424 research outputs found
Conversations with authors: Margot Livesey
No full textA 2011 conversation with the author Margot Livesey about her life and the inspiration for her work
Author Margot Lee Shetterly, Hidden Figures
No full textAuthor Margot Lee Shetterly
MEET THE WOMEN YOU DON'T KNOW, BEHIND THE MISSION YOU DO.
HIDDEN FIGURES
JOIN MARGOT LEE SHETTERLY, author of the book Hidden Figures, now in release as a major motion picture, as she talks about the incredible, often overlooked story of the African American women who powered much of the mathematics behind the race to make spaceflight a reality.
Wednesday, January 25th | 7:30 p.m.
Loeb Playhouse | Stewart Center
Purdue University
Free | Open to the Public
Event sponsors: College of Science, College of Engineering, The Graduate School, Black Cultural Center, the Departments of Mathematics, Computer Science, and Statistics, and the Schools of Aeronautical and Astronautical Engineering, Electrical and Computer Engineering, and Mechanical Engineering
PURDUE UNIVERSITY
Personal Papers (MS 80-0002)
No full textLetter from Margot Street to D. W. Kempner thanking him for his kind note and asking him to pass along any letters he may find
2012-2013: Distinguished Visiting Author, Margot Livesy
No full textStudent Fellows: Rebecca Abitz, Mackenzie Brennan, Leah Catania, Reina Laaman, Nicole Sabatino, Chelsea Silvahttps://docs.rwu.edu/bermont-fellowship/1002/thumbnail.jp
2012-2013: Distinguished Visiting Author, Margot Livesy
No full textStudent Fellows: Rebecca Abitz, Mackenzie Brennan, Leah Catania, Reina Laaman, Nicole Sabatino, Chelsea Silvahttps://docs.rwu.edu/bermont-fellowship/1002/thumbnail.jp
Melissa Hohr, Margot Mifflin, and Bill Downing with Robin Abrahams: Hell in a Handbasket: The Decline of Taboos, video recording, 5/9/2013
No full textNot long ago, we lived in a world where cursing was verboten, only sailors had tattoos, and smoking marijuana was confined to college experimentation. Are these things really more prevalent today or were they acceptable long before they reached the puritanical eyes of American society? And if they are met with less disdain these days, is it because we\u27re a more accepting society or because this is the beginning of a backslide into a social world rife with slovenly self-conduct? Moderator Robin Abrahams (author, Miss Conduct etiquette column) talks with Melissa Mohr (author, Holy Sh*t: A Brief History of Swearing), Margot Mifflin (author, Bodies of Subversion: A Secret History of Women and Tattoo), and Bill Downing (former President, MassCANN/NORML) to determine whether we can let it all hang out or if crossing the line is a harbinger of societal disaster.https://dc.suffolk.edu/fhf-av/1128/thumbnail.jp
The decline of political theatre in 20th century Europe: Shaw, Brecht, Sartre, and Ionesco compared
No full textMany political theorists, from Hannah Arendt and Theodor Adorno to Sheldon Wolin and Jurgen Habermas, have noted that the twentieth century was a time of an “eclipse of the public sphere” and a “sublimation of politics.” Partly due to the traumas of world war, totalitarianism, and genocide, and partly due to the absorptive capacities of instrumental reason and mass consumerism, mid-twentieth century Europe experienced an exhaustion of radical energy and a hollowing out of political discourse. This dissertation contributes to the narration of these developments by offering an account of the decline of political theater in twentieth century Europe. While since the ancient Greeks theater had been an important medium of political reflection and communication—and thus an important genre of political theorizing—by the middle of the 20th century theater became, especially in Western Europe and the United States, a medium of mass entertainment deprived of political aspiration and bite. This dissertation tells the story of this decline of political theater through profiles of four of the most important, brilliant, and influential playwrights of the century—George Bernard Shaw, Bertolt Brecht, Jean-Paul Sartre, and Eugene Ionesco. The first three playwrights sought to dramatize the challenges of their times in ways that could promote radical political change. Each, in his own way, failed in this effort. The fourth, Ionesco, also experienced the traumas of the century, but responded by developing a new, “absurdist” theater that was deeply anti-political. By profiling these important writers, and by linking them in a narrative of political theater’s decline in the 20th century, this dissertation has two primary goals: to contribute to the remembrance of a “world we have lost,” and through such remembrance to incite contemporary political theorists to revisit and rethink the political potential of the theater.Ph.D.Includes bibliographical referencesIncludes vitaby Margot Bonel Morga
Engendering the UN architecture: feminist advocacy in the establishment of UN women
No full textSince its inception, the United Nations has been shaped by a multitude of actors. From Member States to academics to civil society, the UN is a unique space where individuals from diverse political, sociological and economic backgrounds join together in an effort to maintain international security and achieve world peace through advancing a development agenda and human rights framework. From its founding, the UN has expanded its presence worldwide as well as enriched its programs and capacities comprised of a wide range of issues including women’s rights. In my thesis, I explore the multi-layered history of women’s rights organizing at the United Nations in an effort to grasp its most recent creation, UN Women. I seek to determine the significance of the impact that women’s rights activists have had on the United Nations and explain the importance of feminist activism in global governance. Therefore, this study analyzes how women’s rights advocates have impacted the United Nations reform process on gender equality architecture. Women’s rights advocates have been unrelenting in their efforts to establish a more coherent and robust women’s agency at the United Nations (UN). The Gender Equality Architecture Reform (GEAR) Campaign was created to monitor the United Nations reform process and actively lobby for a stronger women-specific agency within the UN. This Campaign proved to be a galvanizing force at a moment when civil society involvement in the UN has been curtailed. Based on primary sources and qualitative findings, I can explain the high level engagement among women’s rights activists and identify the significance of the GEAR Campaign’s contribution to the creation of UN Women. By using qualitative methods, I gained empirical knowledge of the impact advocates had on the reform process since 2005. GEAR has not only ensured the creation of UN Women, but also strategically shaped its form. My intention with this project is straightforward: I hoped to see what added-value a civil society campaign had on the creation of a UN entity and to document the strategic dedication of women’s rights activists in the development of a global organization tasked to meet the needs of women and girls worldwide. Without a doubt, GEAR was a significant force in ensuring that UN Women was structured to serve women systematically and methodically. Along the way, those advocating for its creation experienced the difficulties created by the UN bureaucracy unflinchingly. Many processes proved overly technical, painfully slow, inconsistent and erratic. When GEAR proponents believed they were close to achieving their goal, the process regressed. Thus feminist activists employed key strategies to advocate for the foundations of a more effective United Nations. They sought to value the lives of women holistically not only in the UN’s programming on gender equality and women’s empowerment, but by the restructuring the organization’s gender architecture.M.S.Includes bibliographical referencesby Margot C. Baruc
Przygodność, ciało i wstręt. Przypadek „Margot” Michała Witkowskiego
No full textThis article, focused principally on the exploration of contingency, the body and disgust in
Michał Witkowski’s novel Margot, is also a polemic and a vindication of the book against the
barrage of criticism it received from its reviewers. Most of them decided that Margot was a novel
about nothing, a haphazard mix of sundry discourses devoid of any linear structure. In fact, several
critics blamed the author of giving away both the narrative structure and the plot to capricious
contingency. The article takes a fi rm stance against such charges and argues that contingency does
not need to be seen as a fault at all. It lies at the heart of the novel and determines the actions of
characters, but it plays as important a role in people’s lives outside fi ction. Analysing the ups and
down of the main characters (Margot and Wadek Mandarynka), the article explains the function
of emotions, the body, the characters’ language and their ideas of sacrum in the legitimization
of contingency. A special role in this mechanism is played by disgust. Reactions of disgust are
always contingent, or, as Julia Kristeva puts it the abject has the power to terrorize the subject
to such extent that he can do nothing but to succumb to contingency. In working out the idea of
the contingency of selfhood, the article also draws on Richard Rorty’s approach, and in particular
his concept of ironism. The latter is used to classify the main character of Witkowski’s book as
a consummate ironist, i.e. a person who tests different languages in which the world can be described
in order to pursue his carnal desires. Finally, the article argues that in his novel Witkowski not only
brings to light the fortuitous character of the postmodern identity but also creates a heterogeneous
language to express it
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