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Dale Richter began beekeeping at the age of five, under the watchful eyes and knowledgeable tutelage of his grandfather, E.P. Posey. He has continued to keep and study bees his entire life, studying Entomology and heading the Entomology Lab while a student at the University of Georgia. Dale has taught countless classes to school children and community organizations, as well as organizing and presenting rescue and response classes to numerous emergency response personnel and government officials.
In October 2010, Dale became the first beekeeper to encounter Africanized Honey Bees in Georgia while responding to an incident which resulted in the fatality of an elderly Dougherty County man. Since that time, Dale has worked diligently with local, state, and Federal officials to continue to monitor for AHB as well as educate the public on awareness of AHB.
Dale and his experiences in beekeeping and bee removal have been featured on The History Channel, America Now, MSNBC, NBC, FOX, CNN, Right this Minute, and multiple other local and national media outlets.
In addition to being a Georgia Master Beekeeper, Dale is a Georgia Pest Control Operator, a Georgia Wildlife Control Operator, member of the Georgia Beekeepers Association, the SOWEGA Beekeepers Association, Georgia Pest Control Association, PRIMA (Public Risk Management Association), and multiple Apartment Associations.
Our clients include residential property owners (general homeowners), commercial property owners, management and apartment communities, National Parks Services, military properties, and local, state, and Federal government agencies.
From the backyard playhouse to the Presidential Museum, we have removed honey bees from all types and manner of locations and safely relocated them to become a safe, thriving colony.


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Classification: Binnion, Hump, Marilyn.
OS Grid Ref: V584472 This data is currently only accurate to a 6 figure grid reference (c.a 100m).
Click here to learn how to help improve it.
UK Area: 51 - Beara Peninsula (OS Maps 1:50k 84.)
Latitude: 51.659984, Longitude: -10.047077, Height: 376 metres (1233 feet)
Prominence: 150 metres (492 feet)
Unique Waypoint POI Name: 0376.P (DoBIH Hill ID: 20393)
Associated Child Hill(s):
Eagle Hill (223m, p134);
External Links for Knocknagallaun:
-GeoHack link... -OS Map Bing link... -Google Map link... -Geograph link... -Knocknagallaun on hill-bagging.co.uk... -Knocknagallaun on mountainviews.ie...
Data courtesy of the Database of British and Irish Hills
Selected mapping: Google or Bing / Ordnance Survey:All | :Nearby Hill | :Nearby Trigpoint | : mouseover
Climbed Knocknagallaun? Log in to tick it off...
Eagle Hill (2.2km)Knockoura (Cnoc Cumhura) (3.8km)Miskish Mountain (Mioscais) (5.9km)Lackacroghan (Leac an Chruachain) (6.6km)Disert (8.2km)Glanarough Hill (9.1km)Derryvour Hill (9.7km)An Rath (Eagle Hill) (11.2km)Knocknasullig (11.5km)Knockanallig (12.7km)
Total = 1 All
* The waypoint data in italics is only accurate to a 6 fig grid reference. Click here to learn how to help improve it.
Data courtesy of the Database of British and Irish Hills

subset: commoncrawl


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Many people find home interior design very complicated. It can be hard to know where to start. Luckily, you do not have to worry about this; this article will give you the advice you need to get started.
Start your interior design project with a mood board. A mood board is a large cardboard display with different ideas for a room pasted on to it and written on it. You can get ideas from magazines, online and from television shows. The board will give you a visual of your own style, and help you to design a room that fits your taste.
One key tip with regards to interior design is to make sure your room has a focal point. Whether it is a fireplace, piece of furniture or whatever you desire, it is important to have one point in which the entire room revolves around so that whatever item you choose is the highlight of the room.
A good tip when you're thinking of getting some interior designing done is to consult with a professional interior designer. Everyone thinks they can do everything themselves, which isn't a bad quality, but professional interior designers have an eye for things that the average Joe doesn't even think about.
Figure out what you want the focal point of the room to be. This is going to be one thing that the room is going to center around. It can be a window, a desk, a piece of artwork – whatever you'd like it to be. Once you know what your focal point is, you can arrange the room so that it compliments that focal point.
A great interior design tip is to start going to more yard sales and thrift stores. You'd be amazed at some of the unique things that you can find at these avenues versus the typical places like Ikea. You might come across a great end table or beautifully decorated vase.
Try to develop a theme on each and every floor of the house. After you develop this theme, try to match the colors and furniture to the type of theme that you choose. For example, you may want to instill a tropical theme in the first floor of your home to increase the vibrancy.
Make sure that there is ample lighting in every room of your house. This may require you to do some planning as to where you should situate your lights or chandeliers. If you have a big room, you will need to strategically position the lights to filter throughout the whole area.
Arrange your furniture smartly. Walk around your rooms and take different paths: are you able to easily go from one room to the other? Furniture should not be in your way, and yet some items should be made central if you wish to create a theme or a color pattern based on a piece of furniture.
This article should give you some great tips on how you can redecorate your home. Interior design doesn't have to be difficult. By using the advice you've read here, you are well on your way.


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ISSN (Online): 2319
7722, ISSN (Print): 2319
www.ijhssi.org ||Volume 6 Issue 7||July. 2017 || PP.07-14
Education Orientation of Pesantren Muhammadiyah in North
, Haidar Daulay2
, Al Rasyidin3
1Lecturer at IAIN Padangsidimpuan Syari'ah Faculty
2Prof. Dr. Educational Islamic Philosophy UIN North Sumatera UIN Sumatera Utara Medan 3Prof.Dr. History of Islamic Education in UIN North Sumatera Medan
Muhammadiyah as a big Islamic social organization feels responsible for preparing scholars as the successor of the struggle for Islamic activities in Indonesia. Therefore, the establishment of Pesantren for Muhammadiyah is a necessity. Studies onPesantrenMuhammadiyah in North Sumatra with qualitative metoode get some findings that need to be followed up. PesantrenMuhammadiyah still adopt the existing system of pesantren which has not had its own unique curriculum in creating intellectual clerics.
Muhammadiyah is an Islamic socio-religious organization that has an important contribution on the modernization of Islamic education in Indonesia. Education is an area of concern of this organization since it was founded even before it was founded by its founder. This organization played an important role and was directly involved in the expansion of modern Islamic education in the early twentieth century. With the identity as a religious social movement, carrying the theme of tajdîd and ijtihȃd, Muhammadiyah formulates and implements social programs that characterize it as a modern Islamic movement. In addition to modernizing Islamic education, Muhammadiyah has also initiated new social activities in the Islamic movement in the form of development and establishment of social institutions, hospitals and clinics as a form of interpretation and actualization of Islamic teachings. Therefore, in the context of the reformist movement in the homeland, Muhammadiyah can be called as a towing locomotive for reformist wagons in Indonesia.
The important figure behind the establishment of this organization is KH. Ahmad Dahlan, a Muslim educated person who graduated from traditional education institutions. Dahlan has no Western educational background. At the age of school, Dahlan was raised and educated on the Qur'an and the foundations of Islamic religious knowledge by his own father at home (DjarnawiHadikusuma 1988: 74). Furthermore, Dahlan studied fiqh to KH. Muhammad Shaleh, and studied Nahwu to KH. Muhsin, both are his brother-in-law. In 1890 M Dahlan set out on hajj where he met with the great Indonesian clerics in Mecca, among others KH. Muhammad Nawawi from Banten, KH.Mahfud from Termas, KH.Nahrawi from Banyumas, and he also met with native Arab scholars in the Grand Mosque who produced various shahadah (diplomas). (Mustafa Kamal Pasha, Ahmad AdabyDarban 2002: 103).
Upon his return from Mecca in 1891, he was asked by his father, KH. Abu Bakr to teach the santri, but five years after that his father died (1896). Then the Sultan of Yogya appointed him as Ketib Amin in the GedheKauman mosque to replace his father's position. The Sultan also appointed him as the Raad of the Islamic law of the Sultan's Palace.
To improve his scientific knowledge, Dahlan returned to Mecca for the second time and settled there for two years. During his time in Mecca Dahlan learned a lot and gained knowledge to the Middle Eastern Ulama. In addition Dahlan also often discuss about the fate of Muslims in Indonesia to the scholars of Indonesia who settled in the Holy Land, Mecca. This exchange of ideas he did with the intellectual scholars who are then mentioned as his teacher such as Sheikh Ahmad Khatib from Minangkabau, Kyai Mas Abdullah from Surabaya, KyaiNawawi from Banten, and KH. Fakih from Maskumambang Gresik.( UMY 2010: 10).
relationship with Dahlan, namely Muhammad Noer Studied at al-Azhar from 1899-1906 and became a student of Abduh, and Shaykh Ahmad Syurkati who later pioneered the founding of the Islamic reform organization al-Irsyad (MT Arifin 1987: 111). Dahlan's interaction with these organizations is considered to be very powerful in influencing Dahlan's religious ideas and religious thinking.
The combination of purification movements with the theme of ruju' ilaquranwa al sunna, criticism of
taqlid, the opening of ijtihad and tajdîd doors, the modernization of education, and social charity is the main agenda of Muhammadiyah. The agendas are an inseparably inseparable entity and the main character of this modernist organization. This indicates that the Muhammadiyah movement has links with the modernist Islamic movements that were born in the early twentieth century. The idealism of the Muhammadiyah struggle can be found in other reformist movements, though with a different focus of attention and emphasis on each other. The combination of these agendas makes Muhammadiyah a distinctive modernist Muslim movement and has its own place in the context of the Islamic movement in Indonesia.Especially related to the idea and implementation of modern Islamic education projects
In this context, Muhammadiyah Islamic reform movement has an intersection with the Wahhabism movement pioneered by Muhammad Abduh and Rashid Rida, a movement born of Muhammad ibn Abd al-Wahhab in Saudi Arabia in the 18th century AD. This Islamic movement is especially important when Working with the Saudi kingdom made Wahabism a royal school. This movement is characterized by a strong identity against bid'ah and khurafat, and rejects the teachings of mysticism as a form of religious practice. On the other hand, Wahhabism also rejects taqlid and pushes the door of ijtihad. This movement was further sponsored by the triad, Jamaluddin al-Afghani, Muhammad Abduh and Rashid Ridha, although in some ways Wahhabism was not entirely but their contact with Western culture made their ideas relatively different from Wahhabism. However, in the view of Harun Nasution, Muhammadiyah is much influenced by the traditional thought of Rashid Rida. He states that the different methods of thinking that exist between M. Abduh and his disciple Rashid Ridha are not so much expressed as to arise the notion that Rashid Rida is a faithful disciple of M Abduh. From here arose a view that states that Muhammadiyah much influenced rational thinking of Abduh., Harun Nasution (1995: 153).
Dahlan assumed that education is the most strategic area to actualize the development of people and nation. Dahlan is very concerned to see the life of Muslims who is in general far from Quran and the Prophet guidance. On the other hand, poverty and ignorance as a consequence of colonialism increase the burden of Indonesian people who are predominantly Muslim. Dahlan observed one of the factors that make the nation in habituation was the issue of educational discrimination on the one hand. The attitude of protection and closure of the Islamic education system so as not to be influenced by the Western education brought by the invaders was on the other hand.
Dahlan was not satisfied with the implementation of the existing educational system at that time, where there was a social disintegration that led to the dichotomy of two poles of education, pesantren and schools. Pesantren is a traditional Islamic education that teaches the religious sciences and gets legitimacy from Islamic society. While the schools (Modern Dutch Education) teach the worldly sciences and get the legitimacy of the Colonial Government. In Dahlan's view they are equally unfavorable because this disintegration will spawn a generation into split personality. Islamic education centered in pesantren suffered a setback because it was isolated from the development of modern society and science. On the other hand, Western education is considered secular, which can threaten the lives of the indigenous youth.
Concerned about this condition, Dahlan gave birth to tajdîd fi al-Islam in the field of education by changing the curriculum of the pesantren dominated by us-the Syafi'iyah books and the teachings of al-Ghazali, and replacing them with the books of reformers. Al-Manar magazine, al-urwathulwustqa and al-Munir also influenced Dahlan's educational reform ideas even though his ideas received strong responses and rejection from KanjengPenghulu and the elderly who interpreted Islam based on tradition and argumentation of the classical books (Arifin , 61).
residents of Kauman. So from December 1, 1911 according to his ideas Dahlan founded the people's school (Madrasah Ibtidaiyah) and Madrasah Diniyah which were the first formal people's school in Kauman. The learning process was carried out in the living room of Dahlan's narrow house measuring 2.5x6 M. The school developed Islamic education in with Western educational standards were implemented such as a class teaching system, a system of teaching and school management that was still unfamiliar to the santri community at that time. The school is managed in a modern way by using new methods and curricula according to the science developed in the early 20th century. The first student of this school is only 6 people, half a year later the admissions increased 300% to 20 people. According to Van Niel as dictated by Mt. Arifin school is the basis of a successful new model education experiment, and since 1915 the Muhammadiyahschool was subsidized by the Dutch government (Abdul MunirMulkhan 1990: 18-19). In 1920, Muhammadiyah established a 6-year primary school equivalent to Hollands Inlandsch School (HIS). In the following years Muhammadiyah continued to launch schools such as Hollands InlandchKweeksckool (HIK), Meer Uitgebreid Lager Onderwijs (MULO), and AlgemeneMiddlebar School ( AMS). The schools even adopted the Dutch government school system, but Muhammadiyah continued to incorporate Islamic subjects as its curriculum content (Dja'farSiddik 2007: 42.) These schools continued to expand beyond Yogyakarta, namely Surabaya, Bausasran ,Karangkajen, and elsewhere. (A. MunirMulkhan 19)
The above concept illustrates that in the early period,Muhammadiyah educational institutions adopted or were inspired by the secular education of the Netherlands added with Islamic subjects into its curriculum. This educational model is the result of the important ijtihad of Muhammadiyah education from the perspective of the integration of traditional pesantren education system with modern western education system. this education Ijtihad which in turn triggered the birth of models of modern Islamic educational institutions introduced by Muhammadiyah such as HIS met de Qur'an which literally means HIS with additional subjects of Islam (Qur'an) or the adoption of additional general science of the Qur'an. This term is another name for " plus public school". (AzyumardiAzra 37). In its development, this school model became the forerunner of the emergence of "modern Islamic school" in the archipelago that at the end of the 20th century this model of education was very popular among Indonesian Muslim society (AzyumardiAzra 2012: 79).
This fact proves that Muhammadiyah is the foundation and pioneer of Islamic education renewal in Indonesia. Muhammadiyah educational institutions have encouraged Indonesian youth to continue their studies because Muhammadiyah has offered alternative education by setting up its own non-dichotomic schools between religious science and general science. It is fundamentally an important tajdîd and ijtihad in the context of education in the country. The Indonesian people are educated to be Intact persons whose personality is not split into a general knowledgeable person or religious science only. Muhammadiyah school graduates are able to integrate faith and progress in their lives, and are able to live in the midst of modern civilization. The combination of this system gets multiple results, Nakamura outlines some of its benefits as follows: First, the emergence of the spirit of nationalism of Indonesia through the teachings of Islam. Secondly, through Muhammadiyah schools the idea of renewal can be widely disseminated. Thirdly, the practical use of practical knowledge from modern knowledge become socialized. In addition, Muhammadiyah education also provided an alternative channel for the education of indigenous children at that time where public schools were not so open to them including for rich merchant children (Mitsuo Nakamura 1993: 85-88).
The significant impact of the schools is the birth of social change and mobility in society as a consequence of the work ethic, democratization, and rationality of the ongoing education.
The idea of establishing Muhammadiyah Pesantren
For the Muhammadiyah organization, pesantren has a very strategic position because it is closely related to Muhammadiyah's character as a religious movement, especially Islam. Because without the mastery of religion, the meaning of Muhammadiyah as an Islamic movement will have no spirit, and the meaning of Islamic movement will blur. Without the spirit of Islam, da'wahamarmakrufnahimunkar, and a mastery of Islamic sciences (tafaqquh fi al-dîn) Muhammadiyah movement will turn into a mere social movement or something else.
Therefore, the existence of pesantren is an absolute requirement to create the ulamawho has capability as a mobilizer, a guard and supports of all Muhammadiyah activities in actualizing its ideals. The pesantren to be established is a Muhammadiyah-style pesantren that is specifically oriented to the establishment and cultivation of ulama cadres, dai', and the intellectual clerics as Dahlan formulates formerly the goals of Islamic education of Muhammadiyah organization.
The criticism also expressed by the Muhammadiyah community about the development of education that is government oriented and because of the pragmatic demands that weaken the Islamic identity and the identity in Muhammadiyah education itself. (Abdul Mu'ti 2010: xxv) So that it raises the question about What the difference between Muhammadiyah schools and other schools is.
many problems.One of them is the loss of social solidarity from its education.Muhammadiyah education has contributed to the pattern of individualism. According to Kuntowijoyo as a result Muhammadiyah education has no clear cultural base. The emphasis on doctrinal purification can lead to a tendency of practical lifestyle that ignores symbols. In this case the value and form of symbols in the Muhammadiyah education system experienced a very heavy erosion. Organizational skills can lead to formal relationships, so that according to Muhammadiyah education is like a fruitful but fruitless plant (Kuntowijoyo 1991: 270).
On the other hand, according to Kuntowijoyo, the growth of pesantren in Muhammadiyah's internal organization is triggered by the problems faced by Muhammadiyah's education which is different from the past, because its renewal has reached its maximum form, therefore it is necessary to fix theology so that the cultural burden of the past work ethic can Replaced with a new ethos, namely Muhammadiyah education that is able to knit social solidarity and develop social cultural system in education through pesantren system (Kontowijoyo, 271).
The Development of Muhammadiyah Pesantren a model of alternative education institutions that will be developed within Muhammadiyah organization, pesantren grows quite impressively. Based on the survey results found that since Muhammadiyah was founded, there are 67 pesantren spread in various regions in Indonesia which are officially registered in the Muhammadiyah Central Executive. In 2000 the number of Muhammadiyahpesantren was 55 units and in 2005 the number increased to 57 units. However, official data released by the Muhammadiyah Central Executive Board in 2010 was 67 units (PP Muhammadiyah: xii). ` Meanwhile, the data obtained from ITMAM is much more. It means that more than half of the pesantren - more than 150 units - are not registered to Muhammadiyah Central Executive. Imran Rosyadi, the caretaker of Pesantren Hajjah Nuriyah Shabran in his article entitled "The Argument of the Needs to form MajelisPesantren" mentioned that around 150 pesantren were under the management of Muhammadiyah Central Executive. Warta Ma'had Muhammadiyah (majallah), Special Edition of the Congress.001, 1436 H., h. 14. This data was confirmed by UstadzYunusMuhammadi. He informed that in the Second Silatnas at Pondok Pesantren Muhammadiyah Imam Syuhodo, the number of PesantrenMuhammadiyah per year 2015 was 150 units. (Yunus Muhammadi, Chairman of IT MAM, interview via telphon on Sunday 04 December 2016, 05.30 pm.)
).However, recent data reported by Dr. H. Maskuri, M. Ed, chairman of the Committee of National Coordination Meeting of PesantrenMuhammadiyah in Indonesia organized by LembagaPengembanganPesantren (LP2) of Muhammadiyah Central Board on 28-30 October 2016 in Makassar that there were 180 MuhammadiyahPesantrens registered Officially on Muhammadiyah Central Executive. He reported that these pesantrens emerged with various shades and variants such as salafi, 'asyri (modern), and integrative combination pesantren (madrasah/schools). In addition, there was also a variety of levels of Muhammadiyah management that established the pesantren. There was a boarding school established by the Central Executive, Regional Leaders, district Leaders, and Branch Leaders of Muhammadiyah. There were also pesantrens founded by sympathizers, Muhammadiyah figures, and alumni of Pendidikan UlamaTarjih Muhammadiyah (PUTM). (Chairman Report of the Committee of National Coordination Meeting of Pesantren Muhammadiyah in Indonesia on 28-30 October 2016 in Makassar).
This figure, although not comparable with the number of schools especially when compared with the number of pesantren managed by the NU and individuals with a variety of variety but this data shows that the attention and expectation of Muhammadiyah to pesantren education is very large.
the afternoon and in the evening they get a boarding house, Mario Kasduri, member and former PWM secretary, former Dean of FAI UMSU, interview, Pascasarjaan UIN SU, Medan, Friday, 09 December 2016, At 11:15. Regional Leadership of Muhammadiyah Sumatera Utara, (North Sumatera PWM Report at the 10th Summit of Muhammadiyah Sumatera in Pematang Siantar on 8-11 December 2016).
The above condition is an interesting phenomenon which indicates the evolution of pesantren education in the form of a university pesantren that is synthesis or convergence between pesantren and university. This reality also shows a strong dynamics in the experimentation of pesantren education in Muhammadiyah organization that is different from development thesis Pesantren in general as found by researchers. Development and elaboration is predicted to continue to grow both in quantity and quality that reflects that the struggle of Islamic education exploits including boarding school in the context of modernity is still ongoing in the environment of this organization.
The growth seems to be in line with the phenomenon of recent developments that require a comprehensive education system so that Muhammadiyah is motivated to answer this phenomenon in accordance with its educational function. Indeed, today's society requires the coaching of learners to be implemented in an integrated manner between the cognitive, affective and psychomotor aspects, in addition to the other reality is the emergence of explosion of public expectation towards pesantren educational institution.
Nevertheless the establishment of Muhammadiyahpesantren with diverse backgrounds and different social settings certainly has its own dynamics. Although these pesantrens are an inseparable business charity of Muhammadiyah which is driven in a package within the whole organizational system. At the 38th Muhammadiyah Congress of 1971 in Ujung Pandang, it was decided that Cadre / Pesantren schools were an integral part of the overall regeneration system within the MuhammadiyahPersyarikatan body and functioned as working partners of the Cadre Education Assembly in conducting the process of regeneration either formally or informally by sticking to Muhammadiyah's educational principles. In responding to the scarcity of Muhammadiyah scholars whose numbers are getting smaller these days, in the midst of various difficulties, the Regional Leadership of Muhammadiyah of North Sumatera is working hard to organize the "ulamatarjih course" and then the course is upgraded to "education of UlamaTarjihMuhammadiyah cadres". Of the 44 participants who participated, 20 people passed the selection and fully funded by PWM-North Sumatra. The founding program of this pesantren began in 2006 in cooperation with UMSU under the name Ma'had Abu Ubaidah in cooperation with the Arabs with a period of study 2 years later transferred to the FAI, but in 2011 this cooperation stopped because of inadequate technical matters and non-compliance Understand. Then in 2014 UMSU opened the Education of UlamaTarjihMuhammadiyah (PUTM) with students as many as 20 people from Muhammadiyahpesantren. With morning and afternoon lecture systems they are active as FAI students, then in the afternoon and in the evening they get a boarding house, Mario Kasduri, member and former PWM secretary, former Dean of FAI UMSU, interview, Pascasarjaan UIN SU, Medan, Friday, 09 December 2016, At 11:15. Regional Leadership of Muhammadiyah Sumatera Utara, (North Sumatera PWM Report at the 10th Summit of Muhammadiyah Sumatera in PematangSiantar on 8-11 December 2016).
Expectations of Muhammadiyah members submitted through official forums against this institution are enormous. Public interest to entrust their son in this pesantren experienced the same thing. In some areas, this pesantrenbecomes a favorite one because the entry process must go through a rigorous selection. While in other areas, there is not a few of these pesantren are having trouble finding students. The orientation of education among the students began to experience a shift. The interest in the study of the general sciences in this pesantren is so strong that sometimes it is also balanced by the student's proud achievement to compete with regular schools.
There is a tendency of interesting innovation in the tradition of pesantrenMuhammadiyah development that is the emergence of pesantren of science (trensains) .Trensains is seen as a revolution of advanced pesantren that seeks to popularize pesantren to the community. Currently, trensains have grown in two cities: Sragen and Jombang. Like PondokPesantrenDarulIkhsanMuhammadiyah Islamic Boarding School Sragen, which cares for Trensain Junior and Senior High School.Trensains is a high school-level pesantren education that focuses on studying the universal verses in its curriculum. Despite its casuistic nature, the idea pioneered by Muhammadiyah members has at least given its own dynamics to the Muhammadiyahpesantren. This idea by some Muhammadiyah circles is considered a positive phenomenon. This phenomenon was once pointed out by YunaharIlyas in a program on TVMuh which states "although Muhammadiyah seeks to establish pesantren eventually remain a school, on the contrary even though the NU is trying to establish the School that finally stands and develops is pesantren". This statement can be understood because culturally pesantren is Typical of NU while the school is typical of Muhammadiyah. Indeed, lately there is a cross development between Muhammadiyah with NU.Muhammadiyah increasingly interested in working on boarding schools, while NU increasingly aggressively working on the establishment of schools.
pesantren are still relatively new, but have shown good progress not only in quantity development with adequate number of students and physical facilities, but also quality developments show significant progress. It is characterized by a comparative and competitive vision, creative, innovative and profit-based educational programs and activities. The pesantren offers forms of guidance with Islamic nuances and so heavily condensed with an integrated education system using the curriculum of the Ministry of Religious Affairs, the Ministry of National Affairs, and the pesantren curriculum.
To name a few examples is Aisyiyah Islamic Boarding School (AIBS) Bojonegoro East Java, a female pesantren that offers a number of excellent creative programs such as Arabic and English debate forums, journalistic training, talents Development, social emphatic and others .PondokPesantrenMuhammadiyah Boarding School (MBS) KH. Ahmad DahlanUngaran Semarang, a combination of junior high school and boarding school, 'AisyiyahBording School Malang, PesantrenMuhammadiyah Al-MizanLamonganJatim, Pesantren Al-Mujahidin Balikpapan, a combination of junior high and high school with boarding school, PondokPesantren Al-Amin Sukoharjo Solo, The combination of madrasah and schools, MBS PleretBantul Yogyakarta, Pondok Modern DarulArqamPatean Kendal, Modern Islamic boarding school Zam-ZamMuhammadiyahCilongokBanyumas a combination of boarding schools with junior and senior high schools, MBS and Takhassus (Warta Ma'hadMuhammadiyah 1436: 3).
The achievement of quantity mentioned above, although it looks quite rapid but it is not sufficient to be used as a measure to assess the success of pesantren education in Muhammadiyah as an educational institution projected to create ulama. One of the features of Muhammadiyah's renewal of Islamic education is its future oriented nature, which is the spirit to improve, correct, and refine current thinking and working mechanisms. The style and methodology of its innovation is always responsive to social change and the ever-changing demands of the times. The facts on the ground show how Muhammadiyah is very short of scholars, muballigh, da'i and ustadz who will sustain religious activities especially members of the community. Is this trend pattern able to answer the needs and demands real in the internal organization? What is the trend and orientation of Muhammadiyahpesantren development forward? The criticism of Muhammadiyah society and Muhammadiyah people that Muhammadiyah and its pesantren always get subsidy from NU pesantren in the form of joining ulama or kyai from pesantren which then become the core member. Muhammadiyah has been receiving scholars who are graduates from non-Muhammadiyahpesantren, in addition to Islamic universities and Middle East alumni. This is a minor problem for the future of Muhammadiyah because it is closely related to authority. This issue is often raised among Muhammadiyah internal circles, what is and how Muhammadiyahpesantren?
The initial observations made on two Muhammadiyahpesantrens in North Sumatra raised questions that required answers. (Preliminary observations were made to Pesantren Kuala MaduLangkat and to Pesantren KH Ahmad DahlanSipirok in December 2016 and in november 2016). Official data shows the Regional Leadership of Muhammadiyah (PWM) of North Sumatera previously cared for four pesantren. The first is, Aisyiyah Putri Pesantren in Medan Municipality. The second is Darul Arqam Pesantren in Kerasaan of Simalungun Regency. Both of these pesantrens have switched to becoming a regular school. This status of two pesantrens into regular school is a contrasting picture with the spirit of establishment and boarding of pesantren in some areas. The third is PondokPesantrenKH.AhmadDahlanInSipirokTapanuli Selatan. The fourth is Pondok Pesantren Muhammadiyah Kuala Madu in Langkat Regency. As the oldest Muhammadiyahpesantren in North Sumatra, Pondok Pesantren KH. Ahmad DahlanSipirok, from the very beginning of its establishment has been advertising itself as "KH Pesantren. Ahmad Dahlan "The Division of UlamaEducation". PesantrenMuhammadiyah Kuala Madu has also poured on the vision and mission of pesantren as educational institutions of Muhammadiyah cadre who has ability in science mastery (In Recapitulation Data Charity Business Leadership Area ofMuhammadiyah Sumatera Utara, there are only threepesantren.The data of Pondok Pesantren Darul Arqam Muhammadiyah Kerasaanis not removed yet from PWM data. PWM SU, Recapitulation of Business Charity Data of North Sumatra, which issued on Tuesday, April 25, 2017). However, these two pesantrens have not given academic answers about the orientation of education that is run.
encouraging writers to conduct research on the orientation of Muhammadiyahpesantren education in North Sumatra.
The Results
Historically the orientation of Muhammadiyahpesantren education has been specially designed and is expected to be a center of intellectual clerical cadre of intellectuals who are committed to sincerely broadcast Islam in the midst of society and at the same time as the enlightenment and guide of the religious field of Islam in the internal organization. Establishment of this pesantren in response to the scarcity of scholars felt by Muhammadiyah that increasingly diminished.
However, through this research, it can be concluded that the orientation of Muhammadiyahpesantren education in North Sumatra which historically is to create the ulama cadres has not been properly linked with the two Muhammadiyahpesantren. Although conceptually there arekeulamaanorientation, modernity and social praxis contained in the vision, mission, and objectives of pesantren education as found in the KH. AhmadDahlanboarding schoolSipirok. Educational programs that include intracurricular, co-curricular, extracurricular, hidden curriculum that are expected to accommodate the creation of keulamaan orientation, modernity, and social praxis has not been implemented at the operational level of education. It is becauseof the program of educational activity is more concentrated to madrasah education compared with the pesantren program as the guidance and nursery development of keulamaan.The structure and the distribution of curriculum of pesantren education is dominated of non-revealation sciences (SKB TigaMenteri). Even the educational program activities are not oriented or allowed to describe as an integral part in the effort of the clerical cadre.This can be evidenced by the nature and form of unstructured, incontinuity and more incidental educational activities.
This study found that at the conceptual level, PesantrenMuhammadiyahKwalaMadu does not have vision, mission, and goals oriented to the creation of ulama cadres. This condition also illustrates that the diversity of historical and conceptual background of Muhammadiyahpesantren establishment in North Sumatra was found. The diversity occurs because Muhammadiyah itself does not have a reference format or design in the cadre of prospective ulama who will be applied in his pesantren. These two pesantrens walk in accordance with their individual tastes and even each other does not have connectivity. The orientation of pesantren education is still determined by the founding central figures, while the Muhammadiyah Leadership itself does not pay serious attention to the institution of this ulama cadre.
Finally, these two pesantrens are still trapped like the statement of YunaharIlyas Chairman of PP Muhammadiyah "although Muhammadiyah has taken an effort to establish a pesantren, but in the end it only develops a school or madrasah". This statement is appropriate to mention the orientation of two Muhammadiyahpesantren on this study.
Muhammadiyah has succeeded in creating 67 pesantren throughout Indonesia. The pesantren created a combination of curriculum of madrasah education and general education. Muhammadiyah until now has not yet modeled in accordance with its ideals in realizing educational institutions to produce scholars who are intellectual and intellectual scholars. PesantrenMuhammadiyah is just an ordinary school where the students live in dormitories with the addition of a small curriculum of ordinary pesantren.
[1] Abdul Mu'ti, Mencari Identitas Pendidikan Muhammadiyah di Tengah Modernisasi Madrasah dan Spritualisasi Sekolah, Muhammad Ali, (Kata Pengantar) Reinvensi Pendidikan Muhammadiyah, Jakarta: al-Wasat, 2010), h. xxv
[2] Abdul Munir Mulkhan, Pemikiran KH. Ahmad Dahlan dan Muhammadiyah dalam Perspektif Perubahan Sosial, Jakarta:Bumi Aksara, 1990.
[3] Azyumardi Azra, Pendidikan Islam Tradisi dan Modernisasi di Tengah Tantangan Milenium III, Jakarta: Prenada Media Group, 2012.
[4] Azyumardi Azra, Pendidikan Islam Tradisi dan Modernisasi Menuju Milenium Baru, Jakarta, Prenada Media Group, 2010. [5] Beberapa profil Pesantren Muhammadiyah dapat dilihat pada, Warta Ma'had Muhammadiyah, Yogyakarta: TOTO Adversiting, ed,
[6] Deliar Noer, Gerakan Modern Islam di Indonesia 1900-1942, Jakarta: LP3ES, 1990.
[7] Dja'far Siddik, Pendidikan Muhammadiyah Perspektif Ilmu Pendidikan, Bandung: Citapustaka Media, 2007. [8] Djarnawi Hadikusuma, Dari Jamaluddin al-Afghani sampai KHA. Dahlan Yogyakarta:Persatuan, 1988. [9] Djarnawi Hadikusuma, Matahari-matahari Muhammadiyah, Yogyakarta:Persatuan, 1980.
[10] Imran Rosyadi pengasuh Pondok Pesantren Hajjah Nuriyah Shabran dalam tulisannya yang berjudul "Argumen Perlunya dibentuk Majelis Pesantren" menyebut kurang lebih 150 jumlah pesantren Muhammadiyah di bawah Majelis Dikdasmen PP Muhammadiyah, Warta Ma'had Muhammadiyah (majallah), edisi Khusus Muktamar. 001, 1436 H. Laporan Ketua Paniatia Rakornas Pesantren Muhammadiyah se-Indonesia pada tanggal 28-30 Oktober 2016 di Makassar.
[11] Kuntowijoyo, Paradigma Islam Interpretasi untuk Aksi (Bandung: Mizan, 1991.
[15] Musthafa Kamal Pasha, Ahmad Adaby Darban, Muhammadiyah sebagai Gerakan Islam dalam Perspektif Historis dan Idiologis, Yogyakarta:Pustaka Pelajar, 2002.
[16] PP Muhammadiyah tahun 2010
[17] PP Muhammadiyah, Profil 1 Abad Muhammadiyah, h. xii.
[18] PP Muhammadiyah, Tanfidz Keputusan Muktamar Muhammadiyah ke-38 tahun 1971
[19] PP Muhammadiyah, Tanfidz tentang Keputusan Sidang Tanwir Muhammadiyah di Jakartat tahun 1992.
[20] PP. Muhammadiyah, Tanfidz Keputusan Muktamar Muhammadiyah ke 42 tanggal 15-19 Desember 1990 di Yogyakarta, Yogyakarta: PP Muhammadiyah, 1991.
[21] Tanfidz Keputusan Muktamar tersebut diperkuat oleh Tanfizd Keputusan Sidang Tanwir Muhammadiyah di Jakarta 1992 tentang pesantren sebagai sekolah kader, salah satu jenis sekolah di lingkungan Muhammadiyah yang memiliki kriteria khusus dan diprogram secara formal sebagai tempat pendidikan kader ulama baik pelajar maupun mahasiswa.
[22] UMY, Mewujudkan Cita Menggapai Asa, Yogyakarta: UMY Press, 2010.


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Breitling's new olive watches are bang on trend
With the launch of its three new military-aviation inspiried watches, Breitling is bang on trend with its colour-scheme for the season. Olive, or military-green as they call it, gives the watch a nice pop of colour while keeping it classy and cool.
You just have to look at the catwalks of New York and Milan to see that military-style is more than just a fleeting trend.
Worldover, Breitling is known for its links to the world of aviation and for its pilot's watches. Since 1884, Swiss watch brand Breitling has crafted fine timepieces, many of them to function alongside aeronautical endeavours.
It has now released two chronographs and a three-hand watch in partnership with the maker of the iconic P-40 Warhawk airplane.
Three new Breitling Aviator 8 Curtiss Warhawk watches honor Curtiss Wright, a renowned American aircraft manufacturer, and the Curtiss P-40 Warhawk, its most famous plane. The P-40 Warhawks were manufactured between 1938 and 1944.
Breitling CEO Georges Kern says: "Curtiss Wright produced the P-40 Warhawk at the same time Breitling and its Huit Aviation Department were making onboard instruments for planes used by the RAF and other air forces. With this partnership and these great new watches, we are reaffirming the importance of Breitling's aviation heritage to the brand."
The Breitling Aviator 8 B01 Chronograph 43 Curtiss Warhawk
The Aviator 8 B01 Chronograph 43 Curtiss Warhawk has a military green dial with contrasting silver subdials – 12-hour and 30-minute chronograph counters and a small second subdial. The watch is driven by the Breitling Manufacture Caliber 01, the brand's in-house mechanical movement, which delivers a power reserve of approximately 70 hours.
The chronograph is equipped with a bidirectional rotating bezel featuring Arabic numerals and indexes as well as a practical red pointer. The Super- LumiNova coating on the hour and minute hands and the Arabic numerals on the dial make it easy to read.
The caseback has a transparent sapphire crystal printed with a Curtiss inscription and an image of an airborne P-40 Warhawk, whose design, with its shark's mouth and color scheme, is based on the characteristic paint job associated with the plane when it was piloted by the American Volunteer Group in the Chinese Air Force's famed Flying Tigers unit.
The Breitling Aviator 8 Chronograph 43 Curtiss Warhawk
The Breitling Aviator 8 Automatic 41 Curtiss Warhawk


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Lifestyle changes in last one decade and their impact can be seen for each one of us in all walks of lives, especially in our healthcare needs. Present generation of millennials depends largely on internet for understanding and fulfilling their healthcare needs. Here is your guide to your next health insurance purchase online.
Buying health insurance is the essential part of adulating today. Everyone needs it, but not everyone accepts it. Back in the days, health insurance was a luxury of affluent society and buying health insurance was time consuming. But long working hours, poor diet, and environmental factors today create a compulsive need for regular medical care and good health coverage.
Fortunately, technical disruption is taking care of it at multiple levels. Our best example, is Internet. This storehouse of information has progressively become an efficient key distribution channel for insurers. Its fast, cost-effective and transparent. Help you to easily browse, compare from different insurers and Sum Insured.
In this age of digital buying, security, privacy, and trust are the three major hurdles that millennials face while buying health insurance online. Health insurers are striving to facilitate better plans, more benefits, and ease of purchase by integrating latest technology.


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Author(s): Lucie Whitehouse
Those who love Girl on the Train, The Good Liar and The Widow will love this thrilling new novel from acclaimed author Lucie Whitehouse. They said it was a tragic accident. She knows better...The brilliant young painter Marianne Glass is found dead in her snow-covered garden. Rowan Winter, once her closest friend, knows it wasn't an accident. Marianne had vertigo, paralysing vertigo. She never would have gone that close to the edge...
'Keep You Close kept me up all night long. I couldn't stop reading until I reached the final, shattering pages. Skilfully constructed and beautifully realized, Keep You Close is the next must-read for fans of The Girl on the Train' Amanda Eyre Ward
It's very very tense, it's quite twisty and there are some really fantastic shockers in it ... I really really loved it ... t's an absolute must Claire Mackintosh, author of I Let You Go Keep You Close kept me up all night long. I couldn't stop reading until I reached the final, shattering pages. Skilfully constructed and beautifully realized, Keep You Close is the next must-read for fans of The Girl on the Train Amanda Eyre Ward You know a psychological thriller has done its job when you get to the last page and have an urge to instantly return to the first, to work out just how you've been so thoroughly hoodwinked. In this case it's by elegant plotting, brilliant characterisation and a truly killer twist Sunday Mirror The success of Keep You Close lies in Whitehouse's perfect level of restraint ... Masterful ... An addictive psychological thriller. There's nothing more chilling that knowing you're intentionally being kept in the dark **** Stylist, winner of 'Book Wars' Whitehouse's previous novels have been singled out by Richard and Judy, and with Keep You Close the author confirms her reputation Daily Mail This engaging and smart tale gets right inside your head and stays there. So creepy Heat Whitehouse is a superb storyteller, whose sleight of hand and sly misdirections have you leaping to all the wrong conclusions from the outset Irish Independent A tense psychological thriller Marie Claire Brilliantly written ... Amazing Sun A killer twist. A riveting, serpentine thriller that gripped me till the end Woman & Home Haunting from the very start ... You won't be able to put this down Best Fans of Gone Girl will love this tense, chilling thriller Bella An intense and tightly-worked story that makes for a dark and gripping read ***** Lectito Unlike some mystery novels, the climax isn't disappointing or too far-fetched, and the narrative is gripping and fast-paced. Whitehouse's characters are emotionally complex and endear themselves to the reader despite their flaws, and the novel explores secrets, friendship and the lengths people go to for a sense of belonging. Fans of last year's hit Girl on the Train and Gillian Flynn's celebrated Gone Girl will be hooked Big Issue A quietly menacing psychological thriller that mines the trickier bits of family and friendship Boston Globe The twist will hit you right between the eyes! Woman
Lucie Whitehouse was born in Gloucestershire in 1975, read Classics at Oxford University and now lives in Brooklyn, New York. She is the author of The House at Midnight, the TV Book Club pick The Bed I Made and Before We Met, which was a Richard & Judy Summer Book Club pick and an ITV3 Crime Thriller selection. Keep You Close is her fourth novel. @LWhitehouse5 #KeepYouClose


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|Véhicule de combat d'infanterie
|Gunther Neumahr
Album de 56 photos de plain-pied autour d'un «SPz2000»
Galerie de photos d'un SPz2000, The Stridsfordon 90 (Strf 90) (Eng. Combat Vehicle 90 (CV90)) is a family of Swedish tracked combat vehicles designed by FMV, Hägglunds and Bofors during the mid-1980s and early 1990s. The Swedish version of the main infantry fighting vehicle is fitted with a turret from Bofors that is equipped with a 40 mm autocannon, although export versions use 30 mm and 35 mm autocannons. Developed specifically for the Nordic sub-arctic climate, it has very good mobility in snow and wetlands while carrying and supporting eight (later versions were reduced to six) fully equipped soldiers. Other variants include Forward Observation, Command and Control, Anti-air, Armoured Recovery, Electronic Warfare and so forth. It is still produced and being developed further by BAE Systems Hägglunds AB.
Source:: SPz2000 sur Wikipédia
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dritter frühling e.V.
Culture as an elixir of life – that's the motto of this non-profit organisation that offers cultural activites for people over 50, such as seminars and workshops to support creative/ artistic work with older people, especially in an inter-generational and intercultural context. The name means "third spring", an expression that refers to a new lease on life. Dritter Frühling delves into matters as diverse as life philosophies, experiences of history, everyday occurences, objects of art, culture and politics, perspectives of how the environmen is designe, all of which are themes of past workshops, to name but a few.
These are issues are then experienced in a new way since there are probed using a wide range of artistic media. For most participants, this is a first time experience, unaccustomed while also liberating, making what was considered to be familiar appear different, in a different light. This is especially thrilling when a group of older people have a chance to interact with younger people. Increasingly, projects in which people from different backgrounds work together have been in high demand. Positive experiences encourage people to take more risks and explore more than they otherwise would.
dritter frühling e.V.
Karl-Marx-Str. 131
12043 Berlin


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by Bill Nichols
from Jump
Cut, no. 24-25, March 1981, pp. 53-56
At Queen's we have offered a first year course in film studies since 1973.(1) (Before that the program began at the second year level.) The course, though, did not arise ex nihilo. It had personal and social roots of considerable importance. They contribute to its present shape and introduce elements and emphases that might not be readily transferable. On the other hand, I suspect these origins are at least instructive and a good place to begin when we ask in what way should we introduce the study of the cinema in an undergraduate curriculum.
Queens University is a conservative, 10,000 student university drawing its enrollment largely from white middle and ruling class families. It has a solid reputation as one of Canada's best universities academically. It is also somewhat notorious for its school spirit (whose less innocent aspects shade, perhaps ironically, into political quietism, personal complacency and intellectual indifference). The University's greatest strength lies in professional schools of Law, Medicine, Commerce and Engineering. The humanities departments have a number of weak links, and literature and the arts are somewhat underdeveloped. Introducing questions of art and ideology is an uphill battle.
My own background, growing up in a suburb of New York City in a lower middle class family, led me to conceive of art, or culture, as a beacon that could guide my life. (There were the multi-volume classics of world literature our house contained, alongside a holding of two decades worth of Reader's Digest. There was the public library with the novels of Thomas Mann and Dostoyevsky alongside the most recent Look and Collier's and Saturday Evening Post.) But this cultural beacon seemed positioned at a remove near the horizon of my everyday life (what pants to wear to school, who to ask to the weekend party, hoping to earn a letter in tennis, wanting to be curious but not the teacher's pet).
By the time I graduated from Duke University, I had become intensely curious about this disparity between a horizon of immanent possibilities and a surround of immediate necessities (and anxieties). I began to wonder why and how aspects of the everyday — family, peer group, popular culture — provided the necessary measure of direction for so many. The articulation or expression of value and purpose in philosophy, religion, literature (all of which I studied while doing a pre-med major) seemed at a remove, a tangent to these guiding rhythms of everyday encounter. What might close the gap, what obscured the perception of any gap at all?
I remember the intense feeling that there was a gap, that some form of betrayal hung, like an invisible cloud, in the air. History compounded this impression. I entered Duke in 1960, left in 1964. In between the sixties had begun. My instinctive, non-theoretical response to the Civil Rights issues (Marx was then still another dim figure on the far shore of immediacy) joined up with a longer-standing desire to bring ideals together with action. I became involved in sit-ins and other forms of non-violent protest. Then I headed west in the summer of 1964 just in time to participate in the first stirrings of a distinctive counterculture in the Haight-Ashbury district. I became caught up in, first, the Free Speech Movement emanating from Berkeley and then, the teach-ins that brought home to still somewhat idealistic youth like me the political and ideological realities of the war in Vietnam. I left Stanford Medical School after a year, deciding it was not the right arena for me, taught in the Peace Corps for two years in Kenya. There I became heavily involved in antiwar activity and only escaped being "expelled" when my Draft Board tried to induct me. I returned in 1968 and successfully side-stepped the draft (with the help of numerous people and groups). Subsequently, I found work as a social worker in Harlem where I was active in the union and began a local newspaper, meanwhile moonlighting as a free-lance writer and photographer for The New York Free Press. Later I moved to California and became involved in the use of film as a tool for social change. I was influenced by the women's movement as a determined attempt to make clear connections between the personal and the political. All these elements provided an essential motivating energy for the conceptual framework of the introductory film course I now teach.
These events and experiences do not stand in any direct causal relationship to a course in film study. But they did confirm or establish patterns of commitment and preoccupation to which this course, like all other subsequent activities, responds. The course does not impose thoughts or values, but neither is it neutral in its stance. Its purpose corresponds to the thread I see running through my life — to act correctly; to live aright; to change, not simply understand, the world; to fathom how these goals require an inevitable merger of the personal and the political. Contradictions abound; our social system tries to mask them. My purpose is to expose the masks that make things other than what they might be, especially what makes us less than what we might be — the diminishing undertow of ideology.
The first year film course, designed for majors and non-majors alike, attracts well over one hundred students. (This year there were 190 enrollments, up 40 from last year, and eight tutors.) We have our screening on Monday night, lecture Tuesday afternoon, and a tutor-led discussion on Thursday. Students have two or more individual conferences with their tutor or myself to go over written work when it is submitted. They also break into groups of three or four to do practical projects (discussed below). The course absorbs a great deal of the Department's financial resources. Rentals (for 24 weeks, a full academic year at Queen's) amount to $2000 or more, about twice any other course's budget. (Many films are borrowed from other universities.) Since we have no graduate program (nor does anyone else in Canada, in critical studies), tutors are, for the most part, undergraduates or former students who remain in the area for a year or two. Teaching assistants at Queen's are not unionized and earn the usual atrocious wages. For this course the range goes from $1100 for a first-time undergraduate to around $2000 for an experienced person with a B.A..
The course is followed at the second year level by courses in Film Criticism, Film History, and Film Production. Upon this foundation third year courses explore more discreet areas in detail: U.S. cinema, European cinema, documentary, experimental, women and film, film and society, the popular arts in Canada, and advanced filmmaking. At the fourth year level, course are organized as seminars and pursue selected topics in depth: film theory, ethnographic film, the work of the NFB of Canada during a particular period, studies of directors like Buñuel, Godard, Eisenstein, and so on.
Several general problems confronted us, in planning a first year course. We wanted to use recent theoretical work in film as a basis for the course, especially those writings attempting to link ideology and cinema through its work as a system of signification. Such work signals a substantial shift in the terms of reference for film study. It promises more subtle ways of linking film and society than more traditional approaches. Much of this work, though, is highly sophisticated and presumes a far more extensive knowledge than fourth year students might have, let alone beginning students. It is also tendentious. We needed to exercise great care lest some of the more far-fetched theories or methodologically unpromising demonstrations burrow into the foundations of our curriculum. Nonetheless, we all felt convinced that those semiotic, psychoanalytic, structural and Marxist currents represented a set of critical approaches that could contribute usefully to a student's knowledge, not only at advanced levels but from the very outset.
Yet we also felt that much of this recent work is exceedingly, sometimes intentionally, obscure. When students do not have a background in 19th and 20th century aesthetics, and Marxist cultural theory, this film theory often appears to be tilting at windmills, announcing "ruptures" and carrying out "interrogations" where the basic issues and larger implications remain difficult to see. Furthermore, for the most part, students do lack a background in 19th and 20th century art and its criticism, especially in regard to popular culture. The cafeteria style undergraduate program at Queen's (there are no required courses or areas of studies except as set by one's major department) only intensifies a problem that begins in primary and secondary school. The academic problems continue on in the politically and educationally disastrous ways in which sixties liberalism became translated into curricular reforms (de-emphasis on writing, critical inquiry and rigorous argument, to name a few).
A film department cannot be a student's primary source for modern history, politics, art and literature, aesthetics, semiology, structuralism, critical theory, systems theory, phenomenology, Marxism and feminism, let alone film theory, criticism, history and production. Yet in many cases students' first exposure to these areas of thought comes via film study. In terms of the attitudes toward film studies exhibited by some members of the more traditional humanities departments, it is ironic that the present-day student is often ill-prepared for a successful encounter with the kind of work carried out in film study today.
(Turned around, this can become an argument for making film study a specialized graduate program to pursue after acquiring more basic forms of knowledge. There is some logic to this. An undergraduate major in film may be somewhat limiting, at least from an historical perspective, but the general study of film is far too crucial to an understanding of our contemporary world to be relegated to a graduate specialty entirely. Besides, what would we do with all the humanities professors who teach the odd film course or two, often to good effect?)
Our remedy is more than a band-aid but less than a complete solution. The latter requires considerable revision to our entire educational system, including the questions of who goes to university and why. Partly, our remedy requires patience. One course cannot redress myriad deficiencies, but a well thought-out departmental program can come a great deal closer to this goal. Hence we give considerable attention to the interrelations between our courses and the overall perspective a student concentrating in film study will gain. (For example, the first year course stresses U.S. film, the second year history course stresses European film, and at the third year level half courses in U.S. cinema and European cinema allow for a more detailed look at one or two aspects of these two major founts of cinematic production.)
The emphasis here, though, is on our first year course. Its current structure began to emerge through a series of Department Seminars in 1975-76 prompted by Guy Gauthier's article, "The Semiology of the Image," obtained from the BFI in photocopy form and its accompanying slides. Gauthier tried to apply semiology to the still image and questions of ideology in a non-reductive but readily understandable form. Working with his paper and slide illustrations led us to a series of questions that seemed fundamental to our task: What is a text. How do we read or speak with images. How do we read or speak with motion pictures. Where does aesthetic pleasure come from. What is narrative, exposition, poetics (fiction, documentary, experimental film). What relations pertain between art and ideology, between self and other in art and ideology. And how do we address the paradoxical need to show that there is to film more than meets the eye? How, in other words, do we link systematic formal analysis with questions of social context and ideology?
It also became clear that much of the recent work found in the major film magazines (Film Quarterly, Screen, Jump Cut, Cine-Tracts, Quarterly Review of Film Studies, Cineaste, and while active, Women and Film), together with related material in non-film magazines and writings in ideology, cultural theory, Marxism, structuralism and psychoanalysis and systems theory could effectively provide the necessary conceptual framework for the course. But it would almost always need considerable recasting so that its origins and basic principles could be clearly presented to a beginning audience. This work of reformulation and integration has proved a major preoccupation for the last several years.
One grave danger of which we have become increasingly aware is the ideology of the textbook. We regard the films screened as the primary texts and textbooks as virtual inoculations — doses of denatured analysis liable to produce an immunity to the dis-ease of rigorous and relentless criticism. Textbooks assume a non-tendentious body of knowledge, of "givens" to be assimilated. (Low-angle shots "mean" power, heroism or dominance, for example.) They are usually comfortably reductionist, the Rolaids of cultural consumption, in which parts all "add up" harmoniously, naturally. This is not knowledge or the pursuit of knowledge — a practice inevitably involving a series of indefinite but purposeful approximations. It is ideology in the guise of the natural and obvious.
(Nonetheless, student discomfort in the absence of a textbook is great. We have tended to use a text but to deemphasize it and to encourage a skeptical distance from its generalizations. The most successful one so far, to me, is Giannetti's Understanding Movies, with Thompson and Bordwell's Film Art: An Introduction a more precise but somewhat narrower contender. Monaco's How to Read a Film most closely approximates the course's overall structure but seems too superficial and fragmented — it lacks both the rigor of a genuine text and the imaginary unity of a "successful" textbook, though its attempt at open-endedness can only be applauded.)
As an alternative to a central textbook, our introductory course stresses lecture material and selected, supplementary articles. We choose writers who are tendentious, who mark out central issues, who set the terms of debate, who openly take their stand and invite (even incite) us to argue for (or against). Examples of such materials used include selections from Barthes' Mythologies, Sontag's On Photography, Dziga-Vertov's writings, Sarris' defense of American cinema and the auteur' theory, Bazin's praise of neorealism or of photographic ontology, Lesage on feminist film criticism, Biskind on ON THE WATERFRONT, Place and Peterson on film noir, Michelson and Kleinhans on the avant-garde (in separate articles, of course), and Robin Wood on Hitchcock and the horror film. The greatest problem with either a textbook or articles arises from the beginning student's reluctance to read about films at all and the limited time available for discussion. At times I think we might eliminate readings altogether, but this would probably be most harmful to the students who are also the most eager to explore.
In developing the course we have tended to isolate a few key foci of attention in recent critical work, namely:
1) Ideology-in-general — those forms of social representation that support our lived, everyday experience of the world (an alternative, broader definition than ideology as doctrines or rationalizations). Ideology-in-general involves those images we come to have of ourselves and our place in the world. These images are often produced for us; we grow attached to them. We invest something of ourselves, of our sense of self in images which circulate to "place" us in the world. In this sense, "image" can be either a specific representation — the image of the convivial, jocular, just-one-of-the-boys male presented by Molson beer ads compared to the adventurous hero of Miller beer ads, for example — or a more generalized conceptualization — the image many Anglo-Canadians have of themselves as North Americans for whom Quebec provides their "difference" from Americans (U.S.). Needless to say, the mass media and popular culture have a heavy involvement in the production and circulation of such images from the 6 o'clock news to THE SILENT PARTNER. Examining the nature of these images and their ideological function, then, becomes a central aspect of the course.
2) The imaginary. This is a realm not limited to but nonetheless inhabited by ideology-in-general. The imaginary centers on relations of opposition or identity, of either/or choices between self and other (and the hopeless oscillation that underpins the slogan that the ego is a paranoid construct, depending on others, from which it must distinguish itself, for its sense of apparently autonomous identity). It is an identity always subject to recall, and it is constantly in need of reconfirmation through the recognition accorded by others. Imaginary relations are a necessary form of relation and support the emergence of the self-as-subject and its capacity for speech.
But ideology couples with the imaginary to lock us into the antagonistic relations characteristic of racism, sexism, national chauvinism or anti-Semitism. In these cases, our sense of self solidifies in opposition to an "other" that bears all those characteristics we dare not acknowledge in ourselves. We attach ourselves to false images of others to create a false, but reassuringly solid sense of self. These attachments become natural, obvious, automatic. (The gut level of sexism as learned establishes habitual assumptions and responses by men to women as inferiors, for example, versus any clearly articulated doctrine of male supremacy). Such relations tend toward reification. (A learned, ideological process, an abstract image of women, is made into a concrete, material fact about women's nature). They tend toward the stereotypic, and toward reducing relationship itself into the measure of a thing, a general equivalent such as, in our society, the phallus or money.
Imaginary relations reduce self and other to falsely solid images to which one may cling fanatically. Those who see themselves in the dominant position have an image of superiority automatically conferred on them. It goes unquestioned. And contradictory evidence can be dismissed as anomalous. Superiority becomes an unearned fact of life; it is obvious. The (ideologically produced) images we learn to grow attached to assure it. Blacks, women, Jews, gays, and others in the position of the "monstrous other" clearly do not have what it takes, can never have what it takes. Color, phallus, race, heterosexual identity (or their lack) — these are part and parcel of the images we have of our self (in the domain of ideology and the imaginary). By such means, the hegemony of the dominant class asserts and reproduces itself.
These are difficult concepts but they can be explained and used, especially with the aid of copious examples. (Questions of sexism and nationalism work particularly well in the context of Queen's. Sexual difference and national identity are issues that touch the center of middle and upper class Canadian students' lives as readily as related issues do in others'.) In fact, I introduce these ideas early in the course so that their application can be repeatedly demonstrated as we take up varying aspects of film. A summary of the lecture which does this, beginning with the psychology of perception and then moving to ideology, follows, stripped of the various examples that accompany this conceptual core.
Summary on Lecture on "Perception and the Visual World
1) Perception is a function of an active, purposeful, socially governed activity. How does it work and how does it relate to ideology?
2) We translate a sensory array spread across the retina into a meaningful visual world. This becomes automatic; we come to recognize familiar objects in a familiar world. We may think this world is always already meaningful. But this is a deception, a function of the process' automatic nature.
3) We recognize figures against a ground extending in depth. There are Gestalt "Laws of Organization" for figure recognition, and "monocular depth cues" which are also used by artists and filmmakers. Ambiguous figures or depth relationships remind us of our own active involvement in making things meaningful.
4) Through these processes we begin to formulate theories or hypotheses about how the world is, what is in it and what significance these things bear.
a) Once formed, these theories are difficult to falsify. We make an emotional investment in how we see and tend to reject anomalous impressions rather than reject our theories or way of seeing. These theories are largely unconscious.
b) In this regard, perception is similar to other learned, sequential activity (e.g., typing, sports, speech, courtship, role-playing generally). Since large components of such behavior occur automatically, we can infer the existence of an unconscious program (or theory, or code, or habit, or way of seeing) guiding this behavior. Conversely, we can understand such behavior in general through what guides it in general — the unconscious program (the word we'll use most often is "code").
5) This situation has value.
a) It affords an economy. We need not consciously repeat routine procedures over and over.
b) It achieves selectivity. The variety of meanings derivable from a sensory array are reduced to more singular meanings. These meanings usually reflect a cultural consensus and allow for shared perceptions and values.
6) What holds an unconscious code in place? How is it rewarded for the value it provides? Answer — that which "tells" it it is working smoothly, i.e., recognition. Recognition confirms our theory, code, way of seeing. Recognition is a pleasurable experience, and this pleasure is like a dividend paid on our original emotional investment in a code, habit or way of seeing. Such pleasure is akin to aesthetic pleasure which tends to oscillate between recognizing the familiar and discovering the new.
7) Perception is like ideology if we consider ideology as a way of seeing the world in which we have made emotional investments. Ideology is how a society represents itself. Ideology represents "views" that rationalize the vested interests of a society and its constituents. These "views" may be explicit statements. But they are more generally (representational) images, images of who we are and where we fit in the world. Ideology is the realm of imaginary relationships. As such, these views rest upon theories or codes or habits that are largely unconscious. We can't afford to question who we are at every moment.
8) For this reason, ideological "views" are also difficult to falsify. They are at the root of our lived, customary relations to the world — of what sort of objects and other people fill it, of what relations they have to one another, of what meanings they bear for us.
9) In this sense ideology is necessary and inescapable, and necessarily unconscious. But at all times we will want to gain a perspective on it, to not only live inside ideology but to understand what world this is in which we think we live.
10) What holds ideology, our life within a realm of imaginary relationships, in place? What rewards it for its consistency? Answer — the pleasure of recognition. Recognition is a dividend paid on our emotional investments in imaginary relationships. What we gain the greatest pleasure from recognizing is an image of our self.
11) Most films and other socially produced images also represent a way of seeing the world. We often make emotional investments in them. In this sense they too are ideological. They help us recognize who we are and where we belong in the images, the views presented to us. We take pleasure in this recognition. But aesthetic pleasure also involves the discovery of the new. We may discover new possibilities for being in the world as well as recognize familiar ones.
12) One thing we will seek to discover is how films involve more than meets the eye. We'll try to appreciate the new possibilities they sometimes open up. We will also seek to understand the codes that guide their organization — those invisible, abstract, largely unconscious rules of procedure that make films what they are, just as our way of seeing makes the visible world what it is.
13) We can now say that image making (film, painting, photography, television) is an active, purposeful, socially governed activity. We can say that ideology proposes an image of who we are and what the world is like. Art, including film, does this too. Yet art is not identical to ideology. Discovering what relations exist between art and ideology will be one of the main goals of this course.
At a more specific level, this introductory course asks how sounds and images form patterns of communication and how different patterns promote different ways of seeing (different ideological positions). What tools can the course provide to help reveal the work of film to uproot old assumptions or habits that obscure both the aesthetic and ideological effects of visual communication? The focus is upon recent, mainstream cinema: feminist, avant-garde, Third World, or Godardian cinema often elicit hostile, defensive responses at first. Exposing some of the ideological implications and aesthetic subtleties of films closer to most students' previous experience provides a more comfortable starting point. Arguably this approach is also one of greater value to those who take no further film courses. At least they have some tools for considering the kinds of films they are most likely to see along with some awareness of the alternatives that exist.
In chronological sequence the course has the following structure:
Introduction (2 weeks): responding to popular film (I often use SINGIN' IN THE RAIN) and exploring a large, provocative idea like violence and the media or the phenomenon of the spectacle.
Perception and Ideology (1 week): See lecture summarized above.
The Still Image (2 weeks): Our positioning vis-à-vis Renaissance painting, the importance of linear perspective for the "other scene" (the place of the viewer), anchoring the potentially ambiguous meaning of images via paradigmatic, syntagmatic and contextual relationship [i.e., the relation of what is present to what is absent but available to replace it — e.g., a fedora versus a Stetson; the relations between elements present — e.g., a man and a woman, or person and commodity; the relation of one image to another or of words (caption) to image].
John Berger's film series, WAYS OF SEEING, has proven an invaluable aid since we began using it in 1976, even though he is probably weakest on sexism and the ideological implications of how he himself structures discussion of the nude in oil painting. (Berger's argument demonstrates the sexist assumptions behind the tradition of the nude, but the form he adopts repeats at another level the very sexism he exposes.)
The Moving Image (1 week): The perception of apparent motion (which is not based on persistence of vision, contrary to most textbooks), the major cinematic forms (narrative, exposition, poetics), the relations of form and content, characteristics of the cinema versus other arts.
Narrative Structure (6-7 weeks, plus 7-8 weeks in second term on selected directors, genres, national cinema): Concepts of closure; of narrative codes (actions and enigmas particularly); of narrative lure and desire; the work of resolving contradictions through mechanisms like condensation, displacement, secondary revision; realism, narrative and style (via feminist filmmakers, soap opera, melodrama); the aesthetics and ideology of identification and distanciation; "post-classical" narrative.
Expository Structure (2-3 weeks): Direct address, rhetoric — the art of persuasiveness or courtship (including documentary, photo-journalism, television news with a comparison of Canadian and U.S. broadcasts); indirect address (observational cinema) and the merger of narrative and documentary forms. As with most aspects of the course, frame enlargements and extracts are extensively used. Placing material in a new context helps disclose some of its implications and encourages a sense that images can be confronted actively and not simply absorbed passively.
What follows is a portion of a lecture devoted to television news which illustrates this point. The tutors and I developed the content of the lecture collectively and then recorded it on videotape. It was played back during class. (Normally, lectures are live. This was an experiment which proved a success but which I would not recommend as a regular tactic in place of live encounter.) The speaker during this portion of the videotape is Maaret Koskinen, a tutor and former graduate student in English.
[Here an image/audio presentation of that tape has not yet been prepared for ejumpcut.]
Poetic Structure (2 weeks): The experience of form; experimentation with form; cinematic analysis of the cinematic experience (e.g., Paul Sharit's and David Rimer's work); formal qualities of motion pictures as sources of content and form.
The Cinematic Context (7-8 weeks): Genre (one selected from Western, musical, gangster, film noir, which I do not consider a genre but related to that concept in interesting ways); auteur (usually a European like Bergman or Bertolucci and Alfred Hitchcock who receives three weeks' attention as a place from which to summarize much of the course's content); national cinema (Hollywood, Canadian cinema and the "North American" syndrome); the Third World cinema.
Because one goal is to invite students to become active, engaged, critically aware users of visual communication, there is a necessary integration of film theory and practice. Written papers are set (and evaluated in individual conferences), but so are visual-aural exercises. These provide a "hands-on" component that erases the sense of passive consumption and introduces a feeling for what the actual fabrication of patterns of sounds and moving images is like. No technical skills beyond using a simple Super-8 camera are taught. Our total supply of equipment is six Super-8 cameras. Students supply whatever else is needed on their own. These exercises include:
Super-8 Film Project: Choose a subject, then using one cassette shoot half the roll in a long take and the other half by editing in the camera. Projects are shown to the entire class and discussed in tutorial. Helps give a sense of screen time, the frame, mise-en-scene, composition, associations between shots, etc.).
Slide Project: Study the films of Alfred Hitchcock shown in class (e.g., SUSPICION, NOTORIOUS, NORTH BY NORTHWEST, THE BIRDS, PSYCHO) and the storyboard examples in Focus on Hitchcock. Using a 36-shot roll of slide film, shoot a series of stills to represent the shots that would form a narrative sequence in the style of Alfred Hitchcock. (These are shown and discussed the same way as the film projects. Certain tendencies, e.g., misogyny, are often discussed in advance to encourage careful consideration of a theme. Helps give a sense of story boarding, narrative structure, continuity editing, emotional impact in relation to formal or stylistic choices.)
Sound Project: Prepare a 2-5 minute cassette investigating some aspect of Canadian culture and exploring the possibilities of sound. (Helps students explore possible relations between words, music, sound effects. Projects can explore any aspect of culture and frequently take students into the field for research, e.g., interviews. This also proves the most difficult project in as much as many students have trouble seeing what they can do with sound that is imaginative.)
This gives some general impression of how we try to introduce film study. Discussion of the individual films shown each week plays a crucial role, but lectures and discussion also try to make clear the common elements to various forms of visual communication (painting, photography, television, film) and their uses. They especially try to elaborate upon the complex set of relationships pertaining between ideology and the image — riot only in the general way which such a summary necessitates but in exacting detail as we examine specific images and particular films.
We must ask in relation to particular films or types of films how they promote imaginary relationships (via the cinematic apparatus to some degree and all it hides as well as reveals, via narrative or expository structure, its techniques for displacing, condensing and apparently resolving contradictions). How do films offer a perspective on ideology; to what degree do they put on display both the form and content of ideology? In this sense the course is clearly purposive. Its shape is guided by its purpose. Other questions could be asked, but these are the ones that seem to me most crucial for our lives, ones we need to answer when we confront the cinema. It is asking a lot, but to ask less may amount to asking very little at all.
The sense of purpose sketched out here places the course within what Paul Ricoeur calls the school of suspicion (founded by Marx, Freud, and Nietzsche) versus the school of revelation (where he tends to locate hermeneutics and phenomenology). Exposing the ideological component to perceptual and social habits related to the cinema becomes crucial. It is often not the "Good News" motivating hermeneutics that we discover, but the mystifications and reifications of ideology, the motivation for suspicion. Yet suspicion does not mean constant detachment or emotional indifference. Films captivate and move us, not only ideologically, but sometimes politically and aesthetically. They sometimes offer instructive pleasure that is truly revelatory and revelatory of ideology as much as anything else.
They can prompt a search for alternatives to real, existing conditions and for reasons why such alternatives are absent. Films can suggest that what there is is not all there might be. But this revelation occurs within a context where aesthetics and politics cannot be fully separated. Pleasure is not innocent. Revelation is not pure. It is precisely our fascination, our captivation with and by films, that necessitates suspicion.
This is not to pit reason against emotion but to recognize that aesthetics do not exist entirely apart from ideology, on the one hand, and that our rigorous analyses are not based on experiences that fail to move us, or most of us, on the other. How we are moved — in what direction, to what end — becomes the overriding question. Without acknowledging our own captivation, for better or for worse, suspicion risks sinking into an elitist dismissal of inferior "entertainment" (as it did for most of the Frankfurt school or, more recently, most of Screen's contributors), or into the cynical detachment of the unaffected academic. We do despite our best intentions — and for many, without full awareness of alternative possibilities — invest in the circulation of images that propose imaginary relationships along class, racial, sexual and national lines. What we need ask is why do we settle for less than what we might imagine possible? This is not a rhetorical question. Answers are available. Marx, Freud, feminism provide many of them. These answers revolve around questions of power — materially, economically, sexually, and ideology's contribution to the maintenance of power and the relations of production requiring its perpetuation — and why, even when correct analyses are available, we may continue to live within the bonds of ideology.
Creating an awareness of these bonds, identifying them so that they may be broken, is, finally, what this course seeks to do. It is a course which, from the available indicators, has worked well in its context at Queen's, and which, I hope, may stimulate thought along similar lines elsewhere.
1. The faculty at that time consisted of Nick Kendall, Jim Kitses, Joyce Nelson and myself.


text:
Usain Bolt strikes the cinemas with I am Bolt
After having signed off with another three Olympic gold medals, the world's most famous athlete, Usain Bolt, is all set to hit the big screen at full-speed with the release the biographic documentary, "I am Bolt".
The film takes an in-depth look at the life of (arguably) the most charismatic athlete of all time, and gives us the gritty details of life beyond his carefully crafted celeb profile. The documentary details the challenges, mental state and decisions faced by the Jamaican sprinter throughout his storied career.
Told by his parents, friends, coach, agent and fellow competitors, the film humanises the global sports icon, and is backed with plenty of archival footage of a much younger, Bolt before he was winning golds left right and centre.
If seeing Bolt isn't enough for you, the film features a line up of huge sports stars who give their thoughts on the sprinter. From the unstoppable tennis star Serena Williams, Brazilian prodigy Neymar and the Saint of the beautiful game himself, Pele there's more than enough celebs to fangirl at.
Although he rides a fine line between charming and arrogant, it's hard to hate "The Big Man from Kingston".
The film releases at cinemas worldwide on November 28.


text:
|Albums > Berwick > Lady Jerningham Monument
|This is the Grade II Listed Lady Jerningham Monument on Bank Hill, Berwick upon Tweed, photographed 23rd May 2018.
Listing text can be seen on The British Listed Buildings web site @ https://www.britishlistedbuildings.co.uk/101041699-lady-jerningham-monument-in-gardens-berwick-upon-tweed#.WwmIsiAh1tQ
Donated to Berwick upon Tweed by its M.P. Sir Hubert Jerningham who designed the monument. His wife Lady Jerningham (1850-1902) was the daughter of Edward Liddell of Benton Park, Newcastle.


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text: Based on Arthur C. Clarke's revolutionary science fiction novel first published in 1953, "Childhood's End" follows the peaceful alien invasion of Earth by the mysterious Overlords, whose arrival begins decades of apparent utopia under indirect alien rule, at the cost of human identity and culture. A story as relevant now as it was half-a-century ago, "Childhood's End" illustrates a perspective of alien invasion never before seen onscreen, one in ... (weiterlesen)which the aliens are not here to conquer humanity but rather to grant humanity a better existence. But what is the meaning of a human life without struggle? What challenges are left when sickness, starvation, and even poverty have become distant memories? And what is the purpose of living when our children begin to evolve into beings that are beyond our comprehension? "Childhood's End" examines the biggest questions of human existence and man'splace in the universe.Textquelle: