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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Land Use Code - Poland, Maine 2021
Comprehensive Land Use Code - Poland, Maine 2021 Comprehensive Land Use Code For the Town of Poland, Maine Original Ratification April 28, 2001 Subsequent Enactment April 2, 2011 Amended April 2, 2021 - Page 1 of 262 – Comprehensive Land Use Code - Poland, Maine 2021 Chapter Directory CHAPTER 1 GENERAL PROVSIONS 16 CHAPTER 2 PLANNING BOARD 19 CHAPTER 3 ADMINISTRATIVE 21 CHAPTER 4 ENFORCEMENT 30 CHAPTER 5 LAND ZONING 33 CHAPTER 6 SUBDIVISION STANDARDS 151 CHAPTER 7 FLOODPLAIN MANAGEMENT STANDARDS 196 CHAPTER 8 STREET & ROAD CONSTRUCTION STANDARDS 205 CHAPTER 9 ROAD & STREET ENTRANCE STANDARDS 217 CHAPTER 10 AUTO GRAVEYARDS, JUNKYARD, & RECYCLING 219 BUSINESS CHAPTER 11 BUILDING CODE STANDARDS 221 CHAPTER 12 FIRE PREVENTION & LIFE SAFETY CODE 223 STANDARDS CHAPTER 13 (RESERVED) N/A CHAPTER 14 DEFINITIONS 226 Chapter 15 MARIJUANA STANDARDS 252 APPENDIX A 258 - Page 2 of 262 – Comprehensive Land Use Code - Poland, Maine 2021 CHAPTER 1 – GENERAL PROVISIONS 101 Short Title 16 102 Purposes 16 103 Authority 16 103.1 Table of Contents & Index 16 104 Applicability 16 104.1 General 16 104.2 Municipal Authority Over State Projects 16 104.3 Municipal Authority Over Federal Projects 16 105 Effective Date 16 106 Validity and Severability 17 107 Conflicts Between Chapters and Other Ordinances 17 108 Repeal of Existing Ordinances 17 108.1 Subsequent Ordinances Repealed Since 4/28/2001 17 108.2 Repeal of Municipal Timber Harvesting 17 109 Amendments 17 109.1 Initiation of Amendments 17 109.2 Public Hearing 18 109.3 Adoption of Amendment 18 109.4 Shoreland -
Complementiser and Relativiser in the English Subordinate Clauses
COMPLEMENTISER AND RELATIVISER IN THE ENGLISH SUBORDINATE CLAUSES Ni Luh Ketut Mas Indrawati English Department, Faculty of Arts, Udayana University [email protected] Abstract Words combine to form larger units; phrases, clauses, and sentences. The study of the structure of phrases, clauses, and sentences is referred to as syntax. Quirk, et, all (1985:47) distinguishes sentences into two types they are; simple sentences and multiple sentences which cover compound sentences and complex sentences. A simple sentence consists of one independent clause, a multiple clause contains more than one clauses, a compound sentence consists of two or more independent clauses, while a complex sentence consists of insubordinate and subordinate clauses. Subordinate clause, in embedding the element of the insubordinate clause use either complementiser or relativiser. For example: (1) john said that he did not come to the party. That in (1) is considered to be complimentiser since it introduces the subordinate clause. (2) John met the teacher that teaches you English. That in (2) is classified as relativiser because it is used to introduce the modifying clause. This paper attempts to discuss complementiser and relativiser in the English subordinate clauses and describe the constituent structure in a tree diagram using the approach proposed by Kroeger (2005). The data were taken from a novel entitled Saved by The Bride by Fiona Lowe (2013). Keywords: complex sentences, subordinate clauses, complementiser or relativiser I INTRODUCTION A sentence is mainly a group of words linking together and expressing an idea, event or description. The words in an English sentence have a certain order and rule regarding ways to either expand or shorten it. -
Irish Cultural Center of Cincinnati to Hold Green Tie Affair
Irish Cultural Center November 2013 of Cincinnati to Hold ianohio.com Green Tie Affair Saturday, November 2nd Saw Doctors Leo and Anto Hit the Road … page 2 Irish Cultural Center of Cincinnati Celebrates 4th Anniversary . page 6 Rattle of a Thompson Gun … page 7 Opportunity Ireland . page 9 Home to Mayo. pages 13 - 16 Big Screen to Broadway: Once Comes to Cleveland . page 19 Cover artwork by Cindy Matyi http://matyiart.com 2 IAN Ohio “We’ve Always Been Green!” www.ianohio.com November 2013 Saw Doctors Solo, Leo and Anto Hit the Road a little place back in Ireland where we together quite quickly. So we wanted it tested it out, and got a good response. to be different from anything we’d re- By Pete Roche, Special to the OhIAN of their stepping off the plane, and the And it looks like it worked. But we’ll be corded before. So we used the mandolin, guitarist sounded enthusiastic about tweaking it as we figure it out! which is a very different thing than what The North Coast’s music-loving Irish winding his way through the Midwest OhIAN: Apart from the music, how we’d done before with the Saw Doctors. contingent always turns out in strong in true troubadour fashion. will this tour be different from a Saw And I think that’s important. People are numbers whenever the rock quintet OhIAN: Hello again, Leo! Great to Doctors tour? saying to me it feels like they came to from the little Galway town of Tuam be catching up with you again! So you LEO: It’s going to be a whole new Ireland before we left it, because they’d play our neck of the woods. -
“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
Marvel Fantasy Role Playing Game
MARVEL FANTASY ROLE PLAYING GAME A Fantasy RPG using the FASERIP System Table of Contents Character Creation ......................................................................................................................................................... 5 Race ........................................................................................................................................................................... 5 Origin of Power ......................................................................................................................................................... 6 Primary Abilities........................................................................................................................................................ 6 Secondary Abilities.................................................................................................................................................... 6 Powers ....................................................................................................................................................................... 6 Talents ....................................................................................................................................................................... 7 Contacts ..................................................................................................................................................................... 7 Heroic Alignment ..................................................................................................................................................... -
Bikur-Holim-Conf
Liturgical Responses to a Pandemic Crafting Comfort for Those We Serve Collected by Rabbi Shira Stern, D.Min, BCC [email protected] A.Traditional Liturgy Reframed: 1. Hashkiveinu during the Pandemic by Rav Jeffrey Astrachan This evening, we join with the rest of the world in praying for a quick and positive end to the crisis in which we find ourselves. We pray for those who are sick and dying, and for those tending to their care. We pray for their families, and for those who are most anxious about getting sick. We pray for leaders faced with making difficult choices with lasting consequences. We pray for students whose hopes for celebrating their accomplishments have been thwarted. We pray for all those in the work-force who have been – and who will be – directly impacted by the need for social-distancing. Tonight, I offer a prayer that comes to us from our liturgy, which we call “Hashkiveinu.” It is a nighttime prayer that asks God for protection and blessing. It seems fitting to offer these words tonight: Grant, O God, that we lie down in peace, and raise us up, our Guardian, to life renewed. Spread over us the shelter of Your peace. Guide us with Your good counsel; for Your Name’s sake, be our help. Shield and shelter us beneath the shadow of Your wings. Defend us against enemies, illness, war, famine and sorrow. Distance us from wrongdoing. For You, God, watch over us and deliver us. For You, God, are gracious and merciful. Guard our going and coming, to life and to peace evermore. -
A Reframing of Metin Erksan's Time to Love
Auteur and Style in National Cinema: A Reframing of Metin Erksan's Time to Love Murat Akser University of Ulster, [email protected] Volume 3.1 (2013) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2013.57 | http://cinej.pitt.edu Abstract This essay will hunt down and classify the concept of the national as a discourse in Turkish cinema that has been constructed back in 1965, by the film critics, by filmmakers and finally by today’s theoretical standards. So the questions we will be constantly asking throughout the essay can be: Is what can be called part of national film culture and identity? Is defining a film part of national heritage a modernist act that is also related to theories of nationalism? Is what makes a film national a stylistic application of a particular genre (such as melodrama)? Does the allure of the film come from the construction of a hero-cult after a director deemed to be national? Keywords: Turkish cinema, national cinema, nation state, Metin Erksan, Yeşilçam New articles in this journal are licensed under a Creative Commons Attribution 3.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. Auteur and Style in National Cinema: A Reframing of Metin Erksan's Time to Love Murat Akser Twenty-five years after its publication in 1989, Andrew Higson’s conceptualization of national cinema in his seminal Screen article has been challenged by other film scholars. -
Sabotage! and Other Stories
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2010 Sabotage! And Other Stories Gregory Elliott Luther The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Luther, Gregory Elliott, "Sabotage! And Other Stories" (2010). Graduate Student Theses, Dissertations, & Professional Papers. 853. https://scholarworks.umt.edu/etd/853 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. SABOTAGE! AND OTHER STORIES By GREGORY ELLIOTT LUTHER Bachelor's of University Studies, University of New Mexico, Albuquerque, NM, 2006 Thesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Fiction The University of Montana Missoula, MT December 2010 Approved by: Perry Brown, Associate Provost for Graduate Education Graduate School Chair Deirdre Mcnamer English Kevin Canty English Maria Bustos-Fernandez Modern and Classical Languages and Literatures Luther, Gregory, M.F.A, Fall 2010 Creative Writing Fiction Sabotage! And Other Stories Chairperson: Deirdre McNamer Co-Chairperson: Kevin Canty This is a collection of short fiction written between 2008-2010. ii Schooling Somehow I was the last to get the news. Eric Sullivan knew a guy in Modesto that was friends with the son of the teacher, the actual dude, Mr. -
PATRIARCHAL STRUCTURES and PRACTICES in TURKEY: the CASE of SOCIAL REALIST and NATIONAL FILMS of 1960S
PATRIARCHAL STRUCTURES AND PRACTICES IN TURKEY: THE CASE OF SOCIAL REALIST AND NATIONAL FILMS OF 1960s A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF THE MIDDLE EAST TECHNICAL UNIVERSITY BY HAT İCE YE Şİ LDAL ŞEN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF SOCIOLOGY OCTOBER 2005 Approval of the Graduate School of Social Sciences Prof. Dr. Sencer Ayata Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Assoc. Prof. Dr. Sibel Kalaycıo ğlu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Prof. Dr. Mehmet C. Ecevit Supervisor Examining Committee Members Prof. Dr. Kurtulu ş Kayalı (DTCF, Hist) Prof. Dr. Mehmet C. Ecevit (METU, Soc.) Prof. Dr. Yıldız Ecevit (METU, Soc.) Assoc. Prof. Dr. Filiz Kardam (Çankaya U. ADM) Assoc. Prof. Dr. Mesut Ye ğen (METU, Soc.) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Hatice Ye şildal Şen Signature : iii ABSTRACT PATRIARCHAL STRUCTURES AND PRACTICES IN TURKEY: THE CASE OF SOCIAL REALIST AND NATIONAL FILMS OF 1960s Ye şildal Şen, Hatice Ph. D., Department of Sociology Supervisor: Prof. -
Walls and Fences: a Journey Through History and Economics
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Vernon, Victoria; Zimmermann, Klaus F. Working Paper Walls and Fences: A Journey Through History and Economics GLO Discussion Paper, No. 330 Provided in Cooperation with: Global Labor Organization (GLO) Suggested Citation: Vernon, Victoria; Zimmermann, Klaus F. (2019) : Walls and Fences: A Journey Through History and Economics, GLO Discussion Paper, No. 330, Global Labor Organization (GLO), Essen This Version is available at: http://hdl.handle.net/10419/193640 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu Walls and Fences: A Journey Through History and Economics* Victoria Vernon State University of New York and GLO; [email protected] Klaus F. Zimmermann UNU-MERIT, CEPR and GLO; [email protected] March 2019 Abstract Throughout history, border walls and fences have been built for defense, to claim land, to signal power, and to control migration. -
Independent Clauses Are Strong a Single Independent Clause Is the Same As a Simple Sentence
Xu°ba lJll ege Writing& Language Development Center Clauses: Independent & Dependent A clause is a word group containing a subject and verb pair. If a clause can stand alone, it is independent. If a clause cannot stand alone, it is dependent. Independent clauses are strong A single independent clause is the same as a simple sentence. An independent clause contains at least one subject-verb pair, expresses a complete thought, and can be ended with a period: Bob and Marcie love Thai food. They eat there often and bring all their friends. Bowling is fun. Bowling shoes are stinky and sweaty. A single independent clause may have compound subjects (Bob and Marcie), compound verbs (eat and bring), compound adjectives (stinky and sweaty) or other compound elements. Joining independent clauses Coordinating conjunctions join independent clauses. They are preceded by a comma when they join independent clauses (but not necessarily when they join other compound elements). Here are the coordinating conjunctions: ,for ,or ,and ,yet ,nor ,so ,but You may combine independent clauses with a semicolon or with a comma plus coordinating conjunction: Bob and Marcie love Thai food; they eat there often and bring all their friends. Bowling is fun, but bowling shoes are stinky and sweaty. You may join more than two independent clauses using the same methods: Bowling is fun, but bowling shoes are stinky and sweaty, so we always bring thick socks. When you combine independent clauses, you create a compound sentence. You may NOT try to join independent clauses with only a comma. This is an error called a comma splice.