3 research outputs found
SIKAP DAN KEPUASAN KONSUMEN RUMAH MAKAN “XXX” LAMONGAN DI BANDAR LAMPUNG
No full textThis study aims to explore the consumers’ attitudes and satisfaction toward restaurant. This research is conducted at "XXX" Lamongan Restaurant in Bandar Lampung. Data collection was carried out in January-February 2019 by the case study method employing the number of respondents of 60 people who were selected by nonprobability sampling method. The data were analyzed using Multiatribut Fishbein Model, Customer Satisfaction Index and Importance Performance Analysis. The results of this research showed that food taste has the highest score of consumers attitude toward restaurant. The satisfaction level of the restaurant has the value of 83.73%, included to the very satisfied category. The restaurant has been implementing the product attributes that were suitable with consumers’ wishes.Key words : consumer, restaurant, satisfactio
Labels for Hurricane Florence (2018) Emergency Response Imagery from NOAA
No full textThis csv file contains labels for >300 images obtained by the US National Oceanic and Atmospheric Administration (NOAA) in response to Hurricane Florence. Images were taken on Sept. 17th 2018, and are downloadable from the NOAA Emergency Response Imagery website (see references below). All labeled images are from the ‘September 17 A 2018’ file. The 'image_id' column in the csv corresponds to the name of the JPEGs.Images were tagged by the first 8 authors of this dataset. Each image was tagged 2-5 times by different people. Authorship order was derived by the number of images tagged. Image tagging was done using a bespoke dashboard built by five authors (author 9 through 13), under the supervision of the final author (author 14).
There are 10 columns in the csv:
1) image_id — reports the name of the corresponding NOAA JPEG.
2) ocean - 1 if the image is all water.
3) development - 1 if the image has human development.
4) washover - 1 if a washover deposit can be seen in the image.
5) impact - based on the Sallenger (2000) ‘Storm Impact Scale for barrier islands’ (see references below). 0 is no visible impact, 1 for swash, 2 for collision, 3 for overwash, 4 for inundation.
6) terrain_inland - 1 if the image is an inland scene.
7) terrain_marsh - 1 if the image is a marsh scene.
8) terrain_river - 1 if image is of riverine scene.
9) terrrain_sandy_coastline - 1 if image is a sandy coastline scene.
10) terrain_undefined - 1 if no terrain type applies.
multiple terrain types can be specified for a given image — i.e., there can be multiple '1's for a given image in columns 6-10. </div
Aperture (March 27, 1976)
No full textA newsletter with University of Lethbridge campus news.The University of Lethbridge /
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APERTURE
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■. .. .
Afr». Ruth Chorley
Changing image of the black
Mrs. Ruth Chorley was born in England, where she received her professional training and taught for many years in primary schools and a university college of education.
She arrived in Lethbridge, August 1975, and is assistant professor in early childhood education at the University of Lethbridge.
Carlson’s Marchers for the Dream, and school integration books, such as Carlson’s The Empty Schoolhouse, Dorothy Sterling’s Mary Jane, and Lorenz Graham’s North Town, made their appearance.
Although Elizabeth Yates’ Amos Fortune, Free Man, was published in 1950, the most recent black “historical” novels were published in the 60s and 70s. I, Juan De Pareja, By Elizabeth Borton de Trevino, is a historical novel based on the life of the African slave who served the Spanish artist Velazquez, and who, through the years of his service, broke the law forbidding slaves to practice the arts, and became a painter in his own right. Julius Lester’s To be a Slave,and Paula Fox’s The Slave Dancer noth give graphic accounts of the horrors of slave trading. William H.
■ ■■..*'
The content of books is related to the society in which they are produced. We should therefore expect that the changes in every aspect of society, changes which have accelerated over the past £0 years, would result in changes in children’s literature. This is particularly so in the image of the black portrayed in children’s books.
For the black peoples of the world, the history of freedom is recent. On our own continent, the U. S. emancipation proclamation Armstrong’s Sounder is the story of a poor of 1863 means that some of the American black sharecropper family in the depression black authors writing today had great - grandparents who were slaves. 7
What we have, then, in North America, is a black image which has changed during the past 30 years from a stereotyped plantation darkie, - through Ralph Ellison’s Invisible Man, to a civil rights campaigner, the threat of Black Power, and, for many whites, the envy of the Black is Beautiful concept, to what I optimistically see as an image not far removed from the white image; somewhat different in color, but otherwise the same: a people with their history, looking confidently to the future.
To what extent do we see this changing image reflected in children’s books?
During the 20s and 30s, most authors of children’s books were white, and the few who were not, such Langston Hughes and Arna Bontemps, reached a small audience. Therefore, white authors, with little knowledge about black life and what knowledge they had confined to an extremely limited interaction (usually on a master/ser- vant basis), were presenting a stereotyped version'of black life on plantations. The blacks were presented as stupid, shiftless and irresponsible, or loyal and trustworthy slaves, but still stupid. The illustrations were as macabre as the texts. L. C. Pyrnelle wrote . Diddie, Dumps and Tot, or Plantation Child Life, where a benevolent white child plays with her plantation worker’s children in much the same way, and with much the same attitudes, as she would play with her pets.
However, during the 40s, while white society may have shown no evidence of “the fire next time,” the first rumblings of the volcano were being heard in black society. Educational organizations joined with black political affiliations to protest to publishers about the scarcity of good books about blacks, and 1946 saw the publication of two books unusual for the times, Two is a Team by Lorraine and Jerrold Beim, concerning the friendship between two little boys, one.black, one white, and My Dog Rinty by Marie Hall Ets and a black writer, Ellen Tarry, showing blacks in professional positions. The 40s also saw the publication of a few viable black history books.
During the 50s and 60s, in keeping with the times, protest books such as Natalie Savage
period of the 20s, which again, graphically illustrates white brutality.
■- > The invisibility of the Negro as a U. S. citizen was, however, still apparent in books. A survey of more than 5,000 trade books published for children during 1962/4, found that an average of only 6.7 per cent included one or more Negroes. But the late 60s saw increasing multi-racialism in children’s books.
This decade is producing books correlating with what I saw as a final black image — a person in his own right, facing problems identical to the whites. Bette Green’s Philip Hall Likes Me. I Reckon Maybe is set in rural Arkansas and relates a year in the life of 11 - year old Beth Lambert and her friendship with her “first love” Philip Hall. Virginia Hamilton’s M. C. Higgins, the Great tells the story o£ a boy whose home is threatened by a slow - moving spoil heap left from strip mining, and how he eventually comes to terms with his family traditions and heritage.
The acceptance of black beauty has been tortuous, but we have come a long way since Hugh Lofting’s 1920 Story of Dr. Dolittle had a sleeping princess awaken to Prince Bumpo bending over her to hear her disgusted cry of, “Oh, he’s black,” whereupon Prince Bumpo begged the doctor to turn him white, which he did. Authors have passed through euphoric descriptions of black skin tones, and in Fitzhugh’s. Nobody’s Family is Going to Change, we have an author who at last describes Emma’s skin simply as “brown” and gives her the same problems as white adolescents — Emma was fat, and she couldn’t do a thing with her (Afro) hair. This book also has Emma thinking about the ugliness of white skin.
The absurd dialect in which authors used to have their black characters speak has been replaced by what is coming' to be known as Black English. John Steptoe’s Stevie and Joan Lexau’s Me Day are examples of such books, and Bette Green in Philip Hall Likes Me . . . has a pleasing use of a regional vernacular.
Theodore Taylor dedicated hi3 book The Cay to “Dr. King's dream, which can come true only if the very young know and understand.” We are finally moving towards literature to promote such knowledge.
I
I
I
i
IBiography for Apertv ,
***********************
Mrs. Ruth Chorley was bom in England, where she received her professional training and taught for many years in primary schools and a university College of Education.
She came to Canada in 1971, was co-ordinating director of an Early Childhood School in Halifax, Nova Scotia, taught
* part-time at Mount Saint Vincent and Dalhousie universities, and received her Master of Arts from Dalhousie in 1974.
She arrived in Lethbridge, August 1975, and is Assistant Professor in Early Childhood Education at the University of Lethbridge.
Mrs. Chorley holds the U.K. Teacher-Librarian Certificate served on the Executive of the School Library Association in England for a number of years, and is currently a member of the Canadian Library Association.V (
CHILDREN’S LITERATURE AND THE CHANGING IMAGE OF THE BLACK
The content of books is related to the society in which they are produced. We should therefore expect that the changes in every aspect of society, changes which have accelerated over the past twenty years, would result in changes in children’s literature. This is particularly so in the image of the black portrayed in children’s books.
For the black peoples of the world, the history of freedom is recent. On our own continent, the U.S. Emancipation Proclamation of 1863 means that some of the American black authors writing today, had great grandparents who were slaves.
Despite this theoretical freedom of 1863, in an agrarian economy, with no land ownership, the freedom was hardly a practical issue. The Fifteenth Amendment in 1870 proclaimed Negro suffrage, but not untij. the
• / ocv
x Martin Luther King civil disobedience campaigns througl^t the South during the fifties and sixties, did the theory in any way become practice.
With Stokely Carmichael’s rejection of King’s nonviolence, blacks entered a new era. No longer were they content to sit and wait for a munificent white majority to throw peo-rZs before them. Now the cry was Black Power and its counterpart Black is Beautiful.
♦
What we have, then, in North America, is a black image which has changed during the past thirty years from a stereotyped plantation darkie, through Ralph Ellison’s Invisible Man, to a civil rights campaigner, the threat of Black Power, and, for many whites, the envy of the Black is Beautiful concept, to what I optimistically see as an image not far removed from the white image; somewhat different in colour, but otherwise the same: a people with their history, looking confidently to the future.
To what extent do we see this changing image reflected in children’s f c
books?
During the twenties and thirties, most authors of children's books were white, and the few who were not, such as Langston Hughes and Arna Bontemps, reached a very small audience. Thereiwre, white authors, with little knowledge about black life, and what knowledge they had, confined to an extremely limited interaction, usually on a master/servant basis, were presenting a stereotyped version of black life on plantations. The blacks were presented as stupid, shiftless and irresponsible, or loyal and trustworthy slaves, but still stupid. The illustrations were as macabre as the texts. L. C. Pyrnelle wrote Diddie, Dumps and Tot, or Plantation Child Life, where a benevolent white child plays with her ‘ plantation worker’s children in much the same way, and with much the same attitudes, as she would play with her pets. Annie Vaughn wrote Frawg, who sang all day and ate watermelon. The illustrations for this book are particularly offensive.
However, during the forties, while white society may have shown no evidence of ’the fire next time*, the first rumblings of the volcano were
. i
being heard in black society. Educational organizations joined with black political affiliations to protest to publishers about the scarcity of good books about blacks, and 1946 saw the publication of two books unusual for the times, Two is a Team by Lorraine and Jerrold Beim, concerning the friendship between two little boys, one black, one white, and My Dog Rinty by Marie Hall Ets and a black writer, Ellen Ta Try, showing blacks in professional positions. The forties also saw the publication of a few viable black history books.
During the fifties and sixties, in keeping with the times, protest books such as Natalie Savage Carlson’s Marchers for the Dream, and school integration books, such as Carlson’s The Empty Schoolhouse, Dorothy Sterling* Mary Jane, and Lorenz Graham’s North Town, made their appearance.
Although Elizabeth Yates* Amos Fortune, Free Man, was published in 1950, most recent black ’historical’ novels were published in the sixties and seventies. I, Juan De Pareja, by Elizabeth Borton de Trevino, is a historical novel based on the life of the African slave who served the Spanish artist Velazquez, and who, through the years of his service, broke the law forbidding slaves to practice the arts, and became a painter in his own right. Julius Lester1s To be a Slave and Paula Fox’s The Slave Dancer both give graphic accounts of the horrors of slave trading. William H. Armstrong’s Sounder is the story of a poor black sharecropper family in the 1920*s Depression period, which again, graphically illustrates white brutality.
The invisibility of the negro as a U.S. citizen, was, however, still apparent in books - a survey of more than 5,000 trade books published for children during 1962/4, found that an average of only 6.7% included one or more negroes. But the late ninteen sixties saw increasing multiracialism in children’s books.
This decade is producing books correlating to what I saw as a final black image, a person in his own right, facing problems identical to the whites. Bette Green’s Philip Hall Likes Me. I Reckon Maybe is set in rural Arkansas and relates a year in the life of eleven year old Beth Lambert and her friendship with her ’first love* Philip Hall. Virginia Hamilton’s M. C. Higgins, the Great,tells the story of a boy whose home is threatened by a slow-moving spoil heap left from strip mining, and how he eventually comes to terms with his family traditions and heritage. Louise Fitzhugh’s Nobody’s Family is Going to Change, concerns parental attitudes, something which affects children the world over. Eleven year old Emma wants to become a lawyer like her father, her seven year old brother, Willie, wants to be a dancer like his famous Uncle Dipsey. Father thinks female lawyers absurd, and refuses to accept what he sees as a traditional stereotyped nigger minstrel role for his son. Sibling conflicts become resolved, as the children battle for their rights. Barbara Cohen’s Thank You Jackie Robinson is the story of a young white boy’s friendship with a sixty year old negro who worked for his mother. Sammy is relating the story as a man, so we get a historical view of the difficulties of such friendships in the fifties.The acceptance of black beauty has been tortuous, but we have come a long way since Hugh Lofting’s 1920 Story of Dr. Dolittle had a sleeping princess awaken to Prince Bumpo bending over her to hear her disgusted cry of, "Oh, he’s black", whereupon Prince Bumpo begged the doctor to turn him white, which he did. Authors have passed through euphoric descriptions of black skin tones, and in Fitzhugh’s Nobody’s Family is Going to Change, we have an author who at last describes Emma”s skin simply as "brown" and gives her the same problems as white adolescents - Emma was fat, and she couldn’t do a thing with her tjAfro) hair. This book also has Emma thinking about the ugliness of white skin.
The absurd dialectjkwhich authors used to have their black characters speak has been replaced by what is coming to be known as Black English. John SteptoeJ. Stevie and Joan LexauS Me Day are examples of such
. i
books, and Bette Green in Philip Hall Likes Me . . . has a pleasing use of a regional vernacular.
Theodore Taylor dedicated his book The Cay to ’Dr. King’s dream, which can come true only if the very young know and understand.• We are finally moving towards literature to promote such knowledge and understanding
