Croatan Indians in Bulloch County

A Master’s thesis written by Malinda Maynor on Croatan, or Lumbee, Indians in Bulloch County and the ways in which they maintained their identity after leaving Robeson County, North Carolina. Abstract: In 1890, Croatan Indian men and women, now called Lumbees, began leaving Robeson County, North Carolina to work in turpentine camps in Bulloch County, Georgia. There a Croatan settlement emerged that re-created many features of their North Carolina home. In this period, Georgia, and the South as a whole, legally encoded racial segregation and threatened to force Bulloch County Croatans into a black or white identity. But rather than assimilate into the larger black or white communities of Bulloch County, Croatans maintained an identity as Indians and eventually returned home to Robeson County in 1920. The story of their sojourn in Georgia raises questions about how Croatans perpetuated a sense of themselves as a distinct Indian people. Indian communities mark their own identities according to a mix of factors, not just the blood, land, and community constructs that are meaningful to European-Americans. The Croatan community in Georgia maintained their sense of distinctiveness by maintaining kinship ties to North Carolina, by controlling their labor, and by building social institutions-a school and church-which were independent of place yet reinforced community loyalty and identification. These institutions also took advantage of Jim Crow and helped Croatans maintain community autonomy. I hope that the story of this community-their initial involvement in turpentine, their transition to cotton farming, their construction of a school and church, and their decision to return home to North Carolina-helps students of both Native American and Southern history think about the interaction of racial and economic status, the various ways that Indian people demonstrate agency in preserving their communities, and the fundamental role that places can play in historical analysis.https://digitalcommons.georgiasouthern.edu/bchs-pubs/1012/thumbnail.jp

Zonificación hidrogeológica para el manejo de los recursos hídricos de la subcuenca Río Gil González, Rivas

Se ha realizado la zonificación hidrogeológica para el manejo de los recursos hídricos de la subcuenca Río Gil González, utilizando la superposición de evaluaciones: geológica, hidrológica e hidrogeológica. Se utilizaron los criterios geológicos, hidrogeológicos, tipo de suelos para definir cada una de las zonas, basadas en similaridad de propiedades hidráulicas del medio geológico. La subcuenca del Río Gil González se localiza en el flanco oeste del Lago Cocibolca, pertenece a la cuenca de los grandes Lagos Nicaragüenses y es compartida por los municipios de Belén, Potosí y Buenos Aires, con un área total de 68.43Km2. Geomorfológicamente se establecieron tres tipos de relieve: montañoso, ondulado o colinas y valles, todos dominados por los tipos de rocas. La geología está dominada por sedimentos Cretácicos de la Formación Rivas y sedimentos Cuaternarios, acumulados por erosión y deposición aluvial. Los tipos de suelos dominantes son suelos Alfisoles, Vertisoles y Entisoles dominantemente suelos arcilloso con una permeabilidad limitada. Se establecieron cuatro zonas hidrogeológicas: acuíferos aluviales, acuíferos fracturados, acuíferos intramontanos, esteros y humedale

[Review of] Hanay Geiogamah, New Native American Drama: Three Plays

This collection of plays is significant because it is the first Native American drama written by a Native American. Hanay Geiogamah, a Kiowa Indian, has been actively involved as a playwright (producing these plays in the 19705), has taught drama at the University of Washington, and has directed Native American theater in recent years (directing his own work, as well as other drama, at the La Mama Experimental Theater in New York and directing the Native American Theater Ensemble). This thin volume, New Native American Drama: Three Plays, was readied for publication only after each drama had been performed and sympathetically received by audiences and critics alike. Body Indian, Foghorn, and 49, the three plays in this series, represent a new art form for the theater, but the themes implicit in them are timeless, universal concerns for the Native American and for the student of literature. No doubt, the plays make good theater, intriguing and fresh, but they also present provocative, although sometimes disturbing, views of humanity. To gain insight into these themes, however, readers must devote themselves to understanding Geiogamah\u27s characters, his unusual techniques, and his allusions to American Indian tradition. Once these elements are studied, the plays become richly suggestive and powerful

Libraries & Librarians in the Aftermath: Our Stories & Ourselves

Following her experience of the Virginia Tech campus shooting in 2007, filmmaker and librarian Ashley Maynor set out to explore the phenomenon of temporary memorials and so-called “grief archives” using both documentary filmmaking and other qualitative research methods. She subsequently published her findings about Virginia Tech, Sandy Hook, and other public tragedies as Response to the Unthinkable: Collecting & Archiving Condolence & Temporary Memorial Materials Following Public Tragedies, to help fill a large gap in LIS literature about the best practices for libraries in responding to crises in their communities. In the years since, her opinions and perspective on archiving the aftermath have been both reinforced and profoundly changed by subsequent tragedies and their influence on our culture and our archival practice. In this work of autoethnography, Maynor weaves her personal experience and methodological research into an essay that argues for more flexibility and less rigidity about any role or responsibility of an archive, library, or individual when a tragedy takes place in their community

SYNTHESIS, PROPERTIES, STRUCTURAL CHARACTERIZATION, AND REACTIVITY OF LOW-VALENT TITANIUM (BISDIIMINE) COMPLEXES

The synthesis, structure, and reactivity of titanium bis(diimine) complexes supported by 1,2-alternate dimethylsilyl-bridged p-tert-butylcalix[4]arene dianion and 2,2\u27 methylene-bridged 4-methyl, 6-tertbutyl phenol ligands is reported. The molecular structure of [(DMSC)Ti(bpy)2] (28) and [(MBMP)Ti(bpy)2] (55) was characterized by X-ray crystallography. Complexes [(DMSC)Ti(bpy)2] (28), [(DMSC)Ti(dmbpy)2] (29), and [(DMSC)Ti(phen)2] (30) undergoes light-assisted reactions with two or more equivalents of (C6H5)2CO or (p-MeC6H4)2CO to give the corresponding 1-aza-5-oxa-titanacyclopentene complexes 37-42. Similar reactivity was observed with [(MBMP)Ti(bpy)2] (55), [(MBMP)Ti(dmbpy)2] (56), and [(MBMP)Ti(phen)2] (57). The molecular structure of [(MBMP)Ti{kappa-3-OC(C6H5)2C10H7N2}{OCH(C6H5)2}] (58) was characterized by 1H and 13C NMR as well as X-Ray crystallography

The Process Analysis and Critique of the Digital Media Project Cultivating Christian Minds and Character

This thesis will focus on the process analysis and critique of the digital media project, Cultivating Christian Minds and Character, made for Westminster Christian Academy in the summer of 2005. It includes both the actual promotional video production and the written analysis. Westminster Christian Academy, a non-denominational, private, Christian school in West County, produces a promotional video each year for the parents and for various other marketing needs throughout the school year. For the school year 2005-2006, the theme was cultivating Christian minds and character. Having been both a student and a teacher at this institution, it was an honor and privilege to write, direct, and produce this video. This project included all the steps in a typical video production. beginning with pre-production. Early meetings, technology lessons, and practice of programs dominated most of this stage, along with planning and brainstorming on how to communicate the theme. Once decisions regarding teacher interviews were made, production began. A list of teachers was recommended, and interviews were set up, with the main question posed: How do you, as a teacher at Westminster Christian Academy, cultivate the minds and characters of the students in your classes? With each interview, an important perspective was communicated that resulted in an educational truth shared by all the teachers. These truths became the chapters in the project. During this production stage, b-roll was shot boU1 on campus and in certain sections of St. Louis that would support and enhance each chapter. Once the interviews and b-roll had been completed, post-production began. The entire project was edited on Adobe Premiere Pro 1.5. This phase faced challenges with time and a family crisis but was completed in time to show the parents on the designated date. This thesis includes a critique of the project, along with an exploration of the creative process, most specifically the intrinsic meaning in every creative piece