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ninjakelvin0789 · 11 months

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Madame Alexander Dolls: Timeless Treasures with Enduring Value

Madame Alexander dolls have captivated collectors and enthusiasts for generations, offering a unique blend of artistry, craftsmanship, and historical significance. These exquisite dolls have been cherished by individuals of all ages, not only as playthings but as collectible treasures that hold their value over time. In this article, we will explore the fascinating world of Madame Alexander dolls, their history, and the factors that contribute to their enduring value in the world of doll collecting.

Madame Alexander dolls are a product of the Alexander Doll Company, founded by Beatrice Alexander Behrman in 1923. Known as "Madame Alexander," Beatrice Alexander was a visionary in the world of dollmaking, and her dolls quickly gained a reputation for their exceptional quality and attention to detail. Her commitment to creating lifelike, beautifully crafted dolls set the standard for the industry and established the Madame Alexander brand as a household name.

One of the key factors contributing to the enduring popularity of Madame Alexander dolls is their rich history and diversity. The company produced a wide range of dolls, from classic baby dolls to exquisite fashion dolls, each with its own unique charm. Over the years, Madame Alexander dolls have portrayed various historical figures, beloved storybook characters, and iconic celebrities, making them highly sought after by collectors and enthusiasts with diverse tastes.

One of the most significant aspects of Madame Alexander dolls is their outstanding craftsmanship. The dolls are meticulously designed and handcrafted with a keen eye for detail. Madame Alexander's dedication to quality is evident in the fine materials used, including high-quality fabrics for clothing, delicately painted faces, and intricate hairstyles. The dolls' clothing and accessories are often created with the same level of care and artistry, making each doll a true work of art.

Madame Alexander dolls are not just toys; they are treasured collectibles. Many collectors are drawn to these dolls for their historical value, as they often depict characters from bygone eras. For example, the "Gone with the Wind" collection, which features characters from Margaret Mitchell's classic novel, provides a glimpse into the elegance and style of the Old South. These dolls transport collectors to a different time and place, making them not only beautiful but historically significant.

The value of Madame Alexander dolls can vary greatly depending on various factors. Rarity is a significant determinant of value. Limited edition dolls or those that are no longer in production tend to fetch higher prices in the collector's market. Additionally, dolls that are in excellent condition with their original packaging and accessories are more valuable than those that show signs of wear or damage.

Another key factor in determining the value of Madame Alexander dolls is their historical significance. Dolls that depict famous historical figures or iconic characters from literature and pop culture tend to have higher demand and value. For example, dolls representing figures like Scarlett O'Hara or Mary Poppins are highly sought after by collectors, and their value has continued to appreciate over the years.

Condition plays a vital role in assessing the value of Madame Alexander dolls. Dolls that have been well-preserved in a clean and smoke-free environment tend to command higher prices. Any signs of fading, discoloration, or damage to the doll's clothing or accessories can significantly reduce its value. Therefore, collectors often pay a premium for dolls in mint or near-mint condition.

The rarity of certain features or variations can also impact a Madame Alexander doll's value. For example, some dolls may have unique accessories, face paint variations, or different hairstyles that set them apart from the standard release. These variations can make a doll more desirable and valuable to collectors who are looking for something distinctive.

Collectors should also consider the doll's provenance, or its history of ownership. A doll with a well-documented history or one that has been in the possession of a famous collector may command a higher price. Additionally, if a doll has been featured in books, magazines, or exhibitions, its value can increase due to its historical significance in the world of doll collecting.

Madame Alexander dolls are not only valuable collectibles but also cherished heirlooms. Many collectors view their dolls as investments and take great care in preserving their condition. Proper storage, including protection from sunlight, dust, and temperature fluctuations, is crucial in maintaining a doll's value. Some collectors even choose to display their dolls in glass cases to keep them in pristine condition while still enjoying their beauty.

In recent years, the market for Madame Alexander dolls has continued to thrive, with collectors and enthusiasts from around the world actively seeking these exquisite treasures. Online auction platforms, doll shows, and dedicated collector's groups have made it easier than ever to connect with fellow enthusiasts and find that elusive Madame Alexander doll to add to one's collection.

The value of Madame Alexander dolls is not just monetary; it also resides in the joy and nostalgia they bring to those who appreciate their beauty and historical significance. These dolls are a testament to the timeless appeal of expert craftsmanship and attention to detail, and they continue to be a source of wonder and delight for collectors of all ages.

In conclusion, Madame Alexander dolls are more than just collectibles; they are a blend of art, history, and craftsmanship that has stood the test of time. The enduring value of these dolls is a testament to their quality, rarity, historical significance, and the passion of collectors who treasure them. Whether you're a seasoned collector or a novice, Madame Alexander dolls offer a world of beauty and history waiting to be explored and enjoyed.

#Auction #new release #press release

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dwellordream · 3 years

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“Critics of Chaucer's Troilus and Criseyde tend to regard the eponymous female character as either the tale's victim or its villain. Those subscribing to the latter position consider Criseyde cagey, devious, and self-centered. In their view, Chaucer creates a character who fits within the "power of women" topos, in which a wily woman effects a worthy man's ruin. During the Middle Ages, "sermons, treatises, instruction manuals, poetry and romances included lists of celebrated men who were brought low by the apparently irresistible power of women and their sexuality." Critics of Troilus and Criseyde argue by analogy when they regard Troilus as suffering such a fate at the hands of his love. They imply that since most medieval writers portray women as manipulative black-widow figures bent on destroying men, Chaucer must have done so as well. For example, D. W. Robertson, Jr., notes that, for Criseyde, "the mastery of a man like Troilus, a man of prowess and renown, a prince, and a handsome prince at that, would be quite an achievement."

Winthrop Wetherbee also emphasizes the virtues of the ill-fated Trojan prince and stresses that, no matter how interesting we may find the duplicitous Criseyde, we cannot admire her, for she remains "incapable of anything like the integrity or aspiration of Troilus." These critics, whom Carolyn Dinshaw describes as "masculine readers" of the text, create the impression that Chaucer has fabricated a terrifying, power-hungry figure in Criseyde. She emerges as less a woman than a monstrous, near-masculine, abomination, the incarnation of the Medusa myth that Helene Cixous regards as the traditional literary stereotype used to describe an indomitable female character. Dinshaw attributes this view of Criseyde to the critics as well as to Chaucer: "Masculine reading in Troilus and Criseyde is dominated at last by a desire to contain instability, carnal appetite - those things that... medieval writers (and their descendants, modern critics) associate with femina."

In an effort to counteract this ominous image of Criseyde, Dinshaw and other feminist critics have repositioned Chaucer's heroine as the tale's victim. They see Criseyde as the polar opposite of the conniving character imagined by the text's "masculine readers," regarding her instead as an emblem of passive femininity whose submissive nature makes her vulnerable to the machinations of ruthless men. Angela Jane Weisl, for instance, views the hapless heroine as "invaded by male power," and Catherine Cox regards the consummation scene as tantamount to rape. Focusing upon Criseyde's unfortunate position as a beautiful woman trapped in a society that treats her and all women like "commodities to be traded," Dinshaw exculpates Criseyde for her seemingly callous treatment of Troilus. Far from being fickle, Criseyde, in favoring Diomede, selflessly works to further her nation's male-dictated agenda. In Dinshaw's view, Criseyde is merely a pawn of the Trojan patriarchy, a bargaining chip used to establish a temporary truce.

These critics may succeed in exonerating Criseyde; however, they also succeed in making her much less interesting. Stripped of any motives of her own, Criseyde becomes a mere automaton, and the reader's interest shifts to the men who manipulate her. Unwittingly perhaps, feminist critics, by curtailing Criseyde's agency, diminish her significance. They too sacrifice Criseyde, flattening her character and transforming her into a type, another example of the endlessly suffering woman who must endure countless indignities at the hands of callous men. Readers, however, need not relegate Criseyde to the status of victim in order to redeem her character. Criseyde, certainly, does not view herself as a passive pawn, and this essay attempts to read the events comprising Troilus and Criseyde from her point of view, a perspective that has often been slighted by critics intent upon examining the agenda of her nation or the psyche of her lover.

Criseyde's actions, for instance, indeed may be constrained by her nation's perilous position, but so are those of her male counterparts. Even valiant Hector finds himself powerless to gainsay the people's will when they decide to trade Criseyde for Antenor, for the lords make the compelling argument that the Trojans desperately need more manpower in order to rid themselves of the Greeks who have relentlessly plagued the besieged town (IV, 176-96). The council ignores Hector's angry protests and enjoins him to set aside his ideals, exclaiming "'O Ector, lat tho fantasies be!'" (IV, 193). Troilus also feels constrained by his nation's plight. He so fears the opprobrium of his father and of Parliament should he strive to rescue Criseyde from her awful fate that he is rendered impotent, unable to make even the slightest effort to effect his love's salvation (IV, 540-67).

Criseyde, however, does try to wield power, albeit within the narrow scope granted her. She lays the ground rules for her affair with Troilus, for instance (III, 169-75), and she constantly engages in activities such as reading and writing that Cixous regards as potentially subversive to patriarchal society. Unlike Troilus, she displays great confidence in her own abilities and plots to bring about her safe return to Troy without her lover's help (IV, 1296-1414). As her uncle Pandarus understands, his niece admires men of action, men like heroic Hector who value their individuality and refuse to let challenges daunt them. Such men strive to follow their own moral code and often refuse to conform when they believe that they have judged correctly and society has erred. Hector, for example, does not shy away from offering Criseyde his protection, although such an offer might be viewed with disfavor among those incensed at her father's treacherous act (1,117-23).

Nor does he readily succumb to the chorus of voices demanding Criseyde's exchange for Antenor but, rather, continues to protest passionately against such a maneuver up until the very moment when Parliament seals the Trojan beauty’s fate: For which delibered was by parlement For Antenor to yelden out Criseyde,/And it pronounced by the president, Altheigh that Ector "nay" ful of te preyde. (IV, 211-14) Criseyde attempts to appropriate this heroic ethos for herself, believing firmly that the challenges she will face in her attempt to escape the Greeks will prove far from insurmountable. By the end of the poem, however, Criseyde has recognized finally that the man for whom she is willing to risk her life lacks the qualities of a hero, qualities that she believes she herself possesses and qualities that she had once thought Troilus held in abundance, making her fall in love with him. She now realizes that her lover does not share her faith in the heroic ideal and that his earlier heroic stance was nothing more than a pose, part of his attempt to make her engage with him in the game of courtly love.

Laura Howes believes that "Chaucer is often his most critical of established social and literary systems when he appears his most conventional." Even though the poet fashions Criseyde as a strong-willed woman, his poem does not represent a straightforward rendition of the "power of women" topos. Instead, Chaucer uses this convention to expose the hypocrisy embedded in courtly love, a system in which the male lover feigns to cede power to a lady only ultimately to subjugate her. Chaucer employs the "power of women" motif subversively to create an image of a self-determined, desiring woman, who yearns for a wholesome, natural sexual relationship - a relationship not tainted by the artifice of courtly conventions - and who refuses to be transformed into the passive receptacle of a male lover's passion.

…The first time Troilus sets his eyes upon her, Criseyde displays her strong-willed nature. When Troilus ogles her, the Trojan beauty flashes him a look that implies "What, may I nat stonden here?" (I, 292). Her haughty attitude is not only bold but also rash, for she, the daughter of a traitor, refuses to submit to the gaze of a king's son. Criseyde misinterprets Troilus's behavior, regarding it not as prompted by her beauty but, rather, as offering a challenge concerning her right to participate in Troy's public domain. She fears that this prince might not share his brother Hector's generous attitude concerning her status as a citizen of Troy. Unlike Troilus, at this moment her thoughts revolve not around the possibility of a love affair but, rather, the ramifications of the ongoing Greek siege and her father's subsequent defection. Critics often stress Criseyde's meek and fearful nature, but in this instance Chaucer depicts her as a brave woman indeed, holding her head proudly in the public sphere and refusing to show shame for her father's misdeeds.

Chaucer makes her audacious behavior all the more striking by having it follow the narrator's assertion that Criseyde stands as the very emblem of femininity (I, 281-87). One would expect such a woman to accept passively Troilus's stares, to blush perhaps, and bow her head, but not to gaze unabashedly back. Criseyde may seem feminine, but she displays an inclination to behave in a masculine manner. She resembles Portia in Shakespeare's Julius Caesar, who possesses a "man's mind, but a woman's might." By juxtaposing Criseyde's feminine appearance with her bold behavior, Chaucer suggests Criseyde may possess a masculine spirit as well, and, indeed, the narrator describes her as "nevere lasse mannyssh in semynge" (I, 284, emphasis added). The author's use of the word "semynge" indicates that Criseyde's femininity relates only to her surface, her good looks.

Criseyde's exquisite appearance belies her true nature as a woman who cherishes her autonomy and will not readily succumb to a man's will. Before Pandarus presses Troilus's suit upon her, Criseyde lives peacefully in a predominately feminine realm. Weisl stresses that Calchas 's defection leaves his daughter fearful and vulnerable: "Calchas' exit at night through the walls of Troy is the first event of Troilus and Criseyde; in the vacuum of power created by his absence stands Criseyde, 'wel neigh out of hir wit for sorvve and fere' (I, 108)." Criseyde, however, loses no time in recruiting Hector as her defender, recognizing that she needs to protect both herself and her feminine retinue. Her decision to appeal to Hector represents her first act as a matriarch and emerges as a deed of heroic proportions, for she has not only her own interest but also the interest of the members of her household in mind.

She recognizes the peril of her position and approaches the Trojan prince with all the tact of a skilled diplomat engaged in a dangerous and urgent mission. Using her feminine appearance to her advantage, she dresses in "widewes habit large of samyt broun" (I, 109) to underscore that she too has been betrayed by her father's duplicity. Her wretchedness as well as her loveliness move the noble prince to pity her plight, and she elicits his oath that no harm will befall her as long as she resides in Troy (I, 113-26). Further, Hector promises to protect Calchas’s daughter without demanding any favor in return, revealing that Criseyde has played the role of a chaste, and hence untouchable, widow with consummate skill.

Once Criseyde assures herself of Hector's staunch but laissez-faire support, she finds her father's desertion a boon. Unlike Calchas, whose arbitrary behavior toward his daughter in calling her to the Greek camp indicates the power he holds over her, Hector leaves Criseyde alone, free to pursue her own will. Thus, her father's defection enables Criseyde to enjoy finally her widowed state. Judith Bennett notes that for many medieval women, widowhood emerged as the first time since their marriage that they could exert a measure of control over their own fortunes. For instance, these women often would serve as managers of their deceased spouses' estates, a role Criseyde may assume finally after her father abandons Troy.

Criseyde revels in her newfound autonomy, exulting that she now stands "unteyd in lusty leese" (II, 752) without a husband to "Chek mat" her every move (II, 754). Criseyde's use of this metaphor to describe her marriage offers more evidence of her steely will; she had not been a woman who meekly obeyed her husband's every whim. Criseyde's allusion to chess also reveals that she thinks of herself in martial terms. Freed from both her husband's and her father's control, she no longer considers herself the passive, acted-upon king but rather a powerful and potent player. Her situation resembles that of Binx Boiling's aunt in Walker Percy's The Moviegoer, who "with her illustrious brothers dead and gone might now at last become what they [her brothers] had been and as a woman had been denied her": her family's champion.

As mentioned, Chaucer depicts Criseyde's household as comprised entirely of women. Such an image evokes the realm of the Amazons, a society to which Chaucer alludes in the Knight's Tale. The poet depicts these women's pursuits as potentially subversive to patriarchal culture. Pandarus, for instance, finds Criseyde and her companions sitting together listening to a tale, a common entertainment for aristocratic women of Chaucer's day; however, these ladies do not listen to a romance but rather to a "geste" concerning "the siege of Thebes" (II, 83-84). They represent a cluster of women reading about the actions of men - they are feminine readers of a masculine text, the epic. Criseyde's choice of reading material reveals her intellectual curiosity as well as her attachment to the heroic ideal. She wishes to understand the workings of the public domain and to grasp the significance of her nation's own war. Additionally, as a woman who likens herself to a figure in chess, she senses, perhaps, a connection between herself and these legendary heroes and looks to their tales for inspiration for her own bold deeds.”

- Mary Behrman, “Heroic Criseyde.”

#troilus and criseyde #medieval literature #geoffrey chaucer #courtly love #mary behrman

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diwatera · 4 years

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LGBTQ+ Movies I Watched Recently (Part 2)

Happiest Season (2020) dir. Clea DuVall

Short Summary: Abby plans on proposing to Harper when they visit Harper’s family for the holidays. Her plans get derailed when she learns that Harper hasn’t come out to her family yet.

Why you should watch it: Not gonna lie, Mackenzie Davis drew me to this movie; I’ve been in love with her ever since San Junipero came out. Add Kristen Stewart, Aubrey Plaza and Dan Levy to the mix and I’m sold. If you want a sapphic romance with a happy ending, this one’s for you.

Été 85 (2020) dir. François Ozon

Short Summary: Alexis recounts his six-week love affair with David during the summer of ‘85.

Why you should watch it: If you love 80s aesthetic and music, you definitely should watch this. The movie made me nostalgic of that decade and I wasn’t even alive back then! It’s a whirlwind summer romance reminiscent of Call Me by Your Name but with a more devastating twist.

Getting Go: The Go Doc Project (2013) dir. Cory James Krueckeberg

Short Summary: An obsessed college boy pursues his internet crush through the pretext of making a documentary about him.

Why you should watch it: The script and the acting are the one-two punch of this film. The writing is incredibly genuine, and both of the actors’ performances made the lines feel even more natural. I’m not the biggest fan of mockumentary-style films, but this one felt like it was a recording of my own life. Hyper-obsessive college grad with a Tumblr blog? Might as well have called out half the population of this damn site.

Pihalla (2017) dir. Nils-Erik Ekblom

Short Summary: Miku and Elias find themselves, and each other, during a summer in the Finnish countryside.

Why you should watch it: I’m a sucker for gays in the countryside™ and although this one is not quite up there with God’s Own Country and Call Me by Your Name, it still makes for a good watch. Miku as a character and his relationship with his parents was chaotic and fun. His relationship with Elias felt really natural and dreamy.

You, Me and Him (2017) dir. Daisy Aitkens

Short Summary: Olivia, a mature responsible lawyer, wants to have a baby, but her girlfriend Alex isn’t ready for the responsibility. Things get even more complicated when their flirty neighbour, John, joins the picture.

Why you should watch it: It is one of the most feel-good lesbian romcoms I have seen in a while. But I warn you, there are some dark parts that can really sneak up on you. Yeah, it’s hilarious, but damn it made me ugly cry, too. Oh, and if you want to see David Tennant as an alpha male douchebag, here’s your chance. (CW: **spoiler alert** p̶r̶e̶g̶n̶a̶n̶c̶y̶ ̶l̶o̶s̶s̶ )

Giant Little Ones (2018) dir. Keith Behrman

Short Summary: Franky and Ballas have been best friends since childhood, both on the swimming team, both incredibly popular. But after an incident during Franky’s birthday, they quickly fall apart and Franky falls from grace.

Why you should watch it: I think the film captures just how tumultuous coming-of-age stories are. Franky is going through his own journey of self-identity, and I’m happy that the movie didn’t rush in with labels. The conversation Franky has with his dad at the end also hits hard. (CW: physical assault, allusions to sexual assault)

Our Love Story (2016) dir. HyunJu Lee

Short Summary: A fine arts student meets an attractive bartender, and the two women begin an intimate relationship.

Why you should watch it: It’s a very intimate love story that isn’t rushed or dragged out for too long. We definitely see Yoon-Jo and Ji-Soo’s relationship bloom from start to end, but it’s not mind-numbingly boring to watch. Raw and unembellished, I definitely recommend this to anyone looking for a realistic portrayal of wlw romance.

Die Mitte der Welt (2016) dir. Jakob M. Erwa

Short Summary: The film follows Phil and his relationship with his family, his best friend, and a newcomer at his school, Nicholas.

Why you should watch it: This is technically a second watch for me, and I’m glad I rewatched it, because I was able to catch some glaring red flags that I missed the first time. I love this movie in spite of all the heartache it caused me. The story, especially the deal with Phil’s family, struck a chord in me. And the shots! Visually stunning as well!

Les Amours Imaginaires (2010) dir. Xavier Dolan

Short Summary: Marie and Francis’ friendship is put to the test when a beautiful boy called Nicolas comes between them.

Why you should watch it: Watch it for the visuals -- the colors, the costumes, the cast. Seriously, the actors included here may as well be kept in the Louvre: Xavier Dolan, Neils Schneider, Monia Chokri, hell, even a cameo from Louis Garrel! Dolan said it himself that this is a shallow film, but it’s worth the watch just to see Neils Schneider wearing heart-shaped glasses.

Closet Monster (2015) dir. Stephen Dunn

Short Summary: A creative and driven teenager is desperate to escape his hometown and the haunting memories of his turbulent childhood.

Why you should watch it: Right off the bat, I am going to say that this film is dark. I tried watching it back in college but tapped out within the first ten minutes because something traumatic happens. Then I tried again about a week ago, finished it this time. It’s actually a very moving film. It’s violent and gory in some parts, but also ridiculous and wholesome in other parts. IT HAS A TALKING HAMSTER NAMED BUFFY! BUFFY WAS THE STAR OF THIS MOVIE FOR ME. (CW: gay bashing/sexual assault)

Straight Up (2020) dir. James Sweeney

Short Summary: Todd and Rory are intellectual soul mates. He might be gay but she might not care.

Why you should watch it: The dialogue in this film is undeniably sharp and witty. Loved the fast-paced back and forth between the two main characters as they discuss relationships, sex, gender, and more. James Sweeney and Katie Findlay’s chemistry just pulled you into the screen. It was funny, it was sweet, it was heartwrenching, it was great! (CW: allusions to sexual assault)

Latter Days (2003) dir. C. Jay Cox

Short Summary: A promiscuous gay party animal falls for a young Mormon missionary, leading to crisis, cliché, and catastrophe.

Why you should watch it: I saw this in santiagonex’s top 20 LGBTQ+ films with happy endings, and I honestly thought it was gonna be a feel-good watch. Instead, I got a rollercoaster melodrama filled with early 2000s gay culture, religious guilt, buttcheeks, and Joseph Gordon-Levitt. Needless to say, I got more than I bargained for. (CW: self-harm, conversion therapy)

The Old Guard (2020) dir. Gina Prince-Blythewood

Short Summary: A covert team of immortal mercenaries are suddenly exposed and must now fight to keep their identity a secret just as an unexpected new member is discovered.

Why you should watch it: Okay, I was debating whether I should include this here, because it’s not necessarily an LGBTQ+ film as much as it is an action film with queer characters. I decided to include it, because JESUS! I have never seen such respectful and well-written representation of queer characters and relationships. Joe and Nicky are the most unproblematic couple in history. PERIOD. Pray for sequels, everyone. This is the kind of representation we deserve in mainstream media.

. . .

Click here for more LGBTQ+ film recs

#Queer Cinema #queer films #LGBT Films #lgbtq #Movie Recommendation #kristen stewart #mackenzie davis #summer of 85 #the old guard

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demospectator · 2 years

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“Governor Stanford on Balcony,” July 4, 1862. Elevated view looking northeast across Dupont Street toward Old St. Mary's Church. Photographer Unknown (Martin Behrman Negative Collection / Courtesy of the Golden Gate NRA, Park Archives)

Caught on Camera: When Stanford came to Chinatown for July 4

Independence Day flags bedeck a building from which Governor Leland Stanford addresses cavalry troops on July 4, 1862, on the border of San Francisco’s Chinatown. The location betwixt and between Chinatown and the city center was perhaps fitting.

Stanford University professor Gordon Chang recounts that Leland Stanford’s attitude toward the Chinese was “tense, ambivalent, and complex.” As his employees, Stanford the capitalist considered the Chinese intelligent, hardworking and loyal servants. Stanford the politician embraced hatred of the Chinese as a matter of political expediency. In a message to the California legislature a mere six months prior to his July 4 appearance, then-Governor Stanford said:

“To my mind it is clear, that the settlement among us of an inferior race is to be discouraged by every legitimate means. Asia, with her numberless millions, sends to our shores the dregs of her population. Large numbers of this class are already here; and, unless we do something early to check their immigration, the question, which of the two tides of immigration, meeting upon the shores of the Pacific, shall be turned back, will be forced upon our consideration, when far more difficult than now of disposal. There can be no doubt but that the presence among us of numbers of degraded and distinct people must exercise a deleterious influence upon the superior race, and to a certain extent, repel desirable immigration.”

“North on Stockton St. -- 4 July 1862.” Photograph by Carleton Watkins (from the Martin Behrman collection at the GGNRA). The 4th of July parade proceeding south on Stockton Street and then-Governor Stanford delivered a speech on Dupont Street near California Street. Nob Hill can be seen at upper right.

Within a couple years, Leland Stanford’s own Central Pacific Railroad Company would be hiring the same despised Chinese labor to complete the western part of the first transcontinental railroad in North America.

#Governor Leland Stanford #San Francisco Chinatown July 4 #Central Pacific RR

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architectnews · 3 years

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Watch our live talk on beauty in sustainable architecture as part of Velux's Build for Life conference

The second talk that Dezeen is hosting as part of Velux's Build for Life online conference focuses on the importance of quality and beauty in sustainable architecture and placemaking. Tune in from 8:00am London time to watch it live.

Dezeen's founder and editor-in-chief Marcus Fairs will moderate the talk, which is titled Is the Future Beautiful?

Fairs will be joined by Mary Parsons, commissioner for the Building Better, Building Beautiful Commission, Lorenzo de Simone, coordinator for the New European Bauhaus' high-level round table, and Dana Behrman, associate director at UNStudio.

The panel discussion will examine the importance of quality and aesthetics in design and placemaking.

Speakers will also discuss sustainable settlements and consider the role of homes as major levers for future change in sustainable architecture practice.

Mary Parsons is a commissioner for the Building Better, Building Beautiful Commission

Parsons is currently a commissioner for the UK government's Better Building Beautiful Commission and a member of the University of Cambridge's property board.

Parsons is also a trustee of the Ministry of Building Education and Innovation, commissioner for No Place Left Behind, trustee of Design South-East and chair of the Town and Country Planning Association.

Lorenzo de Simone coordinates New European Bauhaus' high-level roundtable

De Simone has a postgraduate in energy and climate from the University of Antwerp. He is part of the New European Bauhaus team at the European Commission's Joint Research Centre (JRC) and participates in the screening and analysis of public contributions.

He coordinates the activities of the New European Bauhaus' high-level roundtable, a group of advanced thinkers and practitioners in their field who act as community ambassadors for the New European Bauhaus.

Dana Behrman is associate director at UNStudio

Behrman holds degrees from the Centre for Research Architecture at Goldsmiths College at the University of London, the Architectural Association, the School of Architecture in London and the School of Visual Arts in New York.

She specialises in urban spatial analysis and joined the UNStudio in 2014 to lead the Urban Unit. She is also an urban strategist at UNStudio's start-up called UNSense. Her research focuses on the link between technology and the built environment.

Build for Life takes place from 15 to 17 November

Build for Life is a digital conference that will see more than 90 experts worldwide discuss climate-related challenges in the built environment.

Download the programme here and register for the conference here.

Velux's Build for Life conference takes place online from 15 to 17 November 2021. For details of more architecture and design events, visit Dezeen Events Guide.

Dezeen x Velux Build for Life

This article was written by Dezeen for Velux as part of a partnership. Find out more about Dezeen partnership content here.

The post Watch our live talk on beauty in sustainable architecture as part of Velux's Build for Life conference appeared first on Dezeen.

#Architecture – Dezeen

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djlyer · 3 years

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Walk for Wenjack, October 19,2021

This week, in the spirit of reconciliation and in honour of Secret Path Week October 17-22, the Downie Wenjack fund are pleased to launch a video series called Reconciliation Begins With You featuring young Indigenous artists who remind us of the importance of reconciliation. Each day from Monday to Thursday, we will feature a different short video on their social media platforms.

Monday: ‘Beading Connections’ by Corrina McKay

Tuesday: ‘Snowshoe Teachings’ by Lucia Laford

Wednesday: ‘We Need to Talk’ by Alina Pete feat. Eekwol and Humble the Poet

Thursday: ‘Paddling on Both Sides’ by Blake Angeconeb and Buffy Sainte-Marie

Stay well out there and remember to listen and act, check out these albums and artists while you do.

Sweet Ailbi - Single - Slow Down

Lorne Behrman -Single - Sandcastles

Jordan Rowe - Jordan Rowe EP - Bet on That

Amadians - Single - Ocean & Moon

Tunic - Quitter - Ex-Epic

Hella - Hold Your Horse Is - City Folk Sitting, Sitting

The Tragically Hip - 1993-07-23 - Markham Fairgrounds - Fight

Gord Downie - The Secret Path - The Only Place to Be

HOLYCHILD - The Theatrical Death of Julie Delicious - Saturday

Banks - III - Hawaiian Mazes

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mariellesays · 7 years

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Arden Cahill Academy Celebrates 50 Years

This year, Arden Cahill Academy, located at 3101 Wall Blvd. in Gretna, will celebrate its 50th anniversary. This kindergarten through 8th grade school, which also includes an infant centre, started out as a dream of its founder Elizabeth Arden Cox Cahill and grew into one of the most prestigious and respected schools on the Westbank.

Elizabeth Arden Cox Cahill is a lifelong native New Orleanian and Westbank resident, who has dedicated her entire life to the education of children. She began her career at Laurel-McDonough #1 and Allan School where she taught children with speech disorders. She then taught drama at Fortier High School as well as homebound students with disabilities, students who were deaf and those with cerebral palsy. After briefly relocating to Florida with her husband, teaching speech development and working with the hard of hearing at Florida State University, she returned to Algiers and taught at Behrman High School. After two years, she was asked to fill a job opening for disciplinarian and assistant to the principal at Karr Junior High School. Mrs. Cahill worked at Karr until the birth of her first child and then worked as a volunteer for two years at St. Julian Eymard. It was then that Arden’s husband, Henry L. Cahill, Jr. encouraged her to start her own school.

Arden Cahill Academy was founded in 1968 by Arden and Harry Cahill as a private academy dedicated to the interest of early childhood education. Original faculty included Mrs. Diana Wright, Mrs. Joy Vickery, Mrs. Dolly Stakelum, Mrs. Patricia McMullen and Mrs. Marjorie Snyder. These ladies formed and created the philosophy of the academy. Inspired by the success of the progress of the first group of students, Mrs. Cahill expanded the program and added a grade each year through elementary school. The first 8th grade class graduated in 1977 and the Infant Centre was added in 1981.

As the years went by, the campus itself expanded and buildings and classrooms were added yearly to accommodate the growing number of students. Buildings were designed to house preschool, kindergarten, and elementary classes in separate areas with additional areas for library, music, art, and drama. Two swimming pools and an outdoor basketball court were also added. In 1985, construction began on the site where Arden Cahill Academy sits today. Stables and an equestrian arena were erected on the rear of the property; bayou Stables was used for summer camp and extracurricular horseback riding lessons. In 1986, construction began on the buildings that would complement the academy’s curriculum of academic excellence and cultural enrichment. The buildings on the Wall Blvd. campus include classrooms, a library, dining room, art studio, music room, 300 seat little theater, gymnasium, and a junior Olympic swimming pool. The campus itself is landscaped with trees and plants that are indigenous to the Louisiana area. In September of 1988, the first class entered the Wall Blvd. campus and the first graduation was held on May 19, 1989. New buildings were added throughout the years including more classrooms, a nursery and preschool, a science lab, a computer lab and academic offices.

Today, Mary Kevin Cahill is the principal of Arden Cahill Academy, a school that focuses heavily on cultural arts. The school boasts an infant centre where infants and toddlers are cared for by professional child care providers. Here they reach age-related milestones, from rolling over and crawling to numbers and colors. Spanish is taught in the early years of a student’s education and French is taught in the later years, giving children a rounded 2nd and 3rd language education. Students also take part in drama activities from the time they are in pre-school. They participate in putting together a play that is to be performed in front of the school, thus helping them grow comfortable with speaking in front of large groups at an early age. Arden Cahill’s sports programs are “no cut”, which means that any student can participate in any sport that he or she likes, without the fear of being cut for not excelling at it. Other activities also include chess, drama, golf, computers and more. Arden Cahill Academy is a year-round campus that boasts a yearly summer camp that is open to students and non-students. Activities at the summer camp include horseback riding, swimming, arts and crafts, archery, riflery, and snack making. Arden Cahill Academy is a school that is teaching its students about current technology; computer skills are taught and text books in the form of “e-books” are available on Chrome books for 6th to 8th grade students.

To celebrate the 50th year of Arden Cahill Academy, special activities such as a 60’s themed Spirit Day and a time capsule are planned. There is also a plan to plant 50 trees on the already lush and beautiful campus, in honor of 50 years. In the years to come, Arden Cahill hopes to expand once again, and add high school education to their curriculum.

#nola #new orleans #school #education #writer #westbank #gretna #westbank beacon

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paulisded · 8 months

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The Ledge #604: Odds & Ends Again

The "odds and ends" series is an opportunity for me to mix all kinds of material. This week's version mixes a bunch of new releases with a ton of material I've been playing around the house in recent weeks. There's also a tribute to Mary Weiss, the leader of The Shangri-Las who passed away a few days ago. Otherwise, there's classics by The Clash, X, The Birthday Party, and The Long Ryders, along with a new discovery of The Deviants, a great old band that for whatever reason I had never checked out.

CLICK HERE TO DOWNLOAD THE SHOW!

1. The Replacements - Alex Chilton (Rough Mix)

2. The Shangri-Las - Give Him a Great Big Kiss

3. Mary Weiss with the Reigning Sound - Nobody Knows (But I Do)

4. X - I Must Not Think Bad Thoughts

5. The Clash - All the Young Punks (New Boots and Contracts)

6. Lorne Behrman - The Blue Goes On Forever

7. The Jack Rubies - Hark

8. The Trouble Seekers - Not like U

9. Ty Segall - My Best Friend

10. The Deviants - I'm Coming Home

11. 13th Floor Elevators - Reverberation (Doubt)

12. The Leaves - Tobacco Road

13. Thee Headcoats - Troubled Times

14. Night Beats - Cinderella

15. Robbie Quine - Let's Spend the Night Together

16. Roxanne Fontana - The Singer Not The Song

17. The Weeklings - Mr. Soul Satisfaction

18. The Speakeasy - Johnny B. Goode

19. Soul Asylum - Attacking The Beat

20. Tommy Keene - Back to Zero Now

21. The Beat Farmers - Gun Sale at the Church

22. The Long Ryders - Run Dusty Run

23. Suburbs - Baby Heartbeat

24. The Boatsmen - Why Wait

25. Jonesy - (If It's Not Rock 'N Roll) Go To Hell

26. Oblivians - I'll Be Gone

27. Cheap Trick - Clock Strikes Ten

28. The Birthday Party - Nick the Stripper

29. Sonic Youth - Death Valley '69

30. Spacemen 3 - Things'll Never Be The Same (demo version)

31. The Chills - Look for the Good in Others and They'll See the Good in You

32. Nancy Sinatra - Got It Together

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uneminuteparseconde · 7 years

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Des concerts à Paris et autour

Avril 11. Vivu + Clusters + Ravi Shardja + GNG – Olympic café 11. Broken Lights + Händer Som Vårdar + Milos Olympus – Instants chavirés (Montreuil) 12. :Of the Wand and the Moon: + Jo Qail – Petit Bain 13. Vashti Bunyan + Steve Gunn – Le Carreau du Temple 13. Glorias Navales + Sun Stabbed – Instants chavirés (Montreuil) 14. David Behrman + Ivo Malec + Thomas Ankersmit + Kara-Lis Coverdale + Cannibal (Cameron Jamie, Cary Loren & Denis Tyfus) (Présences électronique) – Le 104 14. Trans Am + Veik – Point FMR [ANNULÉ] 14. Varg + Will Bankhead b2b Low Jack + Coni – Rex Club 14. Martyn Hare + Fuerr – Batofar 15. Thomas Tilly + Felicia Atkinson + L'Ocelle Mare + Jana Winderen + François Bayle + Stephan Mathieu joue "Earle Brown December 52" + Hild Sofie Tafjord + Demdike Stare (Présences électronique) – Le 104 15. Hologram_ + Chrysalide + Meta Meat + Näo + Horskh + Moaan Exis + DJ K.Oz + Nine Flesh (dj) – Petit Bain 15. La terre tremble !!! + Chocolat + Mustang – La Maroquinerie 15. Gnod + Common Eider, King Eider + Me donner + Lovataraxx – Instants chavirés (Montreuil) 15. Mélodrame ethnographique + Bonne humeur provisoire + Lovataraxx – La Parole errante (Montreuil) 16. Meryll Ampe & Leafcutter John + Mazen Kebra & Roland Kayn + James Tenney + Andrew Pekler + Deathprod + Akira Rabelais (Présences électronique) – Le 104 16. Ernestas Sadau + OKO DJ + NTN + Moyo + Jan Melnick – La Java 18. Bleib Modern – Espace B 18. Horse Lords + Clouds Become your Hands – Olympic café 18. Bracco + TG Gondard – La Pointe Lafayette 19. Winter Family + Jambinai – Centre Barbara FGO 19. Xeno & Oaklander + Nova Materia – Badaboum 19. Zu + Bologna Violenta – Petit Bain 20. Pharmakon + Descendeur – Instants chavirés (Montreuil) 21. Croatian Amor + Andrea Belfi – église Saint-Merri 21. Les Hôpitaux + Mamiedaragon + Ero Babaa + Zaraz Wam Zagram – Treize 21. Fils de Vénus + Balladur + Tommy Genesis – Badaboum 21. J. G. Biberkopf + Crystal Mess – Le Chinois (Montreuil) 21. Grand Blanc + Marietta + Robbing Millions + The Parrots + Johnny Mafia + Halo Maud (Mofo fest.) – Mains d'oeuvre (Saint-Ouen) 21. Dave Clark – Nuits fauves 21. Blush Response + Surgeon + Pfirter + Parfait – Dock Eiffel 22. The Divine Comedy (disquaire Day) – Maison de la radio (gratuit sur résa) 22. Komplikations + Taulard + Pour X raisons – Cirque électrique 22. Prairie-litière + Chicaloyoh + Opal – La Pointe Lafayette 22. Bajram Bili + You Man (disquaire Day) – Badaboum 22. Portable + Powell + Veronica Vasicka (Do Disturb) – Yoyo|Palais de Tokyo 22. Fujiya & Miyagi + Black Devil Disco Club + Buvette + Il est vilaine + Faire + Oko Ebombo (Mofo fest.) – Mains d'oeuvre (Saint-Ouen) 23. Arnaud Rebotini + Jacques & Gain + Aquaserge + Rendez-Vous + Onze onze + The Luyas + Julien Barbagello + Human Theorema (Mofo fest.) – Mains d'oeuvre (Saint-Ouen) 24. Author & Punisher – Espace B 26. Éliane Radigue par H. Breschand & L.-M. Marion + "Solo" de Jakob Ullmann + Benoît Burello : "Asphodel & the Island Sun" – Collège des Bernardins 26. Tim Olive, Anne-F. Jacques & Pascal Battus + Ritual Extra + Vincent Malassis + Paul Gremare – tba 26. True Widow + King Woman – Espace B 26. Aluk Todolo + Oranssi Pazuzu – Petit Bain 26. Kas Product – Batofar 26. Rodolphe Burger + Sylvain Vanot – Le 104 ||COMPLET|| 27. The Jesus & Mary Chain – Elysée Montmartre ||COMPLET|| 27. Gaëtan Boudy & Clément Hauvrette : cinéconcert sur "M le maudit" de F. Lang – Le Cirque électrique 27. La Femme + Superpoze (dj) + NSDos + Zaltan + DK + Epsilove – Cité des sciences et de l'industrie 27. Jean-Sébastien Mariage & Olivier Lété avec Vincent Fortemps (fest. OW-AO) – Le Générateur (Gentilly) 28. Julien Gasc + Forever Parot + Dorian Pimpernel + Orval Carlos Sibelius – La Station 28. Oxbow + Celeste + Sumac + Inter Arma (Old Town Bicycle fest.) – Le Gibus 28. Patten + UVB 76 + Le Vasco + Der Amethyst – Supersonic 28. Michel Deltruc & Patricia Dallio avec Maki Watanabe (fest. OW-AO) – Le Générateur (Gentilly) 28/29. Gaëtan Boudy & Clément Hauvrette : cinéconcert sur "M le maudit" de F. Lang – Le Cirque électrique 29. Dälek + Ovtrenoir + Jaye Jayle + Emma Ruth Rundle (Old Town Bicycle fest.) – Le Gibus 29. Sébastien Roux – Le Bal 29. Frustration + Cheveu + JC Satan + La Femme + Usé + Violence conujugale + Cannibale + Marietta (dj) + Topper Harley (dj) – La Machine 29. Unglee Izi + Mesa of The Lost Women + Videophage + Trous aux rats + Molière + Cuntre + Evil Moisture + DJ France-86 (fest. Premier sang) – Instants chavirés (Montreuil) 29. ErikM & Louise Leverd avec Clara Cornil (fest. OW-AO) – Le Générateur (Gentilly) 29. Silent Servant + Peder Mannerfelt + François X + Heartbeat + Valentino Mora + Amila – Concrete 30. Nadja + Matt Jencik + Ensemble économique – Supersonic (gratuit) 30. Seefeel + BLN – Batofar 30. Jean-Léon Pallandre & Isabelle Duthoit avec Skallistan (fest. OW-AO) – Le Générateur (Gentilly)

Mai 01. Jean-François Pauvros avec Ludor Citrik & Joan (fest. OW-AO) – Le Générateur (Gentilly) 01. Black Marble – Batofar ||REPORTÉ|| 02. Antoine Schmitt, Violaine Lochu & Garth Knox (fest. OW-AO) – Le Générateur (Gentilly) 03. Meat Wave – La mécanique ondulatoire 04. Group A + NMO – Instants chavirés (Montreuil) 04. Qual – Espace B 04. Jeff Mills : Spirale Deluxe – La Seine musicale (Boulogne-Billancourt) 05. La Novia & Yann Gourdon : “In C” de Terry Riley – Centre Pompidou 06. Esmerine – Espace B 09. Blanck Mass – Point FMR 10. Zombie Zombie + Tomaga + None + Tristesse contemporaine (dj) (Zombie Jamboree fest./10 ans de Julie Tipex) – La Machine 11. Oiseaux-Tempête – Trabendo 11. Laetitia Sadier + Solo Astra + Beat Mark (Le Beau fest.) – Espace B 11. Ambassador 21 – Bus Palladium 12. Wire + Blackmail + Teknomom – La Maroquinerie 12. Étienne Jaumet + Gilb'r + Tolouse Low Trax (Zombie Jamboree fest./10 ans de Julie Tipex) – La Machine 12. Manu le Malin + AZF + 14anger + Sinus 0 – La Machine 13. Collection d'Arnell Andrea – Batofar 13. Headless Horseman + Ventress + Blindr + Illnurse + Paulie Jan – Trabendo 15. Chameleons Vox + Blue Mountain Expansion – Supersonic 15. James Ferraro + Ducktails + Typhonian Highlife – Instants chavirés (Montreuil) 16. ToutEstBeau + Fiodor Novski & The Shiners – Espace B 17. Xiu Xiu + Le Prince Harry + Delacave – Petit Bain 18. Philippe Laurent + Das Ding – La Java 23. Sleaford Mods + Mark Wynn – Gaîté lyrique 23/24. Pascal Bouaziz : musique live pour "Nos féroces" de Séverine Rième (Rencontres chor��graphiques de Seine-Saint-Denis) – théâtre Berthelot (Montreuil) 24. Death in Vegas – Gaîté lyrique 24. God is an Astronaut – Flow 25. Collectif_Sin (Villette sonique) – Wip 25. Keiji Haino, Merzbow & Balasz Pandi + Afrirampo + Puce Mary (Villette sonique) – Trabendo 25. RA + Drab Majesty – Espace B 26. Soviet Soviet + Empereur – Supersonic (gratuit) 26. Royal Trux + Groupe Doueh & Cheveu + Uranium Club + Bernardino Femminielli (Villette sonique) – Grande Halle de La Villette 26. La Colonie de vacances (Villette sonique) – Périphérique 26. Actress + Jacques Greene – Nuits fauves 27. Annette Peacock + OOIOO (Villette sonique) – Cité de la musique|Philharmonie 27/28. Princess Nokia + Randomer + Marie Davidson + Doomsday Student + Mandolin Sister + The Goon Sax + Pizza Noise Mafia + Deena Abdelwahed + Volition Immanent + Mdou Moctar (Villette sonique) – Parc de La Villette (gratuit) 28. Einstürzende Neubauten + Jenny Hval – Grande Halle de La Villette 29. Ruins + Akaten + Zubi Zuva X + Acid Mother Temple SWR + Acid Mother Kirisute Gomen + Psyche Bugyo + Makoto Kawabata + Zoffy + Atsushi Tsuyama + Emiko Ota (Japanese New Music) – Gaîté lyrique 29. MSHR + Max Eilbacher & Duncan Moore + Acqua Dentata + Meryll Ampe & Romain Arnette – tba 29. Psychic TV 3 + Aikula – Petit Bain 30. Broken Social Scene – L'Alhambra 31. The Make Up + The Blind Shake (Villette sonique) – Cabaret sauvage

Juin 04. Karima Walker + Mikko Savela – tba 04. Anetha + Kas:st + Octave One + Paranoid London + Rodhad... – Vélodrome (Saint-Quentin-en-Yvelines) 06. John Russell – Instants chavirés (Montreuil) 08. Primal Scream – Gaîté lyrique 08. Soror Dolorosa + Schonwald – Bus Palladium 08. Sida + Cellular Chaos – Instants chavirés (Montreuil) 09. Skinny Puppy + Carpenter Brut (fest. Download) – Base aérienne 217 (Brétigny/Orge) 10/11. Richie Hawtin + Flying Lotus + Jon Hopkins (dj) + Moderat + Motor City Drums Ensemble + Recondite + A Tribe Called Quest + Solange + Nicolas Jaar + Parcels + Jessy Lanza + Action Bronson + Anderson Paak + Abra... (We Love Green) – Bois de Vincennes 11. Inhalt + Poison Point – La mécanique ondulatoire 11. Amanda Palmer & Edward Ka Spel – La Cigale 30. Geneviève Pasquier + Position parallèle + Black Light Ascension – Le Zèbre de Belleville 30>10.07. Air + Metronomy + Jarvis Cocker & Chilly Gonzales + Savages + Devendra Banhart + Michael Kiwanuka + Tindesticks présentent "Minute Bodies" + James Vincent McMorrow + Lady Sir (Rachida Brakni & Gaëtan Roussel) + Kate Tempest + Calypso Valois + The Color Bars Experience joue Nick Drake (fest. Days Off) – Philharmonie

Juillet 01. Ke/Hil + Kommando + Tunnels of Āh + AntiVallium – Le Zèbre de Belleville 05. Group Doueh & Cheveu – Institut des Cultures d'Islam 07/08. Varg + Exal + BLNDR + Ancient Methods + Voiski + AZF + Marie Davidson + Fils de Vénus + Nina Kraviz + Dixon + Marcel Dettmann + Moodymann + Apollonia + Levon Vincent + Midland Romare + Kaytranada + The Martinez Brothers + Jackmaster + DVS1 + Jlin + Avalon Emerson + Raheem Experience + Konstantin + Peggy Gou + Hugo LX + TGAF + Bamao Yende... (Peacock Society) – Parc floral (Vincennes) 07/08. Daikiri... (La ferme électrique) – La Ferme du Plateau (Tournan-en-Brie) 15. Blawan – Rex Club 21. Hocico + Shaârghot – Petit Bain

Août 25>27. PJ Harvey + The XX + At the Drive In + Franz Ferdinand + Cypress Hill + Ty Segall + Rone + The Kills... (Rock en Seine) – Parc de Saint-Cloud

Septembre 21. Ennio Morricone – Bercy Arena 22. She Past Away – Petit Bain 27. Sigur Ros – Grand Rex ||COMPLET|| 28/29. Sigur Ros – Grand Rex

Octobre 03/04. Nick Cave & The Bad Seeds – Zénith 23. Mogwai – Grand Rex 28. Peter Hook & The Light – Le Trianon

Novembre 15. Igorrr – La Maroquinerie

en gras : les derniers ajouts / in bold: the last news

#agenda concerts #concerts à Paris #gigs in paris #paris gigs #live #live music

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dwellordream · 3 years

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“…When the two lovers meet after Parliament's decision, Criseyde offers Troilus the opportunity to "ravish her" as her uncle has suggested. She begs for his aid, crying "Help, Troilus!" (IV, 1150) and falling into a dead faint. For once, she wishes that another would take control and make decisions for her. Not realizing that Troilus has relapsed into an impotent, emasculated state, Criseyde expects him to interpret successfully her intent and to act boldly in order to rescue her from her terrible plight. Troilus, however, is no longer the valiant, empathetic young man transformed by Criseyde's love; consequently, he fails to play the role of the manly hero. He does not seize this moment to carry the maiden off; instead, he convinces himself that she has died and poetically beseeches the heavens to hasten his own demise (IV, 1191-1211).

His behavior contrasts greatly with Criseyde's when he had fainted. She roused herself to action, doing all in her power to revive her lover, who, like Criseyde in this later scene, seemed at the precipice of death. Criseyde begins to argue eloquently upon the advantages of biding her time behind enemy lines only after she awakes to discover that Troilus has not heeded her cry for help. A careful reader would recognize, how ever, that she still yearns for her lover to prevent the exchange, for she interrupts her own argument to assure Troilus "what so ye me comaunde,/ That wol I don, for that is no demaunde" (IV, 1294-95). In arguing in favor of removing to the Greek camp, Criseyde tests the extent of Troilus's affection. …Criseyde thought that surely a man willing to slay himself for her would be willing to risk ruining his reputation for her love, but Troilus finds himself incapable of performing such a heroic feat.

When Troilus fails to make even the slightest attempt to rescue his ill fated lover, Criseyde realizes that she must bring about her own salvation. As she spins out her plan, she gains more confidence in her abilities to effect her own rescue. Sheltered within the walls of Troy, Criseyde knows little of the true horrors of war, only what she has gleaned from gossip and from the books that she has read in her cloistered garden. Her overconfidence stems both from her ignorance concerning the actual situation facing her nation and from her earlier successes in effecting her will.

In contrast, Troilus has been out in the trenches, and he should recognize the implausibility of Criseyde's plan of action. His attempts to dissuade her, however, seem half-hearted at best. Indeed, he feels relieved that she seems to exonerate him from taking any rash action, for such a view accords with his own and enables him to rationalize his impotence as simply a chivalric attempt to uphold his lady's desire: This Troilus, with herte and erys spradde,/Herde al this thyng devysen to and fro,/And verrayliche him semed that he hadde The selve wit. . . (IV, 1422-25) Although Troilus finally does argue with Criseyde that they should elope (IV, 1503), he does so only to determine the extent of her loyalty, for he beseeches her "That of hire heste he myghte her trewe fynde" (IV, 1439).

For nine stanzas he dwells on his potential desolation should Criseyde forsake him and displays little concern as to whether she might suffer from the trade as well (IV, 1436-98). He does not want Criseyde to abandon her plans but only to assure him that she will remain stead fast in her love for the Trojan prince. Troilus now behaves like Percival's maid, arguing against his lover's bold plan only to make her more resolved to carry it out. He succeeds, for Criseyde dismisses his worries, assuring him that she can achieve all that she has set out to accomplish. Thinking of the state of her city that "hath now swich nede / Of help" (IV, 1558-59), she chides Troilus for wanting to abandon his home, reminding him that he plays a vital role in his city's defense.

Concern for his city, however, does not motivate Troilus in his insistence that he and Criseyde run off; rather, his hesitancy to allow her to leave stems from his hitherto unwarranted fear that Criseyde will prove untrue. After Criseyde's eloquent argument, which included an impassioned declaration that she would remain constant in her love (IV, 1527-54), Troilus still asks her to leave with him: "But for the love of God, if it be may,/So late us stelen priveliche away;/For evere in oon, as for to lyve in reste,/Myn herte seyth that it wol be the beste." (IV, 1600-1604)

After listening to this plea, Criseyde finally experiences an awakening, realizing that her lover does not hold the values that she herself cherishes. She recognizes his plea stems only from jealousy and not from any noble concern for her or for their country's grave situation. Sighing with exasperation, she once again defends herself against the charge of infidelity: "I se wel now that ye mystrusten me, For by youre wordes it is wel yseene./Now for the love of Cinthia the sheene, Mistrust me nought thus ca?seles, for routhe,/Syn to be trewe I have yow plight my trouthe." (IV, 1606-10)

Criseyde now recognizes that Troilus, who had shunned jealousy during his earlier blissful state (III, 1805-6), has relapsed into a suspicious suitor, one who holds little faith in his love's sincerity. He has forgotten that the last time he questioned Criseyde's trustworthiness he nearly lost her favor (III, 1054-85). Troilus's hypocrisy at Criseyde's departure serves only to alienate her further and to make her resolve to return to Troy begin to evaporate. The Trojan prince not only refuses to heed Pandarus's advice and openly declare his love; he also feigns joy at the arrival of Antenor (V, 77). Even if he believed that openly expressing his love for Criseyde would imperil her, he need not seem joyous concerning the exchange. Criseyde does not mask her emotions so easily but instead weeps piteously as Diomede leads her away (V, 82). She feels distraught not only because she must leave Troilus and Troy but also because she now recognizes that she has misread her lover's nature.

Troilus's behavior undercuts the narrator's contention that the young prince refuses to act only because he fears some harm may befall Criseyde: But why he nolde don so fel a dede,/That shal I seyn, and whi hym liste it spare:/He hadde in herte alweyes a manere drede/Lest that Criseyde, in rumour of this fare,/Sholde han ben slayn; lo, this was al his care./And ellis, certeyn, as I seyde yore,/He hadde it don, wi thou ten wordes more.(V, 50-56) These assurances concerning Troilus's desire to behave valiantly seem to reflect anxiety on the part of the narrator, who suspects, perhaps, that he recounts not the tale of a hero but of a coward.

W. A. Davenport believes Troilus's poetic apostrophes to his lost love as he waits for her in Troy indicate that the young prince's despair is primarily a pose. Troilus's letters also reveal that he continues to play a role. These solipsistic missives to Criseyde seal his fate, for they leave no question that Troilus remains a courtly lover. He does not consider the needs of his auditor, for instead of tender, solicitous queries concerning the hardships she must have endured, he stresses his own affliction. Cox comments that "Troilus sings of his woe with little regard for Criseyde, . . . and his letter, . . . full of fin’amors platitudes, blames her for going to the Greeks."

As in Book I, where he allowed his misery to paralyze him, Troilus has succeeded in making himself overwrought. It is as if the communion he experienced with Criseyde in Book III never occurred, for the Trojan prince once again acts like the lovelorn suitor of a lady he scarcely knows, whom he can address only in the most artificial, contrived manner. Troilus pens his letter ostensibly to convince Criseyde to return to Troy. Such a demand, however, is absurd, and he knows it. He, who remained completely passive while the Trojans forced his love to leave, now expects Criseyde to risk her life by rushing across the battlefield to return to him. Even if she succeeded in reaching Troy, Troilus knows his father would send her back to the Greeks.

Troilus does not really expect Criseyde to reunite with him; rather, he expects her to behave like a proper lady and die for her love. One can speculate that he wants her to act like the nondescript tragic heroines in the Legend of Good Women, to pine away like Ariadne or to commit suicide like Dido. Such behavior would prove a fitting end for the object of Troilus's desire, enabling him to compose tragic lays about the death of his beautiful, beloved dame. Criseyde sees through Troilus's importunate letter, and, instead of playing the expected role of the bereft lady, she assumes the role of a courtly lover herself. As Davis notes, "when his [Troilus's] thou becomes an it, it rightly opts out." Criseyde might have risked her life or wasted away for the valiant Troilus of Book III, but she deems this poseur unworthy of such deep, abiding affection.

John McKinnell contrasts the structure of Criseyde's letter to Troilus's, noting that her epistle flows eloquently and follows the rules of artes dictamen. Criseyde's controlled prose reflects her nature; she will determine her own actions and certainly will not be dictated to by a man whose own convoluted letter displays an utter lack of composure or self-discipline. The time for impulsive behavior on the part of Troilus has passed. He should have displayed such passion when Criseyde was taken from him; he should have acted rashly when such behavior would have proved effective. Now his raving falls on deaf ears, and his former lover tersely retorts "Nor other thyng nys in youre remembraunce, / As thynketh me, but only youre plesaunce" (V, 1607-8).

In abandoning Troilus and accepting Diomede's suit, Criseyde behaves like a male lover jilting a woman with whom he has grown weary. Criseyde knows that men behave in this manner, for prior to accepting Troilus's advances, she complains about the faithlessness of men: "ek men ben so un trewe,/That right anon as cessed is hire lest,/So cesseth love, and forth to love a newe./But harm ydoon is doon, whoso it rewe:,For though thise men for love hem first torende,/Ful sharp bygynnyng breketh ofte at ende."(II, 786-91) Criseyde follows the consummate courtly lover's, Pandarus's, advice to Troilus, an act that leaves both uncle and lover astounded. Her behavior provokes Pandarus's violent exclamation "I hate, ywis, Cryseyde; / And, God woot, I wol hate hire evermore!" (V, 1732-33), as well as his wish that she will die soon, a desire to which Troilus, by not gainsaying, seems to give his silent assent.

Criseyde's unconventional behavior confounds the narrator as well. He cannot quite grasp why she gives Diomede Troilus's brooch, for instance, despairing that there "was litel nede" for such a deed (V, 1040). The narrator cannot admit that Troilus deserves to be abandoned by Criseyde, for to do so would be to recognize that he has recounted the story of a dithering, self-consumed man. By giving Diomede her brooch, Criseyde sends Troilus a clear message that no matter how much he rants and raves she no longer will accommodate his desires. She lets him know that not only does she refuse to return to Troy; she also refuses to waste away for love of him. Criseyde never wanted to involve herself in an affair constrained by the rules of courtly love, and she takes up with a new lover, who, like her, eschews such conventions.

Diomede's desire for Criseyde does not emasculate him, and he never complains of her cruel heart or hints that she causes him great pain. Instead, he treats her as his equal, engaging her in an intellectual conversation concerning the siege and seeking her opinion about the war: He gan first fallen of the werre in speche Bitwixe hem and the folk of Troie town;/And of th'assege he gan hire ek biseche To telle hym what was hire opynyoun. (V, 855-58) Diomede understands Criseyde's nature, for he recognizes that she is a woman interested in much more than silly love games. Instead of harping about himself, as Troilus tends to do, Diomede at least feigns empathy for Criseyde's plight, telling her he has noticed her sorrow and wondering if she laments a lost love (V, 871-82).

His concern indeed may be motivated merely by lust, but compared to Troilus's self pitying posturing, it strikes the Trojan beauty as a welcome change. In Criseyde's estimation, Diomede now seems much closer to the ideal she seeks than the Trojan prince, for Diomede pretends at least to admire both her beauty and her intellect. Indeed, Chaucer hints that Diomede may prove a much better match for feisty Criseyde than the young, oversensitive prince. The poet reveals that the Greek warrior and the Trojan beauty share the same pragmatic philosophy. Determined to court Criseyde, Diomede reminds himself that "he that naught n'asaieth naught n'acheveth" (V, 784). His words echo Criseyde's own, who, while contemplating Troilus's suit, mused that "'He which that nothing undertaketh, / Nothyng n'acheveth, be hym looth or deere'" (II, 807-8). Troilus, significantly, does not subscribe to this self-sufficient view.

Readers should not scorn Criseyde for turning toward Diomede. After being so bitterly disappointed in Troilus, who proved himself incapable of transcending the conventional, Criseyde continues to believe in the possibility of attaining the ideal in love. She may not remain loyal to a man who has failed her, but she does remain loyal to the notion of a healthy, wholesome love, a love based on mutual desire and a meeting of minds. Her passion for Troilus has changed her; she does not revert back to the cynical young widow of Book II, who regarded love as little more than a trap set by men. For one fleeting moment, Criseyde found her affair with Troilus liberating, because it enabled her to express and to sate finally her own desires. She embarks on a relationship with Diomede yearning to recapture the bliss that she once felt with her Trojan prince. Diomede, she hopes, will prove a more worthy recipient of her stalwart heart.

Troilus also finds himself altered by his love affair with Criseyde, but his transformation occurs only after his death. His demise releases him from the courtly love conventions that he found impossible to escape while on earth. In Reading Lolita in Tehran, Azar Nafisi describes the metamorphosis that occurs when her female students remove their mandatory black robes in the sanctuary of their professor's apartment. Freed from these black garbs, symbols of the repressive Iranian regime, they indulge in the luxury of laughter. Upon his death, Troilus finds himself similarly released from the strictures of his society. He can now shed his pose as a courtly lover, and, looking at the world from his heavenly perch, he too can laugh, both at his weakness in constantly allowing the values of the majority to dictate his actions and at the temerity of the woman he once loved, who refused to do so.”

- Mary Behrman, “Heroic Criseyde.”

#troilus and criseyde #geoffrey chaucer #medieval literature #mary behrman #courtly love

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evoldir · 8 years

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Conference:

The Philadelphia Evolution Group is excited to announce EPiC –Evolution in Philadelphia Conference. *Details:* Saturday, April 15, 2017 *Time:* 9:30am-7pm *Location:* Levin building, 425 S University Ave Philadelphia PA 19104 *More information:* http://bit.ly/2l2pnRj *Presentation submission deadline:* March 20, 2017 *Registration deadline*: April 10, 2017 *Cost:* Free* *Description:* This conference aims to bring together early career researchers from the greater Philadelphia area sharing similar interests in understanding complex biological relationships that inform ecological and evolutionary processes. The topics covered will be broad in scope and will address questions in areas such as genome evolution, speciation and adaptation, the genetic basis of phenotypic evolution, microbiomes and symbiosis, and organismal response to changing environments. The conference will provide graduate students and postdocs the opportunity to present their research to their peers and hopefully this will serve as a forum to receive useful feedback from senior-level researchers. We hope to build lasting research relationships and collaborations among researchers with similar interests in the broader Philadelphia area. Breakfast, lunch and an evening reception will be served. *Schedule:* - ASN Opening Plenary: Dr. Mary Caswell Stoddard, Princeton University - Three sessions of oral presentations - GSA Closing Plenary: Dr. Sarah Sander Lower, Cornell University - Poster reception There will be *cash prizes* for best student talk and poster sponsored by the American Society of Naturalists *This conference is available free of charge because of our generous sponsors: - American Society of Naturalists Regional Conference Award - Genetics Society of America Trainee-Organized Symposia We hope you will join us, it’s going to be *EPiC*! *Emily L Behrman* Ph.D. Candidate Schmidt Lab Department of Biology University of Pennsylvania 433 S University Ave Philadelphia, PA 19104 [email protected] http://bit.ly/29I0AxF Emily L Behrman via Gmail

#EvolDir

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ascribecalledquess · 7 years

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Curated my first PD in 3 years today. Give thanks to activists Malik Rahim, founder of the Louisiana chapter of the Black Panthers, Robert King of the #Angola3, Malcolm Suber of #TakeEmDownNOLA and #PeoplesAssemblyNOLA and Dr. Rev. Marie Galatas, the first to call for removal of white supremacist monuments in New Orleans. It was unspeakably epic and powerful to have over 150 years of organizing history in a school building helping relay the importance of #CulturallyRelevantPedagogy to the staff at #MartinBehrmanCharter School. Not pictured: Dr. Clyde Robertson and Linda Hill of SUNO who are bringing to our school the first Center for African & African American Studies to be integrated into a school since before Katrina. I've done over a dozen actions, rallies and protest in the last few years. I can't say that any of them were any more important than what happened today. Nothing better than bringing it black home. Hollaz to my egun. 😉🙏✊ (at Martin Behrman Charter School: Academy of Creative Arts and Sciences)

#takeemdownnola #peoplesassemblynola #martinbehrmancharter #culturallyrelevantpedagogy #angola3

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architectnews · 3 years

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Day two of Velux's Build for Life conference features a panel discussion on affordable housing and a talk by Open Architecture

A panel discussion focused on affordable housing and a talk by Open Architecture founder Li Hu are among the highlights of the second day of Velux's Build for Life digital conference.

Throughout the three-day Build for Life programme, which runs from 15 to 17 November, 90 experts will take part in talks and panels discussions examining climate-related challenges and opportunities in the built environment.

Dezeen is hosting three talks throughout the conference, which will be moderated by Dezeen's founder and editor-in-chief Marcus Fairs and live-streamed on Dezeen.

The other talks will be delivered by Velux from two main stages in Copenhagen: the Compass stage and the Daylight Symposium stage.

Find out about the Dezeen sessions here, see the full Build for Life programme here, register for the full conference here and read on for some highlights from today's programme.

Is the future beautiful? 8:00am London time (9:00am Copenhagen time) Compass stage

Broadcast live on Dezeen, Fairs will be joined by Mary Parsons, commissioner for the Building Better Building Beautiful Commission, Lorenzo de Simone, coordinator for New European Bauhaus' high-level round table, and Dana Behrman, associate director at UNStudio.

The panellists will examine quality and aesthetics in design and placemaking. The discussion will also focus on sustainable settlements and consider the role of homes as major levers for future change in sustainable architecture practice.

How can developers, real estate companies and digital development help to make everyday life affordable for the people? 12:00pm London time (1:00pm Copenhagen time) Compass stage

The panel will focus on housing affordability and how houses should be designed to be cost-effective, sustainable and healthy without compromising society and the environment.

Speakers include Harwil de Jonge, director of Heijmans Real Estate, Marilyne Andersen (pictured), co-founder and managing director of Oculight Dynamics and professor at the École Polytechnique Fédérale de Lausanne, and Rasmus Nørgaard, founder of Home.Earth and co-founder of real-estate company NREP.

How can digital technologies support future cognitive buildings? 4:00pm London time (5:00pm Copenhagen time) Compass stage

Architect and cognitive scientist Zakaria Djebbara from Aalborg University will discuss the impact of the built environment on mental health.

Djebbara will also discuss how creating an optimal indoor climate is an essential part of designing homes for wellbeing.

Daylight and Sustainability 9:00am London time (10:00am Copenhagen time) Daylight Symposium stage

Dezeen's China editor Christina Yao will moderate a session from Shanghai titled Daylight and Sustainability.

It will focus on how buildings can regenerate the environment and examples of "daylight excellence" in Chinese architecture projects.

Speakers include Li Hu (pictured), founding partner of Open Architecture, Ye Qing, chairman of the Institute of Building Research, Sun Yimin, dean of the South China University of Technology, Joerg Lonkwitz, senior designer from Gensler, and Song Yehao, tenured professor from Tsinghua University and co-founder of SUP Atelier.

Pandemics 12:30pm to 14:00pm London time (1:30pm to 13:00pm Copenhagen time) Daylight Symposium stage

Ayesha Batool (pictured), a doctoral candidate at the University of Nottingham, will discuss her project Drawing Daylight: An Analysis Of Daily Views From One Residential Window During Lockdown.

Also included in the session is a talk by Natalia Giraldo Vasquez, a postdoctoral researcher at the Technical University of Denmark, called Working and Studying from Home: Are Our Daylight Conditions Adequate For It?

The session will also see Till Roenneberg, professor at LMU Munich, give a lecture called Lock the Clock: The Effects of Social Restrictions on Daily Timing, Sleep and Wellbeing.

The top photograph is of Open Architecture's Shanghai Qingpu Pinghe International School. The photograph is by Chen Hao.

Velux's Build for Life conference takes place online from 15 to 17 November 2021. For details of more architecture and design events, visit Dezeen Events Guide

Dezeen x Velux Build for Life

This article was written by Dezeen for Velux as part of a partnership. Find out more about Dezeen partnership content here.

The post Day two of Velux's Build for Life conference features a panel discussion on affordable housing and a talk by Open Architecture appeared first on Dezeen.

#Architecture – Dezeen

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