Telugu samskruta kavyallo prakriya

Ffictional characterizations of christ across cultures

The purpose of this quasi-experimental study was to examine the effect that a gender-specific classroom had on men’s and women’s self-perceived leadership abilities as compared to coeducational classrooms where the students were studying leadership together. The sample for the study comprised 81 junior and senior students enrolled in a survey leadership course (ALED 340) in the College of Agriculture and Life Sciences, Department of Agricultural Leadership, Education, and Communications during the Spring 2007 semester at Texas A&M University. The students were assigned to one of five leadership laboratory sections; three sections were traditional coeducational, one was all-male, and one was all-female. During the last week of the course, the students voluntarily participated in a Leadership Skills Inventory survey that asked them to rate their self-perceptions of their leadership skills. The instrument used the post-then design method that asked for their perceptions prior to beginning the course and their perceptions at the conclusion of the course. The data were analyzed using SPSS version 14.0. Results of the study showed statistically significantly higher self-perceptions of leadership skills abilities for those students who participated in the gender-specific laboratory sections. The all-male section’s self-perceptions were statistically significantly higher than both the males in the coeducational sections and the coeducational sections as a whole. The all-female section’s self-perceptions were statistically significantly higher than the coeducational sections as a whole. The study also revealed that leadership experience in organizations and activities in high school and college prior to enrolling in a college-level leadership course statistically significantly improves self-perceptions of leadership skills ability. Results of this study agree with many research studies that support single-sex schooling and education.

The purpose of this quasi-experimental study was to examine the effect that a gender-specific classroom had on men's and women's self-perceived leadership abilities as compared to coeducational classrooms where the students were studying leadership together. The sample for the study comprised 81 junior and senior students enrolled in a survey leadership course (ALED 340) in the College of Agriculture and Life Sciences, Department of Agricultural Leadership, Education, and Communications during the Spring 2007 semester at Texas A&M University. The students were assigned to one of five leadership laboratory sections; three sections were traditional coeducational, one was all-male, and one was all-female. During the last week of the course, the students voluntarily participated in a Leadership Skills Inventory survey that asked them to rate their self-perceptions of their leadership skills. The instrument used the post-then design method that asked for their perceptions prior to beginning the course and their perceptions at the conclusion of the course. The data were analyzed using SPSS version 14.0. Results of the study showed statistically significantly higher self-perceptions of leadership skills abilities for those students who participated in the gender-specific laboratory sections. The all-male section's self-perceptions were statistically significantly higher than both the males in the coeducational sections and the coeducational sections as a whole. The all-female section's self-perceptions were statistically significantly higher than the coeducational sections as a whole. The study also revealed that leadership experience in organizations and activities in high school and college prior to enrolling in a college-level leadership course statistically significantly improves self-perceptions of leadership skills ability. Results of this study agree with many research studies that support single-sex schooling and education.

Proefschrift--Amsterdam. / "Stellingen": 3 p. laid in. "Literaturverzeichnis": p. [160]-163.

This dissertation exposes responses to national trauma in literature and film from France in the twenty-five years following the 1940-1944 German Occupation, and from China in the twenty years following the 1989 Tiananmen Square Incident. My study is unique in that it focuses on French and Chinese authors who lived through the two traumatic periods, but whose work does not present a conventional version of bearing witness. Instead of locating expressions of national trauma in narratives describing historical traumatic events, I detect three aesthetic concerns or symptoms--melancholy, ambivalence, and exhaustion, which can be read as the traces of traumas that seem to evade direct identification. I argue that trauma may make its presence known by an absence of reference to its source. Emerging during post-traumatic periods--the Trente glorieuses in France (from 1945 to 1973) and the Post-New Era in China (from 1990 to the present)--my dissertation argues that novels by Marguerite Duras and Wang Anyi, novellas by Samuel Beckett and Ge Fei, and films by Jean-Luc Godard and Jia Zhangke reveal a tension between present national circumstances and ghosts from the past. These two post-traumatic national moments in France and China share the state projects and dominant discourses of economic growth, consumption, individualism, and nationalism, which I claim aided in the repression of troubled recent histories. The works of fiction and film I discuss in this dissertation, marked by melancholy, ambivalence, and exhaustion, offer counter-discourses in that they fail to partake in the project of national "progress," instead exposing irresolution with respect to overcoming history. In these works, furthermore, I contend that such historical (re)negotiations prompt aesthetic innovations, allowing for a redefinition of the causes and cases of early postmodernism.

This dissertation charts an intellectual history of collaborations centered on the beginning of socio-critical discourse on photography. I study the critically misread oeuvre of photographer and sociologist Gisèle Freund to reconfigure a transatlantic map of concrete personal, literary, and critical connections during the 1930s and ’40s. In examining Freund’s oeuvre, I suggest a crucial intervention on the notion of aura — Walter Benjamin’s trademark for understanding the dialectics of the original and its reproduction. I advance a reading in support of aura that challenges the canonical “The Work of Art in the Age of Technical Reproducibility” (1940) of Benjamin. The continuous coexistence of the terms aura, market, and photography is present in Freund – author of iconic photo-portraits of writers such as James Joyce, Virginia Woolf, André Malraux, Jorge Luis Borges or Benjamin. It contests the reduction of the original’s aura and its reproduction to mutually exclusive terms. My counter-reading in fact recovers the prior and wider aura integral to Benjamin’s “Little History of Photography” (1931). It is this cardinal yet neglected piece that inaugurated together with Freund’s La Photographie en France au dix-neuvième siècle (1936) the critical discourse on photography. Walter Benjamin’s presence is dynamically ingrained in Freund’s oeuvre. In addition to their friendship, two additional friends inform Freund’s career. Freund’s mentors were the leading cultural agents in Paris and Buenos Aires: Adrienne Monnier, the legendary French publisher of Joyce’s Ulysses, and Victoria Ocampo, the founding director of Sur, one of the key literary journals in Latin America. The network of cooperative interactions here deployed is conjugated under the critical metaphor Freund-schaft. Coined on Freund’s name, the term draws equally on the meaning of friendship and the creative making contained in the suffix –schaft (derived from the German schaffen, “to make”, “to create”, “to accomplish”). The framework hinges on the tension between history and theory. Freund-schaft brings to light omissions, conjunctions, and the debates that make up the larger structure of feelings, and makes particulars inextricable from a life-woven net.

This dissertation explores how literary writers from across Western and Central Europe--namely Germany, Italy, Britain and France--invoked Europe's legacy of empire and colonialism in their attempt to come to terms with the specter of fascism. It argues that empire became the site upon which a wide range of writers built their critiques, sometimes overt and other times subvert, against a rising tide of fascist ideology in the 1930s and 1940s. What results is a condemningly critical--and in the case of writers publishing within fascist regimes, outright subversive--reading of fascism. Fascist racial ideology, hyper-militarism, economic policy, absolutist rule and expansionist policies are recurring targets of censure among these writers. By placing empire and fascism into dialogue, their writings not only proffered a powerful critique of fascism but also set into motion a critical rethinking of the project of empire. Uncomfortable affinities between a purportedly benevolent European overseas colonialism and the horrors committed by fascist powers within continental Europe challenged conventional wisdom about the colonial mission civilisatrice at the same time as they offered the raw material for a sustained critique of fascism. From a methodological perspective, this dissertation is concerned with literature as a historically and culturally situated product. While its primary objects of focus are literary texts, it draws on both cultural and political history, as well as, where relevant, knowledge of the author's life in order to better illuminate these works. The dissertation examines a range of texts--literary, historical, biographical, personal, critical--and makes use of close, analytical reading. The primary writers it treats are Louis-Ferdinand Céline, Joyce Cary, Gerhart Hauptmann, Marguerite Yourcenar, Hermann Broch, Dino Buzzati and Ennio Flaiano.

One important means by which a society maintains and reproduces its dominant ideology is through cultural seductions. By creating in its viewers/readers a good feeling about themselves and the world they live in, popular culture entices individuals into approving of, supporting and embracing the dominant social, political and economic orders of our world. What Louis Althusser calls ideological "interpellation," therefore, is frequently a form of seduction involving the use of sweeteners that render certain values, beliefs and social positions enticing and attractive. Among such seducers are money, women (sexual pleasure), fear, an illusion of power and the semblance of dissent/rebelliousness, many of which are, or are generated by the representation of, the cultural and political "others" of the West. At the same time, the reproduction and maintenance of the dominant orders in the West, to which these "others" make no insignificant contributions, ultimately reinforce their subordinate and underprivileged statuses. Driving such illusion-based ideological seductions are capitalism and its colossal culture industry--a symbol of the postmodern convergence of the cultural, ideological and the economic--whose insatiable desire for profit casts the "others" of the West into the vicious circle of mis-representation and domination.

The intention of this thesis is to investigate the pattern and significance of the eschatologioal ideas in the Qur'ân. Several concordances of the words of the Qur'àn exist, but there are no concordances which contain exhaustive lists of all the references to particular ideas. My aim is to present a study of the contexts of the significant words relating to eschatology, and to abstract from these lists the pattern of the ideas about the final judgment which are constantly repeated in the Qur'àn.