User:Sewinginthepast/sandbox

=Suggested Edits for Junie B. Jones=

Characters
Juniper Beatrice (Junie B.) Jones: The series' title character and main protagonist. Junie B. lives with her parents, Robert and Susan, and her baby brother, Ollie. Her birthday is in the month of June. She also has a dog named Tickle. She is 5 years old in the first kindergarten adventures, and 6 years old in the first grade stories.

Family
Philip Johnny Bob: Junie B.'s beloved stuffed elephant.

Susan Jones (née Miller): Junie B.'s and Ollie's protective but caring mother, whom Junie B. calls "Mother."

Oliver "Ollie" Jones: Junie B.'s baby brother. He is born in the book Junie B. Jones and a Little Monkey Business.

Frank Miller (Grampa Miller): Junie B.'s grandfather. Grampa Miller, along with his wife, Helen Miller, babysits for her and her brother while their parents are at work.

Helen Miller (Grandma Miller): Junie B.'s grandmother. Grandma Miller also babysits for Junie B. and her brother on occasion.

Tickle: Junie B.'s dog of unknown breed. He has short yellowish fur. He has been around since before Junie B. was born.

Flo Miller: Junie B.'s aunt and Susan's sister.

Friends
Lucille: Junie B.'s rich, beautiful, but rather spoiled best friend in kindergarten.

Grace (That Grace): Junie B.'s athletic, best friend in kindergarten. She has a baby brother.

Ricardo: Junie B.'s "boyfriend" in kindergarten, until Junie B. Jones is (Almost) a Flower Girl.

Paulie Allen Puffer: A boy in Junie B.'s kindergarten class that often tells her scary or funny stories, which she always believes are true. He also has an older brother.

William (Crybaby William): A very shy and soft-spoken boy who Junie B. says would be easy for her to beat up.

Herbert (Herb): Junie B.'s best friend in first grade.

José: Another one of Junie B.'s best friends in first grade. He is Hispanic and speaks both English and Spanish.

Leonard (Lennie): Another one of Junie B.'s best friends in first grade. He is quiet and almost always agrees with Junie B. Lennie has spiky hair.

Sheldon Potts: A good friend of Junie B. in first grade. He is shown to have blonde hair. His family is full of former criminals and otherwise strange people, such as his Uncle Vern, Aunt Bunny, and Grandpa Ned.

Shirley: A good friend of Junie B. in first grade. She is shown to have short black hair. She has a dog named Stinky. In Dumb Bunny, she mentions that she and Lennie are Jewish.

Roger: A boy with freckles who is in the same classes as Junie B. for both the kindergarten and first grade books.

Jamal Hall: A boy in the kindergarten class. His mother is the art teacher.

Charlotte: A girl in the kindergarten class. She doesn't always get along with Junie B.

Rivals
May Murkee: A girl who sits next to Junie B, in the first grade part of the series. Junie B. does not like her because she won't say her B in her name and just calls her Junie Jones.

Jim: Junie B. and Jim are said to hate each other until Junie B. Jones and the Mushy Gushy Valentine when he gives a nice valentine to her.

Pink Fluffy Girl: A fellow student at Junie B.'s school who wears a pink jacket and is well known for stealing her beloved mittens in Junie B. Jones is not a Crook.

Bobbi Jean Piper: Grace's new friend in first grade.

Teachers
Mrs.: Junie B.'s kindergarten teacher and in charge of Room Nine. In all of the kindergarten adventures, Junie B. says, "Her name is Mrs. She has another name too but I just like Mrs. and that's all." [citation needed]

Mr. Scary: Junie B.'s kind and warm first grade teacher. She believes that he made up his name because he is actually very nice and "doesn't even scare her, hardly." [citation needed]

Principal: The principal at Junie B.'s school, whom she believes lives in his office and is "the king of the school, only he doesn't actually wear a crown." [citation needed] She refers to him only as "Principal."

Gus Vallony: The janitor, who is often friendly around Junie B.

Mrs. Gladys Gutzman: The school cafeteria lady.

Mrs. Weller: The school nurse.

Mr. Woo: The Bus driver, who drives Junie B. and the other kids to school.

Grouchy Typing Lady: Principal's secretary who works at the front office.

Mr. Toot: The music teacher, who is also in charge of the annual Holiday Sing-Along. [citation needed]

Mrs. Hall: The art teacher. She has a son named Jamal.

=Suggested Edits for Art and World War II= During World War II, art was a tool equipped by all sides. The confiscation and destruction of art was an integral proponent of the ethnic cleansing proposed by Adolf Hitler. This led to the persecution of artists in Occupied Europe, with opposing ideologies, as well as the celebration of artists who followed the officially sanctioned German aesthetic. Some persecuted artists were inspired to create works of art, based on or due to the difficulties they faced. While other artists took the opportunity to use art as propaganda, both for and against the German cause.

Historical Context
War is a common theme in art and has inspired great works of art. Throughout history, most representations of war depict military achievements and often show significant battle scenes. In the 19th century artists started to show the disastrous aspects of war, instead of its glorified events and protagonists. Such a perspective is best exemplified by Francisco Goya’s series, The Disasters of War (1810-1820, first published in 1863), and Otto Dix’s portfolio, Der Krieg (published in 1924). During World War II, both traditions are present. For instance, Paul Nash’s Battle of Britain (1941) represents a scene of aerial combat between British and German fighters over the English Channel. On the other hand, André Fougeron’s Street of Paris (1943) focuses on the impact of war and occupation on civilians.

Nazi Art
See also: Art of the Third Reich

During World War II, there was a “rebirth” of German culture and society, which involved an exaltation of the “true spirit” of the German people in art. This officially sanctioned art was conservative and figurative, heavily inspired by Greco-Roman art. It was often grandiose and sentimental. This art was intended to represent and convey the regime’s ideals.

In Europe, other totalitarian regimes adopted a similar stance on art and encouraged or imposed an official aesthetic, which was a form of Realism (which here refers to a representational, mimetic style, and not to an art deprived of idealization). Such style was anchored in a prestigious tradition, popular, easy to understand and thus practical for propaganda aims.

Degenerate Art
See also: Degenerate Art

In Nazi Germany, the control of art and other cultural expressions was an integral part of the establishment of power. Art embodies the identity of a group of people, which can weaken a totalitarian regime’s control on society. Cultural cleansing was a major component of the ethnic cleansing rampant throughout Nazi Germany, and involved the eradication and destruction of un-German or degenerate art and literature.

Modern art was banned as being decadent, bourgeois and elitist.

Holocaust
See also: The Holocaust in Popular Culture

Many works of art and images were created by detainees in ghettos and in concentration and extermination camps. They form a large body of images which is remarkable if we consider the conditions in which they were created and kept before the liberation of the camps. Most of them were small and fragile, many were destroyed and lost. The large majority of these images were created clandestinely because such a creative activity was forbidden and could have resulted in a death sentence. Yet, many inmates found materials and transgressed the rules in order to create.

Britain
See also: War Artists Advisory Committee

In 1939 the War Artists Advisory Committee (WAAC) was founded under the aegis of the British Ministry of Information with the remit to list and select artists qualified to record the war and pursue other war purposes. Artists were thought to have special skills useful to a country at war: they could interpret and express the essence of wartime experiences and create images that promoted the country’s culture and values. Not the least of these was artists’ freedom to choose the subjects and style of their art. A significant influence was the choice of Sir Kenneth Clark as instigator and director of WAAC, believing as he did that the first duty of an artist was to produce good works of art that would bring international renown. Secondary were images through which a country presents itself to the world, and a record of war more expressive than a camera may give. Important to this was the exhibition of Britain at War at Museum of Modern Art in New York in 1941.

Persecuted Artists
See also: Fate of Degenerate Artists

Ethnic cleansing also included the persecution of actors and artists because of their opposing ideologies.citation needed Following the establishment of the Third Reich, modern artists and those of Jewish ancestry were classed as "degenerate," and were liable to imprisonment unless they conformed with the authorities’ view of what was "acceptable" in art. These artists were all in danger.