Samuel Adams was agitated by the presence of regular soldiers in the town. He and the leading Sons of Liberty publicized accounts of the soldiers’ brutality toward the citizenry of Boston. On February 22, 1770 a dispute over non-importation boiled over into a riot. Ebenezer Richardson, a customs informer was under attack. He fired a warning shot into the crowd that had gathered outside of his home, and accidentally killed a young boy by the name of Christopher Sneider. Only a few weeks later, on March 5, 1770, a couple of brawls between rope makers on Gray’s ropewalk and a soldier looking for work, and a scuffle between an officer and a whig-maker’s apprentice, resulted in the Boston Massacre. In the years that followed, Adams did everything he could to keep the memory of the five Bostonians who were slain on King Street, and of the young boy, Christopher Sneider alive. He led an elaborate funeral procession to memorialize Sneider and the victims of the Boston Massacre. The memorials orchestrated by Samuel Adams, Dr. Joseph Warren, and Paul Revere reminded Bostonians of the unbridled authority which Parliament had exercised in the colonies. But more importantly, it kept the protest movement active at a time when Boston citizens were losing interest.
The answer is Core.
Core beliefs are assumptions about ourselves, others, and the world. They are beliefs that are learned from our environment. We all have core beliefs and everyone's is different as they represent how and where have been raised and who or what we have been exposed to. Core beliefs are instilled in us and are very hard to change. They are assumptions we make about life and determine how we act as well as how happy or depressed we are.
Answer:
Through the diverse cases represented in this collection, we model the different functions that the civic imagination performs. For the moment, we define civic imagination as the capacity to imagine alternatives to current cultural, social, political, or economic conditions; one cannot change the world without imagining what a better world might look like.
Beyond that, the civic imagination requires and is realized through the ability to imagine the process of change, to see one’s self as a civic agent capable of making change, to feel solidarity with others whose perspectives and experiences are different than one’s own, to join a larger collective with shared interests, and to bring imaginative dimensions to real world spaces and places.
Research on the civic imagination explores the political consequences of cultural representations and the cultural roots of political participation. This definition consolidates ideas from various accounts of the public imagination, the political imagination, the radical imagination, the pragmatic imagination, creative insurgency or public fantasy.
In some cases, the civic imagination is grounded in beliefs about how the system actually works, but we have a more expansive understanding stressing the capacity to imagine alternatives, even if those alternatives tap the fantastic. Too often, focusing on contemporary problems makes it impossible to see beyond immediate constraints.
This tunnel vision perpetuates the status quo, and innovative voices —especially those from the margins — are shot down before they can be heard.
The ballet Russes revolutionized early 20th-century ballet during their residency in <u>Paris</u>.
During their Paris residency, The Ballet Russes transformed ballet in the early 20th century. Ballet is a sort of performance dance that first appeared in the fifteenth century in Italy during the Italian Renaissance. Later, in France and Russia, ballet evolved into a concert dance style.
Since then, it has developed into a well-known, extremely technical dancing style with a distinct lexicon. In many different dance genres and cultures, the fundamental methods are determined by ballet, which has had a significant global impact. Around the world, many schools have absorbed their unique cultures. Ballet has changed in distinctive ways as a result.
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The Churchill Crocodile was a British flame-throwing tank of late Second World War. It was a variant of the Tank, Infantry, Mk VI (A22) Churchill Mark VII, although the Churchill Mark IV was initially chosen to be the base vehicle.
The Crocodile was introduced as one of the specialised armoured vehicles developed under Major-General Percy Hobart, informally known as "Hobart's Funnies". It was produced from October 1943, in time for the Normandy invasion.
