Measuring the Impacts of the Ethiopian Rural Electrification Program Through Gender Perspective

2015 ◽  
Author(s):  
Yalemzewd M Nigussie ◽  
Tefferi Ghebray Enday
Keyword(s):  
Rural Electrification ◽  
Gender Perspective

Urgensi Kurikulum Gender dalam Pendidikan

1970 ◽  
Vol 13 (3) ◽  
pp. 420-533
Author(s):  
Khusnul Khotimah
Keyword(s):  
Equal Opportunity ◽  
Hidden Curriculum ◽  
Educational Institution ◽  
Gender Perspective

One of education goal is how to realize fair society, by not discriminate one sex. But the reality exist discrimination at education that necessitate several effort to solve it, on of it is by formulating curriculum that have gender perspective. Curriculum is a development of vision and mission of educational institution that want to realize education goal. Gender curriculum is based on an assumption that woman and man are equal in education, and have equal opportunity to get education. In its application, gender curri­culum can be formulated implicitly (hidden curriculum), or explicitly (overt curriculum). However, to explain gender problems we recommend explicit way. 

Rural Electrification Using Gram Jyoti Doot, Mobile, And Web-Based Application

2018 ◽  
Vol 6 (8) ◽  
pp. 747-751
Author(s):  
Bhawna Sharma ◽  
Akshay Sharma ◽  
Akash Rajput ◽  
Parnika Gupta ◽  
Rohit Dhiman ◽  
...  
Keyword(s):  
Rural Electrification ◽  
Web Based

Facts Between Pictographs and Photographs in Lester Beall's Rural Electrification Posters, 1937-1941

2015 ◽  
Vol 60 (1) ◽  
pp. 17-38
Author(s):  
Michael J. Golec
Keyword(s):  
Social Reality ◽  
Rural Electrification ◽  
Art And Design ◽  
Photographic Images ◽  
Governmental Agencies ◽  
Works Of Art ◽  
The Future ◽  
The U.S

In analysing Lester Beall's posters for the U.S. government between 1937-1941, Michael Golec demonstrates the twofold character of facts in art and design appearing even when they are applied to guarantee distinct messages. Commissioned by the governmental agencies to develop a series of posters to increase the electrification of rural farms, Beall introduces pictograms in his first series to represent electrification as “facts of the future.” Its simple forms facilitate the travelling of this facts without loss of their integrity. The same holds true for the use of photographic images for the second campaign of 1939. Following the revaluation of photography as a means for the documentation of social reality, as represented by the FSA photographers under the guidance of Roy Stryker, the medium served here as the authentication of facts. Golec holds, that Beall by reducing the complexity of the photographic images, to create a pictorial integrity of his posters, even despite of the use of a seemingly documentary medium, reinforces the ambivalent factual character of the pictures. So, paradoxically by heightening the communicative character of the design and hence stressing the idea of facts as integral realities outside of artworks, Beall's posters reveal the ambiguous character of pictorial facts creating their own specific qualities. Golec concludes, that facts in works of art and design have a twofold character resulting from their belonging to different spaces, which although meant to accomplish and address different facts, inevitably travel, overlap and bleed into each other. Thus oddly these facts refer or represent reality and simultaneously are a thing made (factum) that present and hold their own pictorial reality.

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