daughter's birth portendsone where natural childbirth exists againhe has played an imperative role in ensuring the mother's and the child's survival. As protector and provider, he makes every decision, and Kee's acquiescence in the unraveling of eventswhere she is not entirely willing but certainly not defiant of Theo's control over her life and the life of the childreveal her as a Hagar figure. Beyond the ways in which it is anticipated that she will be used as a sexual surrogate for the world, she demonstrates no agency in determining her own destiny (or that of her child's) in this film. Even as the film ends, she finds herself in the middle of the sea waiting to be coopted into someone else's political scheme, a scheme she doesn't know or understand, yet one in which she will play an important role as mothersexual surrogateto the first child that has been born in twenty years and to any future children she and her daughter may birth. She is the physical body through which human life will continue while all other womenincluding those among the resistanceare barren.
Finally, in the Matrix series, we meet the Oracle, an autonomous, prophetic program that is just as old as the Source program who monitors and controls the computer system that keeps humans asleep in the imagined world of the matrix. The Oracle is a matronly Black woman in her early 60s who is living in the projects (low-income, affordable, urban high-rise housing). Especially gifted humanswith the consciousness to defy the matrixalong with malfunctioning and/or no longer necessary computer programs sit in her living room or visit her as she bakes cookies in her kitchen, smoking a cigarette and offering insightful words of wisdom meant to encourage, nurture and direct. The Source is a White man in his 60s or 70s who acknowledges in the last scene of the final film, The Matrix Revolutions, that if he is the father of the matrix, she (the Oracle) is its mother. Thus, together they are responsible for monitoring the human children the matrix relies upon for its survival, just as much as they coadministrate the responsibilities and functions of the computer and machine systems. For, as we learn in the first film of the trilogy, The Matrix, humans provide the energy reserves that allow the computer systems to run; they are the batteries, if you will, that power the system. The computer programs determine how efficient the system's illusion is, keeping the humans asleep and complicit in the activities of a constructed reality while actual machines dominate the "real" world. The Oracle desires to liberate those humans who have the prescience to realize that they are living in a fabricated reality. The Source desires to sustain order, instituting proper protocols in the "real" and fictionalized worlds so that balance remains between the synthesized, created world of the matrix and the operating world of machines and sleeping humans. Their bastard child, a direct offspring of the Oracle and the Source, is Smith, the first agent created to destroy or thwart humans in their efforts to awaken from the matrix (The Matrix Revolutions). Hating humans and the verisimilitude of the matrix, Smith's program becomes viral; he not only seeks to destroy all humankindthose in the real and created worldsbut he also wants to rule the machine world, deposing the Source. In essence, Smith harbors anger towards his "parents," presumably because he feels neglected by them. In The Matrix Revolutions, the last film of the trilogy, he infers that his mother's (the Oracle's) inability to nurture him, in part due to her affection for "the humans," incited him to become the malevolent program he is, focused on destroying humans and the computer-generated machine world alike. This sense of neglect by his mother, primarily due to her obligations to nurture others, is only compounded by the absence of his father, the Source, who is too busy monitoring the machine world and the matrix to provide his "son" with guidance.
The Oracle can embody a postapocalytic, science-fiction envisioning of a Mammy figure because she abandons her own child(ren) while seeking to nurture and provide matriarchal direction to those not spawned by her own womb. Moreover, although the assistance she offers may in some way be in defiance of the imperializing strictures established by the Source, she acknowledges in the final film of the trilogywhen talking with the White patriarchal Sourcethat she is just as much a part of the system as he is. She is simply playing her role in securing her survival as well as the survival of all that she has helped create: human consciousness, the evolution of malfunctioning programs, and the continued existence of the machines, all of which constitute her continued existence that relies on the sustained confluence of these two worlds. Akin to the actual Mammies of the antebellum age, she plays a paradoxical role in her society or societies. On the one hand, she is instrumental in sustaining social cohesion, motivated by an imperative to preserve her own existence and autonomy; on the other, she subverts the status quo, often subtly, by empowering others and wielding tremendous influence within the dominant and subversive worlds. Therefore, based on the film's conclusion, one might deem the Oracle as a powerful, significant figure in the series, and I would have to agree. But keep in mind that Mammies often wielded a contradictory degree of authority on the plantation, commanding a modicum of respect from both White and enslaved communities. Moreover, they were essential in sustaining the ethos of the antebellum South, so acknowledging that the Oracle plays an important role in these films does not negate the reading of her as a Mammy figure. In addition, I might be less inclined to view her as such if she were not so often placed in a kitchen setting, wearing an apron and baking cookies for those she seeks to help.
The trilogy deals with an apocalypse because both the machine and matrix worlds are in the midst of catastrophic transformation. On the one hand, humankind is about to be extinguished, except for a handful of select individuals who will repopulate Zion, the resistance community eking out their survival in the "real" world (The Matrix Reloaded and The Matrix Revolutions). On the other hand, the Source and Oracle contend with nonexistence or a new existence that involves their struggle to survive without human sustenance. For the Oracle, this prospect is not very appealing; the Source, however, is willing to accept such terms. The new world, brought about by the Oracle's steadfast commitment to keeping both worlds alive, ultimately presents the best compromise. Literally, she allows her program to merge with the malevolent Smith application in order to guarantee Smith's defeat. As a result, the matrix will remain in existencepowered by those who accept this form of reality, thus sustaining the machine worldand the people of Zion will not be destroyed. Those wishing to be freed from the matrix will be allowed to join this growing community; they can become actualized, using their own means and know-howlike the Oracle and Sourcein order to survive in the postapocalyptic world that exists outside of the mainframe of the matrix (The Matrix Revolutions).
Whether we consider The Matrix trilogy, Quest for Fire, or Children of Men, these films repeat an image of a White male as provider, protector, strategist, and guardian of a new world order that can only be brought into existence via the physical body/being or spiritual and emotional nurturance of a Black women and her mothering presence. Initially, my interest in this topic was colored by an optimism that at last Black women were being depicted as essential in the creation of a better world,7 but after revisiting the theory I became far more pessimistic, questioning if, yet again, popular audiences in America and the world are being bamboozled by problematic images that preserve the stereotypes of Black women as either Mammies, Jezebels or Hagars. Thus, as Trudier Harris historicizes in her Saints, Sinners, Saviors, these films continue an American phenomenon whereby the "black female body [is] manufactured for white public consumption" (2001, 1). Moreover, they extend a mythic story that defends a problematic perpetuation of the image of Black women as "towers of strength" (Harris 2001, 9) who, in addition to preserving traditional White commodified stereotypes, now take on the dimensions of being "extrahuman" (3) or "suprahuman" (11), "natural nurturers often capable of protecting others but never themselves" (4). As a result, the heroism displayed by Kee, Ika, and the Oracle and the quintessential roles they play in these films are only indicative of "the creative trap" in which these characters find themselves (Harris 2001, 10). Not only can they be construed as modern-day representations of Mammy, Hagar, or Jezebel figures, butusing Harris's thesisthey display the ever-present, stagnating, and paradoxical depiction of strong Black women who are not solutions to but perpetuators of the problem.8
Of course, having made my argument about the stereotypical roles these Black female matriarchs display in the films I've discussed, I would be remiss to overlook the valiant gestures of the creators of these films. For characters like Morpheus (Laurence Fishburne) or Niobe (Jada Pinkett-Smith) and the multicultural Council of Elders that consists of an equal number of male and female leaders, in The Matrix trilogy, suggest that the intentions of its screenwriters, directors, and producers were to construct a representation of a postracial, unbiased society with equitable gender rights. The makers of The Children of Men seem to have had a similar aim, with actors Chiwetel Ejiofor and Julianne Moore representing the leadership of an integrated resistance force. Despite such ambitious aims, however, these films reveal what Lola Young argues in Fear of the Dark (1996): that it is difficult for filmmakers, no matter how formidable their agenda, to challenge stereotypical images. For example, one might argue that Morpheus is the self-sacrificing defender and best friend of the hero played by a White actor, a stock character set up opposite the protagonist only as a means for rounding out the White character's development while assisting with moving the plot forward (Nittle 2014; Bogle 1994, 27176). According to Nadra Kareem Nittle's "Five Common Black Stereotypes in TV and Film" or Donald Bogle's Toms, Coons, Mulattoes, Mammies, and Bucks, then, Morpheus would fit the stereotypical role of the "Black Best Friend"Nittle's termor what Bogle describes as the "Buddy Buddy," the loyal Black sidekick (1994, 27176). Morpheus also has superhuman abilities that he uses to inspire and compel Neo, his best friend, to become the people's savior, thus displaying characteristics of the "Magical Negro" (Nittle 2014). In her outline, Nittle goes on to set forth the categories of "Thugs," "Brash Women," and "Domestics"; using her analysis, Niobe can be characterized as the brash, angry and aggressive Black woman, someone who challenges all male authority, including that of her love interests. In terms of Bogle's categories, she might be likened to a modern-day "Superbadd, Supermama," what he describes as a "Woman as Protector, Nurturer" of not only her community but the universe, someone whose identity must also be framed within the context of her sexuality and sexual relationships with powerful men (1994, 25152). Thorough analysis of these characters needs to be the subject of another paper. However, I call attention to this information only to reiterate how difficult the enterprise of defying stereotypes can be for filmmakers today, a task that is all the more challenging for perceptive audiences who watch these films with the hope of experiencing equitable societies where race, class and gender are no longer used to marginalize or disempower individuals.
In conclusion, if nothing else, I hope this essay encourages you to (re)watch these movies, (re)reading the content for yourself. For Womanist thinking and Black feminist criticism invite a (re)reading and reinterpretation of texts that challenge our conceptions of culture, race, gender, and societal formations, and it is through the discourse of Womanist criticism (in which I include Black feminism) that we "are invited to journey to impossible destinations and situations, revealing the possibilities within the reader and the text" (Mitchell and Taylor 2009, 9). As such, my reading of the theory and films involves what Herman Beavers describes as an "interstitial site where world, reader, and text merge," an experience whereby, "in sharing the reading [or viewing] experience," this new community of scholars, critics, readers, and viewers can "generate 'a culture of resistance'" (Beavers 2009, 266). Ruth Robbins credits such a way of reading to the feminist movement, underscoring how feminist literary theory endorses "the possibility of seeing things differently," instigating a body of knowledge and ways of reading that reflect "a creative multiplicity that has many sides" (Robbins 2000, 266). This gesture of resistancereading in terms of a "creative multiplicity" that draws upon "an interstitial site where world, reader, and text merge"offers a new way of "sharing the reading [or viewing] experience," the crux of bell hooks's agenda in Talking Back: Thinking Feminist, Thinking Black. For hooks, "talking back" is a communal "act of resistance," one that needs to be "a courageous act [that] represents a threat [because it] challenges [the] politics of domination" (1989, 8). This paper has aspired to achieve such an aim, sharing a viewing/reading experience that asks moviegoers to use vigilance when watching films that seem to depict postracial societies and represent nontraditional gender roles. For despite the laudable efforts of those responsible for bringing Quest for Fire, Children of Men, and The Matrix trilogy to the big screen, viewers cannot ignore the ways in which Ika, Kee and the Oracle sustain stereotypical depictions of African-American women, respectively, as a Jezebel, Hagar, or Mammy.
1. It is important to note that this paper utilizes literary criticism as the means for grounding the methods and terms applied to my analyses. Of course, significant work has been done in Black film criticism on the topic of stereotypical representations of people of African descent in film. Such texts might include Donald Bogle's Toms, Coons, Mulattoes, Mammies, & Bucks (1994) or Thomas Cripps's Slow Fade to Black (1977) and Making Movies Black (1993). My background, however, is in literary studies, not film studies, so the methodology for this paper stems from literature and literary theory.
2. Historically, several Black women have spoken to the unique struggle women of African descent have faced, fighting a status quo that stigmatizes women and people of color. Sojourner Truth expressed such a conundrum in "Ain't I a Woman," her prescient 1851 speech at the Women's Convention in Akron, Ohio (Halsall 1997). Hazel Carby (1987) chronicles those who followed Truth's example, women like Frances Harper and Anna Julia Cooper, who spoke at the World's Congress of Representative Women in 1893. They continued to promulgate the double, often triple, oppression Black women faced in America due to poverty as well as racial and gender inequity. Particularly relevant to the scope of this paper is Carby's exploration, in her Reconstructing Womanhood: The Emergence of the Afro-American Woman Novelist, of the origin of Black female stereotypes as constructed within the plantocracy system, addressing the paradoxical ways in which many nineteenth-century women of African descent defined themselves against the European "cult of true womanhood," which society prevented them from adhering to.
3. Dolen Perkins-Valdez's novel Wench (2010) is a perfect example of a text that assigns this title to women of color. In the novel, plantation owners take their mixed-raced mistresses with them to summer homes, while, under the guise of traveling for work, they leave their wives on the family's main property.
4. For more information on the "Mammy" figure, especially in terms of the history of cinema, see Bogle 1994, 9.
5. Principal texts that characterize the "tragic mulatto/a" are early American literary works such as William Wells Brown's Clotel (1853) and Clotelle (1867, published in four distinct versions), and Lydia Marie Child's "Quadroons" (1842) and "Slavery's Pleasant Homes" (1843). See also Pilgrim 2000 and Bogle 1994, 9.
6. For more information about the Homo erectus and Homo habilis, see Kemmer 2012.
7. Similarly to the Black female spectators and their response to Steven Spielberg's rendition of The Color Purple, as discussed by Jacqueline Bobo in her Black Women as Cultural Readers (1995), I felt that somebody was, finally, saying something about us.
8. To better understand this point about images of strong Black women that are rife with troubling contradictions, consider the following from Harris:
Conceptualization of black female character, therefore, has fallen into the creative trap or paradox of finding a way out of traditional stereotypes by reinvigorating an old one whose myriad shades do not ultimately overcome the basic problem of limitation. The superficial attractions of strength have dominated portraits of black female characters to the detriment of other possibilities and have potentially stymied future directions for the representations of black women. This tradition of portrayal, therefore, has created as well as become its own form of stagnation. (2001, 1011)
Annaud, Jean-Jacques, dir. 1982. Quest for Fire. International Cinema Corporation. DVD. Los Angeles: 20th Century Fox, 2003.
Beavers, Herman. 2009. "African American Woman Writers and Popular Fiction: Theorizing Black Womanhood." In The Cambridge Companion to African American Women's Literature, edited by Angelyn Mitchell and Danielle K. Taylor, 26277. Cambridge: Cambridge University Press.
Bobo, Jacqueline. 1995. Black Women as Cultural Readers. New York: Columbia University Press.
Bogle, Donald. 1994. Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films. 3rd ed. New York: Continuum.
Brooten, Bernadette, 2010. "Introduction." In Beyond Slavery: Overcoming Its Religious and Sexual Legacies, edited by Bernadette Brooten, 129. New York: Palgrave Macmillan.
Carby, Hazel. 1987. Reconstructing Womanhood: The Emergence of the Afro-American Woman Novelist. Oxford: Oxford University Press, 1987.
Christian, Barbara. 1994. "But What Do We Think We're Doing Anyway: The State of Black Feminist Criticism(s) or My Version of a Little Bit of History (1989)." In Mitchell, Within the Circle, 499514.
Cripps, Thomas. 1977. Slow Fade to Black: The Negro in American Film, 1900-1942. Oxford: Oxford University Press.
. 1993. Making Movies Black: The Hollywood Message Movie from World War II to the Civil Rights Era. Oxford: Oxford University Press.
Cuarón, Alfonso, dir. 2006. Children of Men. Universal Pictures. DVD. Universal City, CA: Universal Studios, 2007.
Encyclopedia Britannica. 2012. "Cro-Magnon" and "Neanderthal." Britannica Academic Edition: The Online Encyclopedia. Accessed December 26.
Foster, Frances Smith. 2010. "Mammy's Daughters; Or, the DNA of a Feminist Sexual Ethics." In Beyond Slavery: Overcoming Its Religious and Sexual Legacies, edited by Bernadette Brooten, 26784. New York: Palgrave Macmillan, 2010.
Halsall, Paul. 1997. "Sojourner Truth: 'Ain't I a Woman?,' December 1851." Internet Modern History Sourcebook. http://www.fordham.edu/halsall/mod/sojtruth-woman.asp.
Harris, Trudier. 2001. "The Black Female Body: Seeing, Believing, and Perpetuating Popular and Literary Images." Introduction to Saints, Saviors, Sinners: Strong Black Women in African American Literature, 120. New York: Palgrave.
hooks, bell. 1989. Talking Back: Thinking Feminist, Thinking Black. Boston: South End Press.
. 1992. Black Looks: Race and Representation. Boston: South End Press.
IPSA. 2014. "Surrogate Partner Therapy." International Professional Surrogates Association (IPSA). Accessed May 24. http://www.surrogatetherapy.org/what-is-surrogate-partner-therapy/.
Kemmer, Suzanne. 2012. "Homo habilis and Homo erectus." Last modified January 9. http://www.ruf.rice.edu/~kemmer/Evol/habiliserectus.html.
McDowell, Deborah E. 1994. "New Directions for Black Feminist Criticism (1980)." In Mitchell, Within the Circle, 42841.
Mitchell, Angelyn, ed. 1994. Within the Circle: An Anthology of African American Literary Criticism from the Harlem Renaissance to the Present. Durham, NC: Duke University Press.
Mitchell, Angelyn, and Danielle K. Taylor. 2009. "Introduction." In The Cambridge Companion to African American Women's Literature, edited by Angelyn Mitchell and Danielle K. Taylor, 112. Cambridge: Cambridge University Press.
Nittle, Nadra Kareem. 2014. "Five Common Black Stereotypes in TV and Film." About.com Race Relations. http://racerelations.about.com/od/hollywood/a/Five-Common-Black-Stereotypes-In-Tv-And-Film.htm.
Patterson, Robert J. 2009. "African American Feminist Theories and Literary Criticism." In The Cambridge Companion to African American Women's Literature, edited by Angelyn Mitchell and Danielle K. Taylor, 87105. Cambridge: Cambridge University Press, 2009.
Perkins-Valdez, Dolen. 2010. Wench. New York: Amistad.
Robbins, Ruth. 2000. Literary Feminisms. New York: St. Martin's Press.
Smelik, Anneke. 2014. "Feminist Film Theory: Feminist Criticism of Film." The Feminist eZine. Accessed May 24. http://www.feministezine.com/feminist/film/Feminist-Film-Theory.html.
Smith, Barbara. 1994. "Toward a Black Feminist Criticism (1977)." In Mitchell, Within the Circle, 41027.
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Young, Lola. 1995. Fear of the Dark: Race, Gender and Sexuality in the Cinema. New York: Routledge.


text:
Los Angeles Museum of Art
Los Angeles Museum of Art (LAMOA)
installed at Occidental College
Los Angeles Museum of Art (LAMOA),
Los Angeles, CA
– Occidental College is pleased to announce that Alice Könitz's award-winning work,
Los Angeles Museum of Art (LAMOA),
has been installed on the campus. The piece is currently on view with programming scheduled through the 2015-2016 academic year. The
bookstore will also be sited at the college as part of the installation. The inaugural exhibition will feature work by Los Angeles based artist, Alice Clements. A public reception will be held on
Wednesday, September 16, 2015
, from
is an approximately 13' x 10' x 10' exhibition space curated by Könitz, and a sculpture in its own right. Established in Könitz's Eagle Rock backyard in 2012, the museum is a venue for exhibitions and performances from members of her artistic community. Artists are invited to create work specifically for the venue and its unique structural form. Through this arrangement the space evolves with each exhibition into a new audience experience.
The work manifests the artist's interest in the relationship between public and private space. The museum is an open space formerly in the setting of her personal home. With the move to Occidental, it will shift boundaries becoming part of the academic setting and the students' everyday lives. The artist describes
LAMOA as
"a platform for an organic institution that lives through participation". The structure depends upon public interaction for its role as a museum.
Occidental is excited about this collaboration and looks forward to working with Könitz throughout the year. "Hosting the recent recipient of the Mohn Award honoring artistic excellence at the Hammer Museum's
Made in L.A. 2014
exhibition is an honor and we are excited about the opportunity for the students to engage with the work," says OxyArts Director, Aandrea Stang. "With the campus installation,
will create dialogue within the campus community and for a broader Los Angeles audience."
A public reception for
will be held on
Wednesday, September 16, 2015
, from
5:00 – 8:00pm
. For ongoing
programming and calendar information, please visit the
) and OxyArts (
) websites.
Alice Könitz
is a Los Angeles-based artist from Düsseldorf, Germany. She attended the Kunstakademie in Düsseldorf before moving to California and receiving her MFA from CalArts. Her work has been included in exhibitions such as the UCLA Hammer Museum's
Made in L.A. 2014
and the 2008 Whitney Biennial. She has been featured in Artforum, Frieze magazine, and the New York Times.
Alice Clements
lives and works in Los Angeles. She received her BA from Wesleyan University prior to completing her MFA from the Art Center College of
Design. Her work has been shown at Elephant, Jancar Gallery, and PØST in Los
Contact: alicekonitz(at)gmail.com
LAMOA is a platform for an organic institution that lives through
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