These photographs, taken by Richard Schade at the Berlin Wall upon his visits in 1964 and 1989, document his experience of the Wall. He has assembled the photographs to create a pictorial narrative that creates the experience of a stroll along the Wall. The titles accompanying the images are the captions Dr. Schade wrote for the photographs.
Along the Wall: Photographs at the Berlin Wall, 1989 is an exhibition of the documentary photographic narrative created by Richard Schade. The photographs were exhibited first in Gallery K in the Max Kade German Cultural Center from November 3 - 26, 2014, and then in the Clifton Cultural Arts Center from January 17 - February 28, 2015.
These images show the exhibition as it was staged in the Max Kade German Cultural Center in U.C.'s Old Chemistry building. The photographs were displayed matted in black frames, with a hand-typed caption affixed to the matte.
In addition to Dr. Schade's photographs, a loop of contemporary news reports on the fall of the Wall; a large map showing divided Germany (ca. 1975); and commemorative posters from the German Embassy were displayed.
In the spring of 2001 the hilly uplands immediately northwest of the modern city of Durres were for the first time investigated using the techniques of intensive surface survey. In total, an area of six square kilometers was explored and twenty-nine sites were defined, most of them new. Remains of Greek antiquity were plentiful and include unpublished inscriptions and graves. One site may be the location of a previously unknown Archaic temple. Included in this article are descriptions of the areas investigated, a list of sites, and a catalogue of the most diagnostic artifacts recovered. Patterns of settlement and land use are discussed and compared to those recorded by other surveys in Albania.
The article begins with a question about the value of revitalising the equation between sexual/intimate violence and terrorism in the current neoliberal/post-feminist political and epistemological landscape. We argue that the intensifying international interest in sexual violence, and an accompanying hyper-visual imagery, is implicated in the cauterisation of critical thought about sexual violence. We offer the more mobile and expansive concept of sexed violence to “unthink” dominant narratives that reproduce heteronormativity and white, Western hegemony. Through an analysis of the film Unwatchable, we consider why non-white raced bodies consistently materialise as less “comprehensible” as violatable than white bodies. We further suggest that a move to sexed violence can help to think more critically about both sexual violence and feminism.
Brochure for the exhibition in Gallery K. Contains an essay by Richard Schade, a brief artist's bio, and a statement by Emily Bauman, who curated the exhibition. The brochure design is by Michelle Dietz.
The Multi-Genre Research Project: Teaching Students the Research Skills for Academic Writing will discuss ways to help students become more flexible writers by developing an awareness of how genre works. According to scholars who study students' ability to transfer knowledge from one context to another, genre knowledge, among other skills, helps students analyze and adapt to various writing situations.
The files here are matrices of DNA sequences used to create a phylogeny of Aniba, Brazilian rosewood and its relatives. The files are saved as Nexus files and can be opened by a text editor and most phylogenetic or DNA sequence editing software packages (PAUP*, Mesquite, etc.).
13) The last victim, shot just months prior to the Fall of the Wall, is memorialized by his date of death in February 1989 as an “Opfer der Honecker-Diktatur” / Victim of the Honecker Dictatorship. (1989)