5,368 research outputs found
Reading Ruth : towards a postmodernist, literary and womanist analysis
No full textBibliography: leaves 132-140.This dissertation examines the book of Ruth from a postmodemist, literary and womanist perspective. The main methodology is postmodemist literary criticism, but it employs intertextual and autobiographical approaches as well. Chapter 1 is an exploration of the plot of Ruth and reveals that in order for the end goal of the plot to be achieved "emptiness has to return to fullness." It is shown that Ruth's action (her decision to return with Naomi) is the catalyst that begins the process that ultimately leads to the denouement of the plot. The fact that it is the two women, Ruth and Naomi, who drive the plot forward, indicates that the Book of Ruth is a woman's story. Chapter 2 demonstrates that the significance of narrative time for any literary analysis lies in the fact that the amount of time allowed for the retelling of the events rarely corresponds to the time it took for the events to happen. Since Ruth is a short story, the choice of what to tell, what to omit as well as how long to dwell on details are indeed significant. In other words it is shown that literary time is only spent on those aspects which are crucial for the advancement of the narrative. Since the reader's main goal is to see how the conflicts are resolved, the literary time spent on the resolution of the conflicts is an indication of where the weight of the story needs to lie. In this case, it is certainly with Ruth and Naomi judging from the amount of time spent on dialogues between the two women. They are therefore the ones that contribute to the resolution of the conflicts of the plot. Chapter 3 reveals that in the book of Ruth the narrative voice or the perspective of attitudes, conceptions and worldview are those of a woman. The fact that the book of Ruth is named after a woman; the fact that at the very outset all the males in the story die and it is the women that take over the narrative; the fact that in the end the women of Bethlehem declare that Ruth is better to Naomi than seven sons are just some of the reasons that substantiate the argument that the narrative voice in the book of Ruth was that of a woman. It is also shown that this narrative voice (whether overt or covert) subverts gender and ethnic expectations. Chapter 4 outlines the way in which biblical characters are portrayed. The subsections of chapter 4 deal with the characterisation of each major character: Naomi, Boaz, and Ruth. Chapter 4 is the longest chapter since it is difficult to evaluate characterisation without engaging the other facets of literary criticism as well, such as plot and dialogue
<i>MAN A</i>
No full textMAN A VR aims to push the viewer into the ‘computer space’ of our performers, surrounding the viewer with choreographed dancers. A cocktail of camouflage — hiding, revealing, information bearing, noticeable, unnoticeable, marked, unmarked, appearing, disappearing. MAN A VR is available for Oculus Rift, HTC VIVE and for the prototype version Google Cardboard.The MAN A project draws inspiration from the visual language of 'dazzle' camouflage, developed by artist Norman Wilkinson in WW1. Examining relationships between figure & landscape - this MAN A project forms a ‘laboratory’ to experiment with a number of different ideas around this concept together with motion capture, large format printing, augmented reality and for this piece VR. Research aims: Generate the potential for kinaesthetic responses to visual information.Encourage audiences body involvement in the viewing process.Challenge ideas of dance performance and display in a different format through the lens of technology in combination with visual art.Construct different modalities of performance.Concept & Design: Gibson/Martelli Performers: Nicola Gibbons, Ruth Gibson, Siobhan O’Neil, Robert Davidson, Eszter Gal, Bettina Neuhaus, Joe Moran, Florence Peake, Julie Nathanielsz. Sound: Adam Nas
We are here and we are everywhere at once (WAHAWAEWAO)
No full textThe research which informed this creative work explores how travelling through virtual environments can ‘make strange’ our engagement with the real. It questions how awareness of embodied presence, which is augmented and altered through its intermingling with digital technologies and apparatus might inform how we engage with the natural world. The piece emerged from the research project Kinesthetic Navigations/Kinesthetic Stories instigated by researchers Carol Brown and Ruth Gibson. The creative work was a moving image installation at Pah Homestead Gallery in Auckland. WAHAWAEWAO was created by Ruth Gibson, Carol Brown, Bruno Martelli and Russell Scoones with performer/collaborators Jenny Roche, Grant McLay and Cassidy Scoones. An exhibition booklet with essays by Brown, Roche and Gibson accompanies this submission
Funeral Service for Mrs. Ruth Gibson
No full textFuneral program for Mrs. Ruth Gibson, born July 4, 1906 and died October 21, 1976. The funeral was held October 26, 1976 at Second Baptist Church, officiated by Rev. S. H. James. The funeral arrangements were made through Lewis Funeral Home and she was buried in Eastview Cemetery in San Antonio, Texas
MAN A Apps
No full textThe research incorporates motion-captured dance integrated into augmented reality and virtual reality software to enable new user/viewer/mover relationships. The knowledge furthers Gibson's earlier motion-capture viewing tools MocApp and MocApp II developed during 2013 - 2016. Research aim: to bring together the artwork and the audience, creating a new experience for them in an immersive performance space.Gibson created a library of 3D of motion-captured dance performances to make a unique database and using mediated reality (encompassing virtual, augmented, and mixed reality) adds information to the perception of reality through a handheld device. Gibson draws on Bolter and Gromala's 'Windows and Mirrors' theory and considers the idea that the computer can be a window -- showing the user content only, with a 'transparent' interface or be a 'mirror' where the user is aware of the computer as a medium where they can have some influence. MocApp, designed as a tool, appeared to be a 'digital artefact oscillate(ing) between being transparent and reflective'. The AR function in MocApp contributed to the MAN A App development. Here, the software 'reflexivity' is reduced to the didactic, presenting background information about the work. The AR feature is fully 'window- like' as the choice of avatar is where the device is pointed rather than a menu selection. The AR function is designed so that the dance performances can be evaluated as a life-sized overlay in the real world. The logical next step for increasing audience agency and to immerse the audience further was VR. Gibson developed MAN A VR App to present scenes, each an inversion of the performance in-the-round so that the viewer becomes surrounded by dancing avatars.The MAN A Apps, are developed for iOS and Android and Google Cardboard.Reference: Bolter, Jay David, and Diane Gromala 2003 'Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency', MIT PressDancers: Nicola Gibbons, Siobhan O’Neil, Robert Davidson, Eszter Gal, Bettina Neuhaus, Joe Moran, Florence Peake, Julie Nathanielsz, Ruth Gibson.<br/
Dr. Ruth J. Simmons, 2001
No full textDr. Ruth J. Simmons, President of Brown University, is shown smiling in an office.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the Joseph & Evelyn Lowery Institute for Justice and Human Rights, the Joseph Echols Lowery Irrevocable Trust, and other donors in supporting the processing and digitization of Morehouse College's Joseph Echols and Evelyn Gibson Lowery Collection
Dr. Ruth Westheimer: Sexually Speaking
No full textRuth Westheimer (born June 4, 1928), better known as Dr. Ruth, is a globally recognized psychosexual therapist, media personality, author, radio, television talk show host, and Holocaust survivor. Her media career began in 1980 with the radio show Sexually Speaking, which continued until 1990. She has hosted several series on the Lifetime Channel and other cable television networks from 1984 to 1993 and is the author of 45 books on sex and sexuality
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