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Meditations in an Emergency

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Despite Don and Betty's separation, they take a trip together to visit Betty's father, who has had a stroke and is in the early stages of dementia. Although the two share an intimate encounter in her father's house, Betty tells Don they are still separated when the trip is over. Pete, who is unable to conceive a child with Trudy and is looking to adopt, runs into resistance from his mother, who does not want someone not of their bloodline as part of the family. UCCA Strategic Partner Dulux provides environmentally friendly solutions for wall painting. Genelec provides exclusive audio equipment support. UCCA thanks the members of its Foundation Council, International Circle, and Young Associates, as well as Annual Strategic Partners Aranya, Bloomberg, Barco, Clivet, BenQ, and Active House, for their support. In Don's absence, Peggy successfully brings in the Popsicle account and uses this as leverage to acquire Freddy Rumsen's old office. Pete is impressed by this maneuver and his romantic interests in Peggy are rekindled. Although married to Trudy, Pete professes his love for Peggy and tells her that he wishes he had married her instead. Peggy explains to Pete that she could have shamed him into marriage the year before. Pete doesn't understand what Peggy means, so Peggy finally confesses to Pete that he had gotten her pregnant and she had put their child up for adoption, a particularly galling development for Pete, since he and Trudy are so far unable to conceive. Pete also has a blue-blood abhorrence for adoption and now realizes his own blue-blood offspring is being raised by another family. Poniewozik, James (July 24, 2008). "Mad Men on a New Frontier". Time. Archived from the original on July 25, 2008 . Retrieved March 7, 2012.

A new secretary named Jane Siegel begins working for Don. Don's affair with Jimmy Barrett's wife Bobbie leads to Don and Bobbie's getting in a car accident and Peggy's having to bail them out and cover up the incident.Fanny Brown is run away—scampered off with a Cornet of Horse; I do love that little Minx, & hope She may be happy, tho' She has vexed me by this Exploit a little too.—Poor silly Cecchina! or F:B: as we used to call her.—I wish She had a good Whipping and 10,000 pounds."—Mrs. Thrale. These comparisons genuinely go on long enough that I have to stop myself, but I’ll share one more to make the point, and then I won’t do so again. After Bobbie and Don crash a car in a drunk driving accident, Don calls on Peggy help clean up the situation, bring him cash to bail him out and take care of Bobbie until her eye sufficiently heals. Peggy owes Don, she knows this but we don’t yet, and neither does Bobbie, and she’s very concerned as to why Peggy is helping him. Bobbie develops a kind of respect for Peggy, if not one doused in heavy skepticism. Bobbie is an older woman who has made a way for herself in an industry where that’s not common, and Peggy decidedly [5] hasn’t. She tells Peggy, “And no one will tell you this, but you can’t be a man. Don’t even try. Be a woman. Powerful business when done correctly.” The More Loving One by W.H. Auden – This poem depicts the feelings of a speaker who is a victim of unrequited love. It’s one of Auden’s popular poems . Guo Xi joined UCCA Center for Contemporary Art in 2014 and is currently director of the exhibitions department. In 2014 she graduated from the Central Academy of Fine Arts, Beijing, with a master’s degree in art museum studies. From her time at UCCA, Guo Xi possesses a wealth of experience in exhibition curation, management, and coordination. She has curated exhibitions including “Notes from Pallet Town” (2019); “New Directions: Musquiqui Chihying” (2018); and “New Directions: Nadim Abbas (2016), and co-curated a diverse range of exhibitions including “Xu Bing: Thought and Method” (2018); “The New Normal: China, Art, and 2017” (2017); “Zeng Fanzhi: Parcours” (2016); “John Gerrard: Power.Play” (2016); “Liu Wei: Colors” (2015); and “Polit-Sheer-Form: Fitness for All” (2014). Television Critics Association Awards Celebrate 25th Anniversary". TCA. August 1, 2009. Archived from the original on March 27, 2012 . Retrieved March 11, 2012.

It is easy to be beautiful; it is difficult to appear so. I admire you, beloved, for the trap you’ve set. It's like a final chapter no one reads because the plot is over.

Jiang Zhuyun (b. Hangzhou, 1984) graduated from the China Academy of Art with a bachelor’s degree in New Media Art and a master’s degree from the School of Intermedia Art (SIMA) at the same institution. As an artist, Jiang's work takes on multiple forms such as installation, animation, drawing, experimental music, sound art, and audiovisual pieces. He teaches artistic programming and basic sound tech theory at SIMA, China Academy of Art. Recent solo exhibitions include “Sublog” (Hunsand Space, Beijing, 2019); “If the End Precedes the Beginning” (Boers-Li Gallery, Beijing, 2018); “I Talk to The Wind” (Hunsand Space, Beijing, 2016); and “Letters” (EarPort, Duisburg, 2015). Selected group exhibitions include “8102 On Reality” (OCAT, Shanghai, 2019); The 6th Guangzhou Triennial (2018); “Capture All” (PPPP, Beijing, 2018); and “Concepts of Visual Poetry” (Palais Bellevue, Kassel, 2018). In 2017, Jiang was a finalist for the 5th Huayu Youth Award. The second season of the American television drama series Mad Men premiered on July 27, 2008, and concluded on October 26, 2008. It consisted of thirteen episodes, each running approximately 48 minutes in length. AMC broadcast the second season on Sundays at 10:00 pm in the United States; [1] it would occupy in this timeslot for the remainder of its run. I Shall Not Pass This Way Again by Eva Rose York – In this poem, the speaker says goodbye to a place she loves and declares her future intentions.

In my mind, Don bought the book ‘Lunch Poems.’ But that had not come out yet, so we had to use Meditations in an Emergency. I read a little bit of it and said, we’ll use this. It has a great cover, it’s very period, it was definitely a popular book. However, I have never clogged myself with the praises of pastoral life, nor with nostalgia for an innocent past of perverted acts in pastures. No. One need never leave the confines of New York to get all the greenery one wishes—I can’t even enjoy a blade of grass unless I know there’s a subway handy, or a record store or some other sign that people do not totally regret life. It is more important to affirm the least sincere; the clouds get enough attention as it is and even they continue to pass. Do they know what they’re missing? Uh huh.

Tong Yi Xin, Poems in the Mount Lu Zoo (2015–2020) (still). Single-channel high-definition video. 1 min 50 sec. Courtesy the artist and Vanguard Gallery. Like art institutions all over the world, in an unpredictable year UCCA has learned to prioritize adaptability and flexibility in light of changing conditions. Previously planned exhibitions for the spring and summer have, regrettably, been rescheduled for later in the year or farther in the future. “Meditations in an Emergency” marks an adjustment to new realities, coming together in a world demarcated by new logistical restrictions. Despite these parameters, the exhibition also offers UCCA an opportunity to think nimbly, allowing our curatorial team to re-focus on regional context and urgent artistic currents. It juxtaposes emerging artists with more established figures from China and abroad, and engages with pressing concerns that previously lurked beneath the surface. The works mostly predate January 2020, but have taken on new significance in this changed world. My eyes are vague blue, like the sky, and change all the time; they are indiscriminate but fleeting, entirely specific and disloyal, so that no one trusts me.

St. Serapion, I wrap myself in the robes of your whiteness which is like midnight in Dostoevsky. How I am to become a legend, my dear? I've tried love, but that hides you in the bosom of another and I am always springing forth from it like the lotus—the ecstasy of always bursting forth! (but one must not be distracted by it!) or like a hyacinth, "to keep the filth of life away," yes, there, even in the heart, where the filth is pumped in and slanders and pollutes and determines. I will my will, though I may become famous for a mysterious vacancy in that department, that greenhouse. This poem consists of several literary devices. To begin with, the title of the poem is a metaphor for an internal crisis. In the first few lines, readers come across some rhetorical questions and exclamations. In a conversational tone, O’Hara poses such interrogations throughout the text. This device helps readers to easily connect with the poet’s thought process. After scanning the text further, one can find the use of hyperbole. For instance, the lines, “I am the least difficult of men. All I want is boundless love,” contain such hyperbolic epithets. This list does not end here. Readers can find several other poetic devices too that will be discussed in the analysis section below. The second season of Mad Men was recognized with many award nominations and wins. At the 61st Primetime Emmy Awards, Mad Men won Outstanding Drama Series and Outstanding Writing in a Drama Series ( Matthew Weiner and Kater Gordon for "Meditations in an Emergency"), both for the second year in a row.Directors of multiple episodes for the season included Andrew Bernstein who directed three episodes, and Lesli Linka Glatter, Tim Hunter, and Phil Abraham, who each directed two. The remaining episodes were directed by Michael Uppendahl, script supervisor Jennifer Getzinger, who made her television directorial debut, and series creator Matthew Weiner, who directs each season finale. Unless you have a graduate degree (or two) in poetry ( Hi! ), you probably know O’Hara as a poet of another kind of calamity or not at all. Frank O’Hara (1926–1966) was an American poet most associated with the New York school. He is known for his approachable, “I do this, I do that” poems that chronicle the lived experience of a first-person subjectivity. His work is steeped in the sights and sounds of NYC, and his tragic accidental death at the height of his powers has cemented his place in the world of poetry even further. As overwhelming as Frank O’Hara’s New York can be, as complicated as it can be “out there,” the characters of Mad Men are often seeking solace from that inside the office. One of the main criticisms railed against Mad Men was its similarities to a soap opera. The sense of melodrama, the conflicts throughout the series are basically completely interpersonal. These are not high, high concepts. It’s not the intended message of the show, maybe, but an argument Mad Men ultimately makes is the use of work as a sense of meditation from the outside world. Personal problems are always present, but there’s also always work. Throughout season 2 especially, Peggy seeks solace in work amidst the chaos outside. Between pressure from her family and her family’s church – there’s pressure to perform at work but at least that work is concrete. Peggy knows what she wants inside: more respect from her coworkers, more assignments from Don, an office if it ever opens up. There’s a comforting rigidity to moving up the ladder of success. Sterling Cooper’s first Xerox machine arrives in the first five minutes of the season’s premiere, but Mad Men does resist repeating itself in its sophomore outing. Still, its overall movement, interestingly, is nearly null. What we’re dealing with in 1962 is the fallout of what we dealt with in Season 1, which closed on Thanksgiving 1960. That is to say, in the show’s second season, Don doesn’t become uninterested in his marriage, he becomes even less interested in his marriage. Pete Campbell’s allegiances to Don, to himself, to the company only get tested further.

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