Tuesday marks National Couple's Day, celebrated to cherish the love and togetherness. Even though the day is not an official holiday, people use the occasion to celebrate the special personin their lives.

Here aresome quotesfromQuotabularyandGoodreads to share feelings of love and appreciation toward your significant other.

1. "Grow old along with me! The best is yet to be, The last of life, for which the first was made!" Robert Browning, "Rabbi Ben Ezra"

2. "Love is like a virus. It can happen to anybody at any time." Maya Angelou, poet, and civil rights activist.

3."Being deeply loved by someone gives you strength, while loving someone deeply gives you courage." Lao Tzu,Chinese philosopher

4. "But, my God, it's so beautiful when the boy smiles" Anna Nalick, singer-songwriter

5. "You cant blame gravity for falling in love." Albert Einstein, theoretical physicist.

6. "It is not a lack of love, but a lack of friendship that makes unhappy marriages." Friedrich Nietzsche, Philosopher.

7. "Truth is everybody is going to hurt you: you just gotta find the ones worth suffering for." Bob Marley, Jamaican reggae singer.

8. "Absences are a good influence in love and keep it bright and delicate." Robert Louis Stevenson, Scottish novelist.

9. "You can never control who you fall in love with, even when you're in the most sad, confused time of your life. You don't fall in love with people because they're fun. It just happens." Kirsten Dunst, actress.

10. "Love is composed of a single soul inhabiting two bodies." Aristotle, philosopher

11. "Immature love says: 'I love you because I need you.' Mature love says 'I need you because I love you.'" Erich Fromm, psychologist

12. "The greatest thing you'll ever learn is just to love and be loved in return." Eden Ahbez, song "Nature Boy"

This is a representational image Photo: Getty Images

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National Couple's Day 2020: Quotes About Love To Share With Your Partner - International Business Times

Cold Chain Tracking And Monitoring Market research report covering the current trend and effect on the business of COVID-19. This intelligence report includes investigations based on Current scenarios, Historical records, and future predictions. An accurate data of various aspects such as Type, Size, Application, and end-user have been scrutinized in this research report. It presents the 360-degree overview of the competitive landscape of the industries. SWOT analysis has been used to understand the Strength, Weaknesses, Opportunities, and threats in front of the businesses. Thus, helping the companies to understand the threats and challenges in front of the businesses. Cold Chain Tracking And Monitoring Market is showing steady growth and CAGR is expected to improve during the forecast period.

Prominent Players Profiled in the Report are Sensitech, Inc. ORBCOMM Testo Rotronic ELPRO-BUCHS AG Emerson Nietzsche Enterprise NXP Semiconductors NV Signatrol Haier Biomedical Monnit Corporation Berlinger & Co AG Cold Chain Technologies LogTag Recorders Ltd Omega Dickson ZeDA Instruments Oceasoft The IMC Group Ltd Duoxieyun Controlant Ehf Gemalto Infratab, Inc. Zest Labs, Inc. vTrack Cold Chain Monitoring SecureRF Corp. Jucsan Maven Systems Pvt Ltd.

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Cold Chain Tracking And Monitoring Market Region Coverage (Regional Production, Demand & Forecast by Countries etc.):

A Free report data (as a form of Excel Datasheet) will also be provided upon request along with a new purchase.

Overview of the chapters analysing the global Cold Chain Tracking And Monitoring Market in detail:

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Cold Chain Tracking And Monitoring Market 2020 | Coronavirus Impact Analysis | Trends, Innovation, Growth Opportunities, Demand, Application, Top...

Photograph by Tim Knox / eyevine / Redux

Your story in this weeks magazine, Cicadia, follows three seventeen-year-olds on their way to a party in suburban Cincinnati, in 1986Best friends cruising together. On the cusp of senior year. When did you first start thinking about these boys and that party? How important is the eighties setting?

O.K., so on December 11, 2015, I was watching Last Year at Marienbadyeah, yeah, I was in a moodand halfway through the film the oblique nature of the narrative sort of opened up to me, and I decided I was watching this profound cinematic experiment in repetition, in terms of the acting and the roles played, right down to the looping character of projected film, of life captured but then remaining forever static, the built-in essence of this drama. Like I said, I was in a mood. So I wrote myself this e-mail (verbatim):

A story of a performance, done 10,000,000 times. The dialogue forced, insisted upon them, for this performance. All the players aware of the hell they are in.

Told from multiple point of views. All the action and dialogue the same, fated, but the voices inside their head aware and conscious of whats going on.

Kind of like Groundhog Day with theater being the metaphor. All stuck in the same role.

This was the beginning of Cicadia. But I could never figure out how to crack the code. The minute attempts at communication within the closed system. The budding of meaning, which, budding endlessly, would become meaningless. The basic mechanism of the multitrack plot. It was like geometry, and Im horrible at geometry. So four years passed, my thoughts occasionally flexing around the idea, until I was watching Ferris Buellers Day Off, probably for the fiftieth time, and I wondered, Hmm, what it would be like for Ferris if he was forced to relive this day every time someone pushed play. Like his soul had been captured in Panavision and he only existed for an hour and forty-three minutes of run-time. That was his life. Maybe he was confused. Maybe he was lonely. Feeling trapped. Maybe he wondered if the same was true for Cameron, for Sloane, for Jeanie, for Mr. Rooney, if they were all stuck, unable to acknowledge their shared predicament. Thats interesting, I thought. And complicated. I might be bad at geometry, but I love problem-solving in writing. So I set out to create my own version of a John Hughes movie and to try to convey, under the surface, the psychology of this setup.

Are you confused? Because I am.

And for a while, that was the problem with the story. It was confusing and too attached to its oblique cleverness.

Enter Nietzsche and the concept of the eternal return and my grad-school philosophy class with Fred McGlynn, at the University of Montana. This was back in 1994. Fred is easily one of the best teachers I ever had. Fred constantly smoking in the classroom. Freds distinctive rasp. Freds enthusiasm and sense of humor and massive brain, displayed in clouds of chalk dust and smoke. I ended up taking three courses with himI hope youre well, Fredand I always sparked to Nietzsches idea of eternal return, and I thought maybe I could mix memory and recurrence into the story, and create a more universal impression of how we experience the past and how it operates on the present and the future. Were all caught in our loops. And were always coming of age. Or at least I am.

We see events unfold through the point of view of one of the boys, Max. Hes always prided himself on his B-minus persona, but hes much smarter than that. The story captures him at a point where hes thinking about whether to leave that old persona behind. How aware is Max of what he might lose?

I dont think Max is really aware of the bigger picture, only the big picture within this small world. Hes stuck in his head. But he is acutely aware of the micro-losses. The repercussions of his casual disdain. The misunderstandings. The missed connections. The mistaken assumptions. The inevitable betrayals. He has a desire for meaning thats bigger than himself but also contains himself, a.k.a. the adolescent urge. But, unlike in Groundhog Day, theres no possible liberating version of the day, no sloughing of ego, just the deep understanding of imperfection, along with a bit of hope, of course, in the form of change, which happens via profound noticing. In this endless present, Max needs to see something fresh every day. And theres always something fresh to notice and to feel.

The story takes place as a seventeen-year brood of cicadas is hatching. Were the cicadasand the titlean integral part of the story from the outset? Or did the idea of metamorphoses come as you were writing?

There was a small cicada hatch last summer, and my daughters loved searching for the exoskeletons left behind on the trees, almost like Easter but, instead of hunting for eggs, they hunted for the terrestrial remnants of cicadas. Theyd pick the husks from the trees, their lingering grip on the bark always a surprise. And the anatomical detail was amazing. A perfect cicada sculpt. And I was calling them cicadias, and my daughters were always correcting me. Cicada, Dad! Cicada, Dad! But I kept on messing up, because my brain is weird that way, and I thought of arcadia, and these cicadas dropped into the Last Year at Marienbad/Ferris Buellers Day Off idea like a match into a puddle of gasolineI often need a third thing to trigger thingsand I was, like, Yes, yes, of course, the story should happen during a cicada brood, and then I recalled going to a high-school-graduation party thrown by Holly Brown, in Cincinnati, in 1986, during one of those massive seventeen-year broods, and the cicadas were everywhere, a freaky plaguelike marvel, and I thought, Ill use Cincinnati and that memory.

Cicadia unspools over one night in 1986, yet theres a sense in which its the story of a night thats being told over and overit could be a night thats about to happen or a night thats already happened. How important is that sense of a shifting perspective?*

Like I said above, really, really important. But I wanted it to operate on both planes. Those are my favorite kinds of stories. I wanted Max to be cynical and optimistic, not only because of the hellish circumstances and his own coping methods but also because of the nature of teen-agers when it comes to the present and the future. They havent yet discovered the blurring past. Or it can seem that way. By the end, Max is humbled by time. Like we all are.

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David Gilbert on John Hughes and Being Seventeen - The New Yorker

Recently, The New York Times published a long exchange between two of the papers well-known and excellent opinion writers, Ross Douthat and Frank Bruni, Is Individualism Americas Religion? Im not sure their exchange answered the question, but Im willing to answer it here: Yes, individualism is Americas religion, and its killing us.

Individualism, as a Western European and American idea and term, is of quite recent origin. It was first used in a pejorative way in the 1830s. It did not become used in a positive sense until the 1850s and its positive sense was linked directly with the value of accumulating personal wealth. James Elishama Smith (1801-57), a former socialist, argued that individualism was essential in order to foster the increase of personal property and happiness.

Individualism as an English language term from its beginning has been associated with what has come to be known, in American Protestantism, as the Prosperity Gospel or the Health and Wealth Gospel. This approach to Christianity teaches financial blessing and physical health are the will of God for those individuals who have the right faith, strong enough faith and a personal relationship with Jesus. This type of religion became a major force in America during the so-called Healing Revivals of the 1950s, and it has remained a prominent characteristic evangelical and Pentecostal American religion ever since.

Donald Trumps only religion growing up was his familys regular attendance at Norman Vincent Peales Marble Collegiate Church in Manhattan, which was headed by Peale from 1932 till 1984. Peale took the individualism of the Healing Revivals to wild extremes. His most famous book was The Power of Positive Thinking, in which he taught, as he did almost every Sunday, that ones individual habits of positive thinking and having faith in God will always be rewarded by God.

It is worth remembering that the mental health community of the U.S. criticized Peale severely. His own earlier collaborator, the New York psychiatrist, Smiley Blanton, pulled away from Peale and refused to endorse the famous book. It is my own opinion, along with many others, that Norman Vincent Peale was one of the worst things ever to happen to religion in America. He was largely just a plain old con man and was the perfect preacher with the perfect message for future con men and one in particular.

The hero myth America has created for itself is all bound up with extreme individualism and positive thinking on many levels. With the advent of the ever-popular genre of the Western novel and films, we have perhaps the most vivid symbol of American individualism: the rugged, stand-on-his-own cowboy who overcomes everything think Clint Eastwood. Another symbol is the insanely rich tycoon who made his millions by hook or by crook and by a will-to-power drive straight out of the pages of Nietzsche think Donald Trump.

American evangelical and Pentecostal religious movements present a version of Christianity that is, at its foundation, based on the individuals will power and highly personal relationship with Jesus. In this approach to the Christian religion, the spiritual journey of all true Christians is a reenactment (unknowingly) of the archetypal personal journey of the Individual Hero. This archetype has been examined at great length by psychologist Carl Gustav Jung and mythographer Joseph Campbell, who focus on what they called the process of individuation.

This sounds rather wonderful and heroic, perhaps, until one goes back and re-reads the Old and, especially, the New Testament. A huge focus in Hebrew scripture, again and again and again, was the establishment of the collective tribal identity and collective functionality of the Hebrew people as a group. Likewise, in the Christian New Testament, the focus is on the forging of a new group of people, the group of the apostles, the larger group of the disciples, the creation of a church, the sacred obligation to foster love and peace and brotherhood not only for your own group but even for your enemies. It is not easy to read Judeo-Christian Scripture and come out thinking it is a handbook for fostering individualism.

Its not easy, but it has been done.

This willful misreading of Scripture was one of the worst tragedies of the 20th century. The consequence is that we find ourselves at the beginning of the 21st century with two mighty forces of extreme individualism tearing apart the fabric of society: 1) the force of post-modern relativism, whereby everything seems to boil down to not much more than everybody has their own individual opinion and thats fine and 2) the force of the Prosperity Gospel, which accentuates ones personal, individual relationship with Jesus above all else and promises it will make you individually more healthy and wealthy.

It is never pleasant to point out Christianitys internecine conflicts, but here is a big one: the evangelical/Pentecostal tradition has built itself on the Prosperity Gospel model of Christianity, whereas the Catholic tradition has built itself on the Passion of the Cross model of Christianity. The former preaches about a path to individual success and salvation via a personal relationship with Jesus and being born again; the latter preaches about a path that is filled with much suffering where we must take up our cross and be willing to give our very lives (even unto death) for the greater good of our brothers and sisters, as Jesus gave his life for us on the cross.

These are two very different forms of Christianity. It is no accident that Donald Trump claims to be a Christian of the evangelical stripe. He may (or may not) succeed at it, but thats the stripe he comes from. Joe Biden is a practicing Catholic. He may (or may not) succeed at it, but thats the stripe he comes from.

One of these versions of Christianity fosters individualism in a society that, for my money, already suffers from too much individualism. The other version fosters denial (or at least reining in) of individual self will for the benefit of others and the community.

Religion is on the November ticket, whether one likes it or not. In Trump vs. Biden, we couldnt ask for a starker contrast. There it is, boiled down to its very essence. Do we want to vote for the primacy of the individual and individual rights above all else, or do we want to vote for the primacy of the collective good and civil rights above all else?

I hope I dont presume too much, but I think I know what Jesus Sermon on the Mount teaches us to do.

John Nassivera is a former professor who retains affiliation with Columbia Universitys Society of Fellows in the Humanities. He lives in Vermont and part time in Mexico.

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On Faith: Individualism is America's religion | Perspective - Rutland Herald

venue which has been in city since second world war reopens on the eastern banks of river Nore with exhibition from photographer Amelia Stein

A world in lockdown can be a dreary place. At such times, it is the duty of the arts to bring inspiration and good cheer to the people. So all hail Butler Gallery in Kilkenny City which, nearly 80 years after its initial hatching, is boldly reopening its doors in a shimmering new-but-ancient venue on the east side of Irelands medieval capital.

Opened to the public at the beginning of August, the new gallery is probably the biggest addition to rural Irelands cultural portfolio since the VISUAL Centre for Contemporary Art and the George Bernard Shaw Theatre opened in Carlow in 2009.

The origins of Butler Gallery are rooted in another global crisis. Its genesis was an exhibition of contemporary art and pottery held in Kilkenny in the early years of the second World War, aka the Emergency. The 1942 event was hosted by the newly formed Society for the Encouragement of Art in Kilkenny (SEAK) and centred on pottery by Peter Brennan and a collection of vigorous city and country watercolours by society co-founders George and Helen Pennefather. The critic RR Figgis was especially impressed by the masterly treatment and good colour sense of the Pennefathers interesting and experimental work.

The event generated such an enthusiastic response that in 1943 the Pennefathers offered their collection as a permanent exhibition. This coincided with the rebirth of SEAK as the Kilkenny Art Gallery Society (KAGS), with 49 members, each of whom contributed 10 shillings. The society stuttered uncertainly through the 1950s and seemed destined to fade away until 1963 when Susan (Peggy) Butler became its secretary.

Assisted by Stanley Mosse and his daughter-in-law, Susan Mosse, she set about a radical overhaul of the operation. Key to this was a close relationship with the Arts Council of Ireland, which has provided invaluable financial and moral support to the society ever since.

Peggy Butler, who was the first chair of Kilkenny Arts Week, had trained as a painter at the Regent Street Polytechnic in London but did not pursue a career as an artist. She was arts correspondent for the Kilkenny People for many years and an occasional art critic for The Irish Times. She also provided much encouragement to other artists. When she died in 1996, aged 91, her obituary in this newspaper described her as responsible more than any other person since the mid-century for the development and appreciation of the arts in Kilkenny. Her legacy is also to be found at Annaghmakerrig, her family home in Co Monaghan, which she persuaded her brother, the theatrical director Tyrone Guthrie, to gift to the nation as a workplace for creative artists, now the Tyrone Guthrie Centre.

In 1976, the KAGS collection found a permanent home in the subterranean kitchen wing of Kilkenny Castle. It was duly named Butler Gallery in honour of Peggy and her husband, the celebrated essayist Hubert Butler. The name was also a good fit for another reason. Kilkenny has been a Butler family stronghold since 1391 when James Butler, Earl of Ormonde, purchased the old Norman castle that was to be their power base for the next five centuries.

Butler Gallery remained in the basement of that very castle for 44 years. As an arts space, it was never anything less than atmospheric, drawing upwards of 50,000 visitors annually. Given its location directly beneath one of Irelands busiest tourist attractions, those who attended its pioneering exhibitions included plenty of accidental tourists alongside the purposefully striding art connoisseurs.

Anna OSullivan has been the director of Butler Gallery since 2005 and has 23 years of experience on New Yorks art scene, latterly at the Robert Miller Gallery, a contemporary art specialist in Manhattan. In the 15 years since her arrival in Kilkenny, she has curated a steady flow of innovative, well-received exhibitions and increased Butler Gallerys eclectic collection via gift and purchase, as well as semi-permanent loan.

No matter how big a castle is, its dungeons are always going to be claustrophobic. And indeed, there is something deeply invigorating about the manner in which Butler Gallery now finds itself sprawled upon the eastern banks of the river Nore.

The new incarnation is in Evans Home, a historic alms house on Johns Quay, which was acquired for this purpose 12 years ago. The epic saga of this building commenced in the 13th century when it formed part of an extensive Augustinian priory, founded by the famous knight William Marshal. The priory was known as the Lantern of Ireland on account of the number and size of its stained-glass windows.

The priory was suppressed during Henry VIIIs Reformation. It doubled as a hospital for Oliver Cromwells forces when he captured the city in 1650. Following the defeat of the Jacobites in the 1690s, the priory was rebuilt as an infantry barracks. And so it remained for most of the Georgian age until 1818 when Joseph Evans converted it into an alms house. It was specifically designed to provide accommodation and sustenance to servants, 12 men and 12 women, who had lost their jobs in the economic depression that followed the end of the Napoleonic Wars. In the last century, part of the building was used as a book repository by the neighbouring Carnegie Library.

The military provenance of Evans Home is reflected in Butler Gallerys inaugural exhibition, namely The Bloods, Amelia Steins photographic study of the men and women of the Defence Forces from nearby James Stephens Barracks in Kilkenny. Taking place in the double-height gallery, this will be followed by a collaboration with Kilkenny-based Cartoon Saloon entitled Wolfwalkers: The Exhibition, based on the upcoming feature from the four-time Oscar nominated studio.

The main H-shaped alms house is home to the permanent collection, as well as an important bequest from the estate of Callan artist Tony OMalley, which was donated by his wife artist Jane OMalley. The gallery also includes a gift from the estate of Sen and Rosemarie Mulcahy.

Blessed with beautifully proportioned rooms, the alms house overlooks a walled garden that has been reconceived as a sequence of spaces, gardens and passages, including further galleries, a caf, a sculpture garden, a sensory garden and an ingenious geometric ramp that serves as a seating space for outdoor performances.

The conversion was carried out by McCullough Mulvin Architects who have created a space with varying qualities of light and finish, giving a strong sense of freshness that serves the best interests of the art within and without.

As an arts space, the diminutive gallery at Kilkenny Castle always punched above its weight. However, the vitality that was inevitably enclosed within its underground seams is now at ease to roam in a space 10 times the size of the castle cellars.

Although it may no longer have such a readymade congregation as it did at its former stronghold, the new venue will provide its own magnetism and draw visitors across the usefully placed Lady Desart Bridge (pedestrian and cyclists only) to this dynamic cultural hub by Johns Quay, opening up yet another chapter in the history of this versatile city.

This space also fulfils the dream that has fired so many of Kilkennys creative souls since 1943 and it will assuredly be integral for the generations of artists to come as we inch towards the middle decades of the 21st century.

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Kilkennys Butler Gallery breaks from castle basement home - The Irish Times

Mwalimu Austin Bukenya stoked my literary instincts last week with his response to an article I wrote in the Daily Nations recently launched Higher Education magazine.

I was pleasantly surprised when he picked on the article as illustration of a good read and he went on to illustrate what makes any piece of writing qualify for that description.

The article was about Kenyatta Universitys Prof Stephen Runo who had won British Royal Africa Society Prize through research on the innovative way of killing the deadly weed, striga. According to Mwalimu Bukenya, among other things, the article was refreshing as it celebrated research, an area generally shunned by the general public, and the media too.

But confessions first. Mwalimu Bukenya, as those close to him fondly refer to him, was my literature lecturer during my undergraduate studies at Kenyatta University in the late 1980s.

He was an all-rounder literary scholar, enchanting us with poetry and taking us through East African prose to European theatre. His favourites, among others, were French dramatist popularly known as Moliere, but whose real name was Jean-Baptiste Poquelin, George Bernard Shaw and of course Shakespeare.

Mwalimu Bukenyas fascination with various genres from Caribbean and particularly the revolutionaries such as V.S. Naipaul, Edward Kamau Brathwaite, George Lamming, was breath-taking. His course on literary stylistics was a fascinating journey for upcoming writers.

Over the years, a number of us, his former students, have kept constant touch with Mwalimu especially through literary events. The latest interaction was late last year, before coronavirus struck.

One of our classmates, Simon Sossion, who went into publishing, hosted us during the 10th anniversary celebration of his publishing firm, Spotlight, at Sarit Centre, Nairobi. Classmates in attendance were Dr Evans Mugarizi, a literature lecturer at Moi University and Muthuri Nyamu, former KBC Deputy Managing Director and currently, media consultant. It was a reunion of sorts, full of classroom nostalgia.

In class, Mwalimu Bukenya had a way with words and that he has consistently demonstrated in his weekly column in these pages. His distinctive charge was that writing must be simple, easy and flowing.

Not surprisingly, he was at it last week when he made reference to my article and another by Dr Tom Odhiambo of the University Nairobi. Dr Odhiambos article was a book review of editor Saida Yahya-Othmans Nyerere: The Making of a Philosopher.

I was humbled by Mwalimu Bukenyas appreciation of our write-ups. It was a thumbs up from venerable Mwalimu. He used our stories to pronounce himself on the art of good writing.

His pitch was that a good read is identified by the twin catchphrase of facility and felicity. He went on to explain facility to mean fluency and ease of reading while felicity is about elegance.

Mwalimu always insisted on short and simple sentences and had aversion for verbosity and pomposity. He had a sneaky way of putting his view on simplicity, charging that; a long sentence is the rope with which you hang your neck. Not that long sentences are bad. But one has to be careful when using them because often times, many writers end up confusing syntactic rules and confusing readers. Another addition to good writing, he would say, was colour, perhaps, humour, but only in proper context. Those have stood out as the true North for his charges.

Those of us who went on to pursue higher degrees and make a career out of writing, editing and publishing stuck to Mwalimu Bukenyas edict. We are reminded of the works of Chinua Achebe, who though makes use of his vernacular, Igbo, and pidgin, in his English texts, is easily accessible because of simplicity and ease with which he weaves his narratives.

The reason Mwalimu Bukenyas verdict was fascinating was that he is no placatory reader. He is a seasoned literary critique; plain and forthright. He tells it as it, tearing any piece of work from the morpheme to syntax, paragraph to the full text.

Another trait we learnt from him is the art of reading. He always insisted that any literary scholar has to read at least one novel, a play and two poems every week. Reading is the salt of the soul, nourishing the mind and opening vistas to new knowledge. The advice has never failed.

Mwalimu Bukenya has reason to walk with his head high up because his students have kept the faith.

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Why Mwalimu Bukenyas students have kept the faith - Daily Nation

Suffragist Reading List

Courtesy of BookStore1 Sarasota and Georgia Court

The Womans Hour: The Great Fight to Win the Vote, by Elaine Weiss

Why They Marched: Untold Stories of the Women Who Fought for the Right to Vote, by Susan Ware

Alice Paul: Claiming Power, by J.D. Zahniser and Amelia R. Fry

Princess of the Hither Isles: A Black Suffragists Story from the Jim Crow South, by Adele Logan Alexander

Votes for Women: A Portrait of Persistence, edited by Kate Clarke LeMay

Sisters: The Lives of Americas Suffragists, by Jean H. Baker

The Book of Gutsy Women, by Hillary Rodham Clinton and Chelsea Clinton

The Women of the 116th Congress, forward by Roxanne Gay

Bold & Brave: Ten Heroes Who Won Women the Right to Vote, by Kirsten Gillibrand

Around America to Win the Vote: Two Suffragists, a Kitten, and 10,000 Miles, by Mara Rockliff, Illustrated by Hadley Hooper

Press Cuttings by George Bernard Shaw, 1909

Miss Ida B. Wells by Endesha Ida Mae Holland, 1992

Her Naked Skin by Rebecca Lenkiewicz, 2008

The Sound of Breaking Glass by Sally Sheringham, 2009

19: The Musical, by Jennifer Schwed and Doug Bradsha, 2017

A Militant Suffragette: 1913

Not for Ourselves Alone: The Story of Elizabeth Cady Stanton & Susan B. Anthony, 1999

Iron Jawed Angels, 2004

Suffragette, 2015

The Divine Order, 2017

Go here to read the rest:
A List of Books, Plays and Films to Illuminate Your Understanding of the Suffragist Movement - Sarasota

Beloved by generations of readers, our sister publication Ireland of the Welcomes is the largest and longest-running Irish interest magazine in the world. This glossy magazine is available by subscription, six times a year.

Produced in Dublin, Ireland of the Welcomes is an award-winning magazine that showcases the best of Ireland's history, scenery, culture, and traditions to the world at large.

Each issue features lavishly-illustrated articles on Irish beauty spots, regular features on Irelands extraordinary millennia-spanning history, remarkable literary talent and history, music and dance traditions, as well as folklore, festivals, events, and so much more.

Ireland of the Welcomes content also appears online on IrishCentral, right here. The long-standing passionate Ireland of the Welcomes community also have a vibrant presence on Facebook also.

Each issue of Ireland of the Welcomes is a beautiful Irish mosaic of people, places, and cultural treasures. Ireland of the Welcomes has become a valued friend to many people with Irish ancestry and to legions of fans who are fascinated by the true spirit of Ireland.

Ireland of the Welcomes celebrates and brings to live that true spirit of the Emerald Isle.

The September / October issue of Ireland of the Welcomes is hot off the presses. Here's what the latest jam-packed issue has instore for subscribers.

- Cover story

The legacy of George Bernard Shaw and the impact his life had on The National Gallery of Ireland

- Ryan's Daughter

When Hollywood came to Ireland

- Cycle of Life

Exploring the Wild Atlantic Way

- Staycations

The best hotel deals in Ireland

- Photo Essay

Ireland in autumn

- Books

The latest releases fromIrish authors

Originally posted here:
Did you know about our sister magazine Ireland of the Welcomes? - IrishCentral

Asking a range of questions from all three ethical angles helps me arrive at an ethically measured decision: that I should be consistently wearing a mask when I go out.

Feeling torn about wearing a mask? Me too. I dont want to look like Im virtue signalling or get funny looks. But I also want to be responsible about public health. Ive ended up conflicted, wearing a mask one day but not the next.

The statistics suggest this isnt my dilemma alone. While mask sales have skyrocketed in New Zealand since COVID-19 reemerged, public mask wearing (even in Auckland) is still the exception.

This is where understanding ethical decision making can be useful. Ethics breaks down values-based decisions, helping us see when our ego is ruling us, and when our rationality is in control.

Ethical analysis cant make the decision for us, but it can make dealing with ethical decisions clearer and more conscious.

What Kind of Person DoI Want to Be?

Scholars divide the study of ethics into three main branches: virtue, deontological and consequential. All three can us help think about wearing a mask.

Virtue ethics is about developing good character. Our virtues come from our upbringing, experiences and education. We can change them by redefining what sort of person we want to be.

Simple virtue checks include:

(There are several recently disgraced politicians who probably wish theyd run the front page and significant other checks before acting.)

However, virtue ethics are individualistic: values differ by gender, age, culture and other factors. Our ego can help us moderate our behaviour, but it can also convince us we are right just because we sincerely hold a strong moral belief.

The no win debates we see on social media often reach a stalemate because people are relying on personal values as their only moral compass.

Also, prioritising reasonableness can result in apathy. While Aristotle praised the reasonable man as virtuous, George Bernard Shaw pointed out that all progress depends on the unreasonable man.

Currently mask wearers are the exception rather than the rule, and some have even been mocked. Shaws approach would suggest the courage to show ethical leadership deserves praise rather than mockery. But we can only make a robust ethical judgement if duties and outcomes are also considered.

What are my Duties?

Deontologists try to identify rules for good behaviour that will hold true in every situation. They advise us to obey the law and any codes of conduct or standards that apply to our job or other group membership.

There is currently no law in New Zealand mandating mass masking, so that cant guide us. But many workplaces have conduct or health and safety codes, which can simplify decision making, and there are clear public health recommendations.

Deontology gives clarity rules define what can be done without penalty and is less muddy or personal than virtue-based ethics. It can also provide accountability. If we breach the rules of a group, often we can be removed from that group.

On the other hand, deontological ethics is inflexible. Codes and rules cant cover every situation, can date rapidly, and are usually made reactively. They mostly punish breaches rather than guiding good behaviour.

Nonetheless, considering laws and rules is an important ethical step, alongside thinking about our values and the impact of our actions.

What Kind of World DoI Want to Live In?

Consequentialists judge actions by their outcomes: who is affected and how. They aim to maximise benefit and minimise harm.

When weighing consequences, it is useful to ask:

Would you be happy for your action to affect you in the same way it does others (reversibility)?

Would the outcome be acceptable if everyone behaved this way (universalisability)?

What dont we know today that might be true tomorrow (unknowability)?

Consequentialists try to act ethically towards all groups of people, not just the group they currently occupy, because they know circumstances can change. If a friend was diagnosed with an unexpected respiratory condition tomorrow, for example, would we be happy with how we behaved today?

But, on their own, consequentialist approaches can be vague and complex. Most usefully, consequentialism adds depth to other approaches.

Ask Yourself These Questions

So, I run all three ethics checks: what values are important to me, what are my duties, and what are the potential impacts of my choice? To help, I can ask other questions:

What would mum say? (Be compassionate.)

What does my workplace code of conduct say? (It prioritises manaakitanga or care for others.)

What does the reversability test imply? (That I can show solidarity with, and reduce anxiety for, people at risk, even if I am at less risk.)

If someone Im in contact with got sick tomorrow, how would I feel about my behaviour today? (Id rather not be sorry in hindsight.)

Asking a range of questions from all three ethical angles helps me arrive at an ethically measured decision: that I should be consistently wearing a mask when I go out. And a careful decision is much easier to stick to, even if it means I still get the odd funny look.

Elspeth Tilley, Associate Professor of English (Expressive Arts), Massey University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Image: Reuters

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The Ethical Argument For Wearing a Face Mask - The National Interest

1837: American Anti-Slavery Society agent Angelina Grimke is appointed to speak at abolitionist conventions in New York and New Jersey. Mary Lyon founds Mount Holyoke College, the first four-year U.S. college exclusively for women.

1848: Elizabeth Cady Stanton writes The Declaration of Sentiments, creating the agenda of women's activism for the next 70 years. Seneca Falls, the site of the signing of the document, is the first womens rights convention in America.

1851: At the Women's Rights Convention in Akron, Ohio, Sojourner Truth delivers her now-memorable speech "Ain't I a Woman?"

1865: The 13th Amendment to the U.S. Constitution is ratified, effectively ending slavery across American territories. Non-landowning and non-white people, however, are not given the right to vote.

1866: Elizabeth Cady Stanton, Susan B. Anthony and Frederick Douglass form the American Equal Rights Association, dedicated to the goal of suffrage for all regardless of gender or race.

1868: The first edition of The Revolution, a Suffragist periodical, is published alongside the ratification of the 14th Amendment.

1868: The 14th Amendment is ratified. "Citizens" and "voters" are defined exclusively as male.

1869: The National Woman Suffrage Association and the American Woman Suffrage Association are formed.

1871: Mary Ann Shadd Cary, the first female law school student at Howard University, attempts unsuccessfully to register to vote in Washington, D.C.

1872: Susan B. Anthony is arrested after voting for Ulysses S. Grant in the presidential election. Sojourner Truth appears at a polling booth, demanding a ballot to vote. She is turned away.

1875: In Minor v. Happersett, the Supreme Court rules that the 14th Amendment to the Constitution does not grant women the right to vote.

1878: The Womens Suffrage Amendment, drafted by Susan B. Anthony, is first introduced to Congress.

1879: Lawyer Belva Ann Lockwood convinces Congress to allow women to practice before the Supreme Court.

1890: The NWSA and the AWSA unite to form the National American Woman Suffrage Association under the leadership of Elizabeth Cady Stanton.

1892: The Colored Women's League is founded in Washington, D.C., by Helen Cook, Mary Church Terrell, Ida B. Wells-Barnett and Frances E.W. Harper. The league fights for black suffrage and holds many movement parades.

1910: The Womens Political Union organizes the first suffrage parade in New York City.

1913: Alice Paul and Lucy Burns form the Congressional Union to work toward the passage of a federal amendment to give women the vote. The group is later renamed the National Women's Party in 1916.

1913: President Woodrow Wilson labels women who campaign for suffrage totally abhorrent.

1917: George Edward Creel, chair of the Committee on Public Information, meets with President Wilson daily to discuss his ideas and introduce the beginnings of several bills towards womens suffrage.

1918: Jeannette Rankin of Montana is the first woman elected to the U.S. House of Representatives. Woodrow Wilson states that the Democratic Party platform will support suffrage, calling it a war measure.

1919: The Federal Woman Suffrage Amendment, originally introduced in 1878, is passed by the House of Representatives and the Senate.

1919: The Federal Woman Suffrage Amendment, originally introduced in 1878, is passed by the House of Representatives and the Senate. But it isnt until the Voting Rights Act is passed nearly a half century later in 1965 that women of color are officially allowed to exercise their right to vote. They were denied access to ballot boxes and voter registration through fraud and intimidation.

1920: Three quarters of the state legislatures ratify the 19th Amendment to the Constitution, granting women the right to vote. Henry Burn casts the deciding vote after being convinced to do so by his mama. Afterwards? He fled from the Capitol.

Courtesy of BookStore1 Sarasota and Georgia Court

The Womans Hour: The Great Fight to Win the Vote, by Elaine Weiss

Why They Marched: Untold Stories of the Women Who Fought for the Right to Vote, by Susan Ware

Alice Paul: Claiming Power, by J.D. Zahniser and Amelia R. Fry

Princess of the Hither Isles: A Black Suffragists Story from the Jim Crow South, by Adele Logan Alexander

Votes for Women: A Portrait of Persistence, edited by Kate Clarke LeMay

Sisters: The Lives of Americas Suffragists, by Jean H. Baker

The Book of Gutsy Women, by Hillary Rodham Clinton and Chelsea Clinton

The Women of the 116th Congress, forward by Roxanne Gay

Bold & Brave: Ten Heroes Who Won Women the Right to Vote, by Kirsten Gillibrand

Around America to Win the Vote: Two Suffragists, a Kitten, and 10,000 Miles, by Mara Rockliff, Illustrated by Hadley Hooper

Press Cuttings by George Bernard Shaw, 1909

Miss Ida B. Wells by Endesha Ida Mae Holland, 1992

Her Naked Skin by Rebecca Lenkiewicz, 2008

The Sound of Breaking Glass by Sally Sheringham, 2009

19: The Musical, by Jennifer Schwed and Doug Bradsha, 2017

A Militant Suffragette: 1913

Not for Ourselves Alone: The Story of Elizabeth Cady Stanton & Susan B. Anthony, 1999

Iron Jawed Angels, 2004

Suffragette, 2015

The Divine Order, 2017

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A Timeline of Notable Events Leading to the Passage of the 19th Amendment - Sarasota