Duval County is a county located in the U. S. state of Texas. As of the 2010 census, its population was 11,782; the county seat is San Diego. The county was founded in 1858 and organized in 1876, it is named for a soldier in the Texas Revolution who died in the Goliad Massacre. Though Duval County lies in the United States, it has long been Mexican in character. A Mexican first surveyed it in Jose Contrerras, surveyor general of San Luis Potosi. Luis Muniz was born there in the county's first recorded birth; the important colonists came from Mier, Tamaulipas - and Anglos respected their descendants as the old Mexican families. The Texas Legislature established Duval County February 1, 1858; the Texas Almanac of 1867 reported that Duval and nearby Dimmit County had only four stock raisers and their population was unlikely to grow much absent the discovery of mineral wealth. Not long after, a wave of Anglo immigrants entered the county to raise sheep. Englishmen, Germans and Scots came. During this boom, the county seat enjoyed haute cuisine.
The Hotel Martinet's Sunday feast drew patrons from 50 miles to the East. The death rate rivaled Arizona's; some died under the code duello but more by foul play. A vigilante group from Duval and McMullen County found a great pile of cowhides near the county line. Prosperity in the 1880s eased ethnic animosities. After the Texas-Mexican Railway was built in 1881, its San Diego station was important for hides and cotton, but in 1886 the sheep began to die, the boom died. The corrupt Parr family political machine dominated Duval and nearby Jim Wells counties during the twentieth century, were instrumental in the 1948 election of Lyndon Johnson to the US Senate, to some extent the 1960 presidential election which threw Texas to John F Kennedy. According to the U. S. Census Bureau, the county has a total area of 1,796 square miles, of which 1,793 square miles is land and 2.1 square miles is water. McMullen County Live Oak County Jim Wells County Brooks County Jim Hogg County Webb County As of the 2010 United States Census, there were 11,782 people living in the county.
87.0% were White, 0.9% Black or African American, 0.4% Native American, 0.2% Asian, 9.8% of some other race and 1.7% of two or more races. 88.5 % were Latino. As of the census of 2000, there were 13,120 people, 4,350 households, 3,266 families living in the county; the population density was 7 people per square mile. There were 5,543 housing units at an average density of 3 per square mile; the racial makeup of the county was 80.22% White, 0.54% Black or African American, 0.53% Native American, 0.11% Asian, 0.03% Pacific Islander, 15.46% from other races, 3.11% from two or more races. 87.99 % of the population were Latino of any race. There were 4,350 households out of which 36.80% had children under the age of 18 living with them, 53.20% were married couples living together, 16.80% had a female householder with no husband present, 24.90% were non-families. 22.90% of all households were made up of individuals and 11.70% had someone living alone, 65 years of age or older. The average household size was 2.88 and the average family size was 3.40.
In the county, the population was spread out with 29.50% under the age of 18, 9.50% from 18 to 24, 26.40% from 25 to 44, 20.60% from 45 to 64, 14.00% who were 65 years of age or older. The median age was 34 years. For every 100 females there were 100.70 males. For every 100 females age 18 and over, there were 102.90 males. The median income for a household in the county was $22,416, the median income for a family was $26,014. Males had a median income of $25,601 versus $16,250 for females; the per capita income for the county was $11,324. About 23.00% of families and 27.20% of the population were below the poverty line, including 35.90% of those under age 18 and 25.30% of those age 65 or over. Like much of Hispanic South Texas, Duval County is a Democratic stronghold; the last Republican to carry the county was Theodore Roosevelt in 1904. In the 1964, 1968 and 1972 presidential elections, Duval was the most Democratic county in the country. In the 2004 presidential election, it went solidly for Democrat John F. Kerry of Massachusetts, while George W. Bush carried the state as a whole by a wide margin.
In the 2008 presidential election Barack Obama received 74.80 percent of the county's vote. In all the Democratic candidate received more than seventy percent of the county’s vote between 1956 and 2012, although Hilary Clinton’s 2016 result was the weakest by a Democrat since at least Adlai Stevenson II. After the initial election returns in the 1948 Democrat runoff primary election for U. S. Senate, Duval County added 425 votes for Lyndon B. Johnson over Coke R. Stevenson. Duval County is notorious for corrupt politics during the early and mid-20th century, when it was controlled by the political machine of Texas State Senator Archie Parr and his son George Parr, each in his turn called El Patrón or the "Duke of Duval". Givens Parr had been county judge before his younger brother George. George was elected sheriff. Archer Parr III, George's nephew and adopted brother held both those offices. Meanwhile Texas Attorney General John Ben Shepperd brought some three hundred state indictments against county and school officials.
Benavides Freer San Diego (small part in Jim
The Ferqui Toro and Ferqui Viedo were related designs of minicoach bodywork built by Spanish manufacturer Ferqui until 2014, when they were replaced by the Ferqui Sunset X and Ferqui Sunrise. The Toro, built on Mercedes-Benz Vario chassis, was launched in 2005. Through a dealership arrangement between Ferqui and Optare, both models were sold and badged as Optare products in the British market from their launch up until the start of 2012, when Optare terminated the agreement to consolidate on their own bus manufacturing. Subsequently, Ferqui signed a dealership contract with Connaught PSV, relaunching both models in the United Kingdom market as Ferqui-badged models by 2013, before they went out of production the following year. List of buses
Luke Chueh is a Chinese-American lowbrow, or pop surrealist, painter. His works tends to be a juxtaposition of the cute with the macabre, including various self-portraits reimagining himself as a bear character. Born to Chinese immigrants in Philadelphia, Chueh's family relocated to Fresno, California soon after his birth. Taught illustration at a young age, he became obsessed with interpreting the popular culture imagery he was surrounded by. Trained as graphic designer at California Polytechnic State University in San Luis Obispo, he was hired as an in-house designer & illustrator at the Ernie Ball Company in 1997, his work during this time garnered him several awards as well as features in the 1998 design annuals of both Communication Arts and Print. Developing an addiction to painkillers, Chueh was fired from his job and relocated to Los Angeles without any prospects, he continues to create artwork in Los Angeles with regular updates on Instagram. Chueh has been sober since 2010. Luke Chueh was born on March 3, 1973, he is a first generation Chinese-American, both of his parents having immigrated to the United States from China.
When he was three months old, Chueh's family relocated from his birthplace of Philadelphia, Pennsylvania to Fresno, California. At the age of four, his mother taught him how to draw Mickey Mouse, which began a childhood obsession to paint and illustrate renditions of his favorite things Star Wars and other "science fiction stuff that I was watching all the time."After graduating from Clovis West High School in 1991, the 18-year-old enrolled into the Art & Design program at California Polytechnic State University in San Luis Obispo. Nearing the completion of his degree, one his professors confided in Chueh that he was "a mediocre graphic designer," but explained that he was "a great illustrator" and "should pursue a career in that", despite the fact that Chueh had a graphic design concentration and his "formal" art training was restricted to a "couple quarters of Life Drawing and Illustrations classes". Hired by the Ernie Ball Company as an in-house designer & illustrator before receiving his bachelor's degree in 1997, Chueh created T-shirt and advertisement designs for the brand.
Several of these became award-winning, with the artist himself being featured in the 1998 design annuals of both Communication Arts and Print. During this time, Chueh began spending his nights partying and doing drugs. In 2003, an addiction to painkillers resulted in his being fired, which spurred Chueh's relocation to Los Angeles with no job prospects, his images have been remarked upon for their juxtaposition of cuteness with the macabre. "Traditionally, the sublime is described as the beautiful tinged with pain," said Steppling gallery director Sheila Dollente. "Chueh pares that idea to a single spare image borne by figures reminiscent of the soft, innocent stuffed animals of childhood. His paintings are at once intriguing, puzzling and sorrowful." His paintings and illustrations are noted for bringing together influences as diverse as Mark Rothko and Sanrio. Chueh draws inspiration from personal experiences to popular culture, has created works that stem from the intolerance he suffered as a child growing up as a Chinese-American.
In an interview with Art Prostitute Magazine he stated that he is influenced by his contemporaries utilizing strong illustrative elements. He mentioned Chiho Aoshima, Marcel Dzama, Jeremy Fish, Gary Baseman, Camille Rose Garcia, Barry McGee, Takashi Murakami, Yoshitomo Nara, Mark Ryden, Ralph Steadman. In his recent work, he has designed the album artwork for Fall Out Boy's album Folie à Deux. Official Site
Asian feminist theology is a Christian feminist theology developed to be relevant to women in Asia. Inspired by both liberation theology and feminist theology, it aims to contextualize them to the conditions and experiences of Asian women; the first recognizable collective attempt to do Asian feminist theology can be traced to the late 1970s, which saw the formation of theological networks and centres that aimed to study the gendered dimension of both theology and society. The Conference of Theologically Trained Women of Asia was founded in January 1981 followed by The Women's Commission of the Ecumenical Association of Third World Theologians in 1983; the first Asian women's theological journal In God’s Image was founded in 1982 and helped form the Asian Women's Resource Centre for Culture and Theology in 1988. These organizations and centres allowed Asian female theologians to discuss strategies for dealing with patriarchy in society, the church and theology, which they saw as unhelpfully dependent on the West.
Although there was Asian theology being written during the 1960s, this "water buffalo" theology was written by men who looked to traditional Asian culture and practices as sources for their theology. In doing so however, they neglected the experiences of women and tended to romanticize Asian traditions without properly critiquing its patriarchal elements. Chinese theologian Kwok Pui-lan writes "challenging the colonial legacy, these theologians sometimes were too eager to embrace the cultural traditions of Asia, without taking sufficient notice of their elitist and sexist components". Problems were found within Western feminist theology, accused of: speaking from a tradition where Christianity was dominant, irrelevant for most Asian women a tendency to universalize Western experiences as representative being insufficiently radical – it failed to consider the axes of colonialism, cultural imperialism, religious pluralism, internalized colonialism some displayed racist or ethnocentric orientations that essentialized Asian women In the early stages of the late 1970s–1980s, Asian feminist theologians saw the need to stress the commonality of Asian women.
There was a call to embrace their shared identity as Asian women foremost. Emphasis was placed on the shared and lived experiences of oppression and neo-colonialism and the theology of this stage was more reflective and descriptive than analytical. In the 1990s, this gave way to the awareness of the dangers of generalizing experiences. Asian feminist theologians began to call to attention the diversity and wide range of lives and situations experienced by women across Asia. Turning to their own traditions and cultures, Asian feminist theologians began to look at these with a critical feminist consciousness, while at the same time identifying in them liberating and life-affirming aspects to emulate and draw upon; the third and present stage sees a huge range of diverse subjects being engaged with. Christology was from the beginning a key issue of interest for Asian feminist theologians and this has remained so, however there are now works being done on subjects such as Mariology, sophia and ecclesiology.
Theologians are engaging with a wider range of theories such as postcolonial theory, political feminist hermeneutics, others. Additionally, other hallmarks of this stage include more work being done on the notion of hybrid identities by second- and third-generation immigrant Asian women such as Wonhee Anne Joh and Grace Ji-Sun Kim, as well as a shift in focus onto the oppression faced by Asian women in the Western world. In seeking a new theology, Asian feminist theologians have turned to traditional practices and motifs, while at the same time being aware of problematic elements. An example of this is detailed by Korean theologian Chung Hyun Kyung who talks about han-pu-ri as a way for Asian women to find healing. Chung describes han as coming from "the sinful interconnections of classism, sexism, neo-colonialism, cultural imperialism which Korean people experience everyday". For her, this built-up han is imprisoning Korean women; the ritual of han-pu-ri, overseen by female shamans, is a method of liberation, helpful as it is "one of the few spaces where poor Korean women played their spiritual role without being dominated by male-centred religious authorities".
Oral traditions play an important role due to its central place in many Asian societies, with poems, songs and dance being seen as potential ways of doing theology. Asian feminist theologians draw upon Biblical stories such as that of the Samaritan woman, the Syrophoenecian woman as well as the figure of Mary, the mother of Jesus, seen as the first liberated human by Indonesian writer Marianne Katoppo. Unlike some Western feminists, Asian feminist theologians have little problem with the language used to speak about God, or the gender of Jesus. Indeed, for some such as Virginia Fabella, the fact that Jesus is male is advantageous, she writes, "among Asian women, the maleness of Jesus has not been a problem for we see it as'accidental' to the salvific process. His maleness was not functional. By being male, Jesus could more repudiate more the male definition of humanity and show the way to a right and just male–female relationship"; the Asian feminist understanding of God is ecological. This approach views God as the creative power that sustains life.
There is an emphasis on relationality of other life-forms and God. Chung Hyun Kyung states, "Asian women emphasize the importance of community in their theologies because only in community can humanity reflect God a
Marco Antonio Servillo, known as Toni Servillo, is an Italian actor and theatrical director. He has won the European Film Award for Best Actor twice, in 2008 for both Gomorrah and Il Divo and in 2013 for The Great Beauty, as well as winning the David di Donatello for Best Actor four times from 2002 to 2013. Servillo was born 25 January 1959 in Afragola, Campania, he is the brother of musician Peppe Servillo. His international breakthrough roles came in 2008 as Giulio Andreotti in Il Divo and Roberto's boss, Franco in Gomorrah. Both films were nominated in the Golden Palm awards. Between 2000 and 2007, he directed several opera productions, including Cimarosa's Il marito disperato and Beethoven's Fidelio for the Teatro di San Carlo in Naples, Mussorgsky's Boris Godunov at the Teatro Nacional de São Carlos in Lisbon, where in 2003 he staged Richard Strauss's Ariadne auf Naxos. In 2013, Servillo was selected as best actor at the 26th European Film Awards for his appearance in Paolo Sorrentino's film The Great Beauty.
The Devils Lake Carnegie Library is a Carnegie library located in Devils Lake, North Dakota. It was designed by architect Joseph A. Shannon, it was listed on the National Register of Historic Places in 2002. It was opened in January 21, 1910 with no ceremony, but the local newspaper afterward declared the opening to be a "'great event'", marking a "'new era in the intellectual advancement of Devils Lake'". Danish-born builder Valdemar or Vlademar Gram built the library, the Locke Block, numerous other Devils Lake buildings. After 93 years, in November 26, 2003, the library was moved from its historic location- due to deterioration and much-needed space and renovations- to a new facility down the street, located at 423 7th St N, they added more meeting rooms, handicapped-accessible entrances, a one-floor model for improvement to the staffing model. This brought about questions about what to do with the historic landmark, which became lofts in 2015, bought by Paula Hasse Anderson for $1,000, wishing to keep the building from being razed by the city.
Gary Martinson, city assessor and building official for the City of Devils Lake, said at the time that Anderson has accomplished the city's goal of preserving the historic building while finding a new use for it. From a 2015 Grand Forks Herald article: "Each of the 925-square-foot, one-bedroom lofts is furnished and features an open-concept kitchen and living room with original fireplace, one and a half baths and a 12-by-12-foot combined laundry and dressing room, complete with a full-size washer and dryer; the lofts' amenities include unlimited WiFi, a 50-inch smart TV with cable, high-end designer bedding, a pillow-top queen bed with storage, spa-quality towels and private parking. In the dressing room closet, guests will find a full-length, fluffy bathrobe; the kitchen features custom cabinetry, a built-in microwave oven, a dishwasher, a garbage disposal, a Keurig coffee-maker, a wine center and a large island with bar-stool seating. Granite counters top the kitchen island, wine center and bathroom vanity."
Carnegie Library changed its name to Lake Region Public Library with the move and opened on Monday, December 22, 2003. This followed a fundraiser that began in spring 1992; the new library is 9,033 square feet, all on one-level and is compliant with Americans With Disabilities Act requirements. The library cost $1.1 million, with 70% raised through private donations and grants. The library's collection houses over 43,800 items, has ten Internet-accessible computers and WiFi available to the public. Jim Chattin serves as library director for the Lake Region Public Library, a position he has held for over four decades