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In the Name of Victor: Confronting Errors with the Truth is an autobiography of a fine officer and a true Nigerian who represents everything good about the army.
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Weigh in on the poll below, or leave a comment to let us know what you think. My history classes, from 9th and 10th grade, we did not talk about Washington being a slave owner, which was weird, but it wasnt mention in our history books either. On my own accord, I was coming to terms with my sexuality, in 10th grade, we are supposed to focus a half of semester on the holocaust. My modern world teacher refused to teach it to us, because she had lost relatives in the holocaust, I empathised with her but I knew I was being cheated, especially when I was researching about the pink triangle prisoners, the signifance how the pink triangle is connected to the lgbtq community.

I flunked the first semester out of protest because I was so angry with my teacher. Luckily in 11th and 12th grade, I had Terri Camajani as a teacher, who gave us the full backstory on Washington being a slave owner, we never used the sfusd curriculum… Why? Because even in fall 99 to Spring 01 there was still no official curriculum about Washington being a slave owner and the native American genocide. Art is supposed to evoke emotion, I find this art piece offensive, but I see the significance behind it and why it was done.

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I think have a small plaque explaining the backstory of these paintings would be ideal. There was a time when each class did a mural, they were a lot of fun to look at. The art is good Was repeatedly taught about slavery Was shocked to discover that a lot of groups of different Americans faced prejudice. Was even more shocked to find out my own people sold us or that Natives slaughtered one another in some cases. We change.

We talk about stuff. We try to do better than our young past.

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I think about how my daughters could still be sold into sexual slavery or human trafficking in other parts of the world. There is so much I am thankful for. Sexism still exists, my mama taught me that, but my daughters will have so much more opportunity. God bless. I once read because it was recommended to me years ago.

Not cool. The murals is beautiful. Whitewashing history is very dangerous for the future.


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The Jews set a good example with the education of the holocaust, despite being immensely painful, to prevent it from happening again. Cultural Revolution. Rape of Nanking. Khmer Rouge. One could go on about all the atrocities that have occurred that are being whitewashed, erased from history books or rewritten. We have a chance here to preserve this and educate the future leaders of our world. What a hot mess. Give you kudos Sarah B for producing a pretty balanced background on this.

In the long run, students have to walk by the Arnautoff murals, and no one should have to be required to have that in their face if it is taken as disturbing. He must have gotten tired of the BS. Some of other work is in Coit Tower and the Presidio.


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Please do not whitewash our history. We need to keep examples of our past to save our future. The murals are beautiful. Could their depiction trigger Jewish students recalling their peoples centuries of bondage in Egyptian slavery? What about the inclusion of Pancho Villa? Perhaps the living descendants of those he killed might object to his glorification? Nazi destruction of modern art and the 1, year old Buddha statues blown up by the Taliban come to mind.

Obliterating art is not the way to address depictions of injustices and oppression, education is. Perhaps the SFUSD can find a way to contextualize the murals to give the students at Washington High a better understanding of our nations complex and conflicted history. Perhaps the students could be involved in the effort…. The murals are beautiful and it depicts the true history of our Country. Leave the murals as they are, but add explanatory signage for students and the pubic.

Those murals are amazing and belong in a museum. Why would anyone want them removed or destroyed, they are art. I thought only fascists destroyed works of art. San Francisco and the Bay Area have a long racist history. The deed to my home states my home can not be sold to any Negros, Jews or Chinese.

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Destroying a piece of art which depicts the past only allows future generations to forget the past and the struggles which were fought to get equality for everyone. These murals were produced in the same spirit of confronting painful realities. The great murals of Diego Rivera depict Mexican history with much more graphic scenes of exploitation of native peoples by the Spanish colonizers.

We can take the point even further: a sense of responsibility can be experienced by anyone who pours time and energy into a project, even if that project does not result in a new life form. We can legitimately speak about feeling an obligation to our work—including to our results, our ideas, or our findings—that it deserves to be published or further developed or recognized as valuable not only because it can benefit others or result in glory for ourselves but because of the intrinsic value of new knowledge.

Before Victor gains any insight into the deadly consequences of his scientific work or the onerous duties he has thereby acquired, he experiences responsibility as an emotional and physical state. Victor recovers from this first episode, but his recovery is short-lived. His grief at the death of little William and then of Henry are compounded and tainted by his guilt at the role he has played in their deaths. He cannot sleep, and his physical health declines. As the story progresses, Victor continues to suffer emotionally and physically.

His family and friends are alarmed and try to help him, but Victor cannot be reached. He withdraws from their company, floating aimlessly on a boat on the lake, unable to find peace. He hikes in the mountains during a rainstorm. He travels to England, ostensibly to see the world before settling down in marriage but in reality to build another creature.

The explorer and the reader are left in no doubt about what has killed him. Yet it is not only the loss of his family and friends that destroys Victor but also the guilt and remorse that came with being the one who so naively created the creature and gave him life. The novel is a gothic horror—the plot is fantastical, the scenery dramatic, and the hero doomed. Mary conveys a concern that unchecked scientific enthusiasm can cause unanticipated harm.

For Victor, scientific curiosity threatens the integrity of his family and disrupts his ability to engage with nature and enter into relationships. By supplying a protagonist who suffers so greatly as a result of failing to anticipate the consequences of his work, Mary urges upon her readers the virtues of humility and restraint. In her development of a creature who suffers so greatly because he is despised and rejected by an intolerant human society, she asks us to consider our obligations to our creations before we bring them into being.

The reader is left to wonder whether the story could have unfolded differently if Victor were to have behaved more responsibly. Might he have anticipated the brute strength of his creation and decided not to create it, or might he have altered his plan so that the creature would be less powerful and less terrifying? Mary does not tell us what Victor should have done differently—that is the reflective work that we readers must do as we consider our own responsibility to and for our modern-day creations.

The novel portrays an extreme case of scientific responsibility, but all of us are implicated in situations where we are responsible to moral standards, to particular ideas, and to other people. What kinds of responsibility do you have as a scientist, a citizen, a creator, a human being?

How do you define these responsibilities? Johnston argues that Victor experiences two forms of responsibility: responsibility for and responsibility to. Are there other kinds of responsibility, in particular forms of shared or collective responsibility? Victor Frankenstein as Creator and Casualty. Show All Details. In the nineteenth century, other scientific disciplines became fodder for the risk thinkers.

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Carl Friedrich Gauss brought his geodesic and astronomical research to bear on the bell curve of normal distribution. The insatiably curious Francis Galton came up with the concept of regression to the mean while studying generations of sweet peas. He later applied the principle to people, observing that few of the sons—and fewer of the grandsons—of eminent men were themselves eminent. Today, of course, corporations try to know as much as is humanly and technologically possible, deploying such modern techniques as derivatives, scenario planning, business forecasting, and real options.

In the fifth century BC, Athens became the first albeit limited democracy.

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In the seventeenth century, the Quakers developed a decision-making process that remains a paragon of efficiency, openness, and respect. Starting in , the United Nations sought enduring peace through the actions of free peoples working together. There is nobility in the notion of people pooling their wisdom and muzzling their egos to make decisions that are acceptable—and fair—to all. During the last century, psychologists, sociologists, anthropologists, and even biologists studying everything from mandrills to honeybees eagerly unlocked the secrets of effective cooperation within groups.

The scientific study of groups began, roughly, in , as part of the burgeoning field of social psychology. A breakthrough in understanding group dynamics occurred just after World War II, sparked—oddly enough—by the U. Enlisted to help, psychologist Kurt Lewin discovered that people were more likely to change their eating habits if they thrashed the subject out with others than if they simply listened to lectures about diet.