Change through Tradition in the Work of 'Zulu Sofola Rehearsal Presentation Outline

This paper highlights the struggle Nigerian playwright 'Zulu Sofola underwent to impart her message. She attempted to confront gender oppression through tradition without contradicting herself in her play, 'Wedlock of the Gods.' ‘Zulu Sofola wrote commentaries about social problems and the influence of Western culture. Her goal was to maintain a traditional framework in the face of encroaching Western perspectives. She advocated enacting change through tradition, irrespective of Western ideologies about change. Sofola focused on gender oppression as a social problem. She intended to address gender oppression rooted in tradition by teaching traditional customs to her audience in order for audiences to make informed and progressive decisions about what to change within traditional practices. Thus, her traditionalist approach to change requires cognizance and recognition of tradition as an initial step. Sofola argued against the influences of Westernization that shift the focus of change from confronting customs through tradition to confronting customs through Western ideology.

A Meeting of East and West: Can Eastern-Influenced Therapies be Effective in the Treatment of Stress and Mood Disorders?

Given that the human brain is plastic and that structural alterations have been seen in monks who meditate on a regular basis, the question arises of whether these two facts are actually related. Furthermore, if this is in fact the case, would it be possible to apply these findings to the public? In this paper I will present the different conditions that induce neuroplasticity as well as give an overview of meditation and the ways that it is practiced nowadays. To this end I will argue that if monks are able to alter the structure of their brains and the brain is naturally inclined to heal itself then incorporating eastern practices, such as mindfulness and imagery, into western therapies could benefit patients suffering from mood disorders and, in particular, stress.

The Bird and its Flight: A Struggle for Freedom in Bulgakov's Master and Margarita

The Russian senior seminar this semester focused on Bulgakov’s famous novel, Master and Margarita. This presentation focuses on one of the themes of the novel, specifically Bulgakov’s use of birds in his work. Birds appear numerous times in Master and Margarita, and it always has a connotation of either a lack of freedom or a recent achievement of this goal. There are even instances in which characters themselves, as they seek freedom from their former oppressive lives, become the “birds” in the novel. This paper is an exploration of bird imagery in the novel.

You Shall Have No Other Gods Before Me: Covenant in Faith and History

In this paper I have attempted to explore "covenant" in faith and history, as it extends throughout the entire framework of the Bible and the entire history of the people who produced it. With such a monstrous topic, a comprehensive analysis of the material could take a lifetime to do it justice. Therefore, I have taken a very specific approach to the material in order to investigate the evolution of covenant from the Hebrew Bible (Old Testament) to the Christian Scriptures (New Testament). I have made every effort to approach this thesis as a text-based, non-doctrinal discussion. However, having my own religious convictions, it has, at times, been difficult to recognize and escape my biases. Nevertheless, I am confident that this final product is, for the most part, objective and free from dogmatism. Of course, I have brought my own perspective and understanding to the material, which may be different from the reader's, so there may be matters of interpretation on which we differ, but c 'est fa vie in the world of religious dialogue. The structure of this paper is symmetrical: Part I examines the traditions of the Torah and the Prophets; Part II, the Gospels and Paul's letters. I have balanced the Old Testament against the New Testament (the Torah against the Gospels; the Prophets against Paul) in order to give approximately equal weight to the two traditions, and establish a sense of parallelism in the structure of my overall work. A word should also be said about three matters of style. First, instead of the customary Christian designation of time as B.C. or A.D., I have opted to use the more modem B.C.E. (Before the Common Era) and C.E. (Common Era) notations. This more recent system is less traditional; however, more acceptable in academic and, certainly, more appropriate for a non-doctrinal discussion. Second, in the body of this paper I have chosen to highlight several texts using a variety of colors. This highlighting serves (1) to call the reader's attention to specific passages, and (2) to compare the language and imagery of similar texts. All highlighting has been added to the texts at my own discretion. Finally, the divine name, traditionally vocalized as "Yahweh," is a verbal form of the Hebrew "to be," and means, approximately, "I am who I am." This name was considered too holy to pronounce by the ancient Israelites, and, the word adonai ("My LORD") was used in its stead. In respect of this tradition, I have left the divine name in its original Hebrew form. Accordingly, should be read as "the LORD" throughout this paper. All Hebrew and Greek translations, where they occur, are my own. The Greek translations are based on the New Revised Standard Version (NRSV) of the Bible.

Sculptural abstraction of landscape

The purpose of my Senior Scholar project was to create a series of sculptures that are based on the interaction of natural forms within a selected landscape setting. I hope to convey a sense of how I view and interpret the landscape and to create works that stimulate a sense of wonder in the mind of the viewer. This fascination, perhaps even obsession, with the power of the landscape has kept me going throughout the year. As a source of ideas and imagery, the landscape can never be depleted. There will always be new combinations of landscape elements, different light conditions, and changing seasons to provide me with fresh ideas. Research for the project took me to many different places, be it my trip to Monhegan Island or driving to New York City to study the cityscape. I began the year working in steel and plaster, combining the two in works that explore the interaction between living tree roots and inanimate rocks. This led to a series entitled Landscape Recollections, comprised of welded steel forms housed in protective wooden boxes and lit from inside. After visiting New York City, architecture began to playa role in my work, as seen in the two Roadcut pieces and the Cathedral Woods series. Roadcut #1 and Roadcut #2 explore the relationship between a man-made road and the landscape that lies beneath and around it. The Cathedral Woods pieces incorporate architecture in a more abstract manner, using imagery derived from Gothic cathedrals to convey a sense of quiet peacefulness. The soaring verticality of Gothic architecture integrates with the tall tree forms in each piece, enabling me to intertwine these two elements into one another and create a harmonious relationship between architecture and nature. Throughout the year I have kept a sketchbook in which I draw from life, jot down ideas, and take notes on how the project is progressing. I have also completed several large charcoal drawings of my sculptures in which I explore different ways of viewing the steel forms. I am grateful to have had the opportunity to undertake this project, as it has been a very difficult but rewarding process of observing, interpreting, and manifesting the landscape according to my personal vision and experiences.