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Indians in the American System: Past and Present, Student Book. the Lavinia and Charles P
DOCUMENT RESUME ED 129 694 SO 009 474 AUTHOR Westbury, Ian; Westbury, Susan TITLE Indians in the American System: Past and Present, Student Book. The Lavinia and Charles P. Schwartz Citizenship Project. INSTITUTION Chicago Univ., Ill. Graduate School of Education. PUB nAT7 75 NOTE 80p.; For related documents, see SO 009 469-473 7,,DRS PRICE MF-$0.83 HC-$4.67 Plus Postage. DESCRIPTORS *American Indian Culture; *American Indians; Anthropology; *Citizenship; Cultural Differences; Culture Conflict; Ethnic.Groups; Ethnic Stereotypes; Life Style; Pol'tical Science; Political Socialization; Reservations (Indian) ;Secondary Educa+ion; Social Studies; *United States History; War ABSTRACT The purpose of this curriculum unit on citizenship education is to enrich the way students think about AmericanIndians by presenting the history of American Indians and their relationship with white Americans. The first chapter discusses the kindsof ideas people have about Indians, especially stereotypes of Indians being wild, red-colored, and uncivilized. The second chapterlooks at the prehistory of Indian culture to see the ways in which Indianpeoples learned to exploit the land. The excavations ofan Indian camp site at Green Point, Michigan, are described, including discussionof the dig, findings, and changes in Indian life from S00-1700A.D. Chapter three recounts Indian-white relations during 1600-1900 inorder to explore what happened when a stone-age culture facedan acquisitive white culture that was more highly developed and hadmore resources. The Iroquois Indians in the northeastserve as an example of how Indian life patterns were destroyed by European, occupationof America. The last chapter examines the Indian-whitecontact and the way it has caused recent problems for Indians. -
The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
Samurai Champloo: Transnational Viewing Jiwon Ahn
Samurai Champloo: Transnational Viewing Jiwon Ahn From the original edition of How to Watch Television published in 2013 by New York University Press Edited by Ethan Thompson and Jason Mittell Accessed at nyupress.org/9781479898817 This work is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License (CC BY-NC-ND). 39 Samurai Champloo Transnational Viewing Jiwon Ahn Abstract: Television criticism usually addresses “what” TV is watched, and ofen “who” watches, but “where” TV is watched is less commonly considered vital to understanding it. In this look at the anime program Samurai Champloo, Jiwon Ahn argues for the importance of “where” to the meanings and pleasures of texts which—like anime—circulate in television’s global fows. Watching an imported or translated text on television is an increasingly ordinary experience in the current state of globalization. But what unique critical questions should we consider in order to make sense of such viewings? To understand our de- sire for and pleasure in viewing imported television texts, we need to consider how texts produced for overseas distribution are designed diferently for international audiences, and how this design may infect (or not) our viewing of them. Anime ofers a productive example in that the format’s long history of international circula- tion inevitably involved the development of textual strategies suited to transnational consumption, including, notably, an efort to balance exoticism with familiarity in terms of appeal. While the popularity of shows such as Dragon Ball Z (Cartoon Net- work, 1998–2005), Ranma ½ (Fuji Television, 1989–1992), and InuYasha (Cartoon Network, 2000–2004) on U.S. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
Chapter One Introduction
CHAPTER ONE INTRODUCTION 1.1.Background of Study Japan has so many traditions of folklore that had inherited for generation whether in story form or in tradition form. With some creativity and existing technology that they had, some Japanese filmmaker has succeeded by making some Japanese folklore into more interesting form and well known by people whether inside Japan or outside Japan. According to Kitayama “Folklore is a stories shared by folk people from the past and these stories are similar to myths, except that they are related more to human matters than to supernatural beings” (Kitayama 2005: 85) By this quotation the writer argue that folklore is cultural product which is produced by people in the past and it is contained of myth and usually, the society will connect the folklore to supernatural even more to human matters. As emphasized by Lindahl, Although many people regard a “folktale” as a fictional form, I use the term here to apply to any traditional tale, whether its tellers consider it true, or false, or both. Thus, the scope of the tale extends far beyond fiction to encompass belief tales, personal experience stories, and accounts of major historical events (Lindahl, 2004: 200). Based on the quotation above, the writer argues that folklore acknowledges the practice of labeling narratives based on the element of belief, he also realizes the inherent story within each and the tendency of storytellers to use a little fiction and a little nonfiction in crafting their stories. Lindahl uses this terminology to put the focus on the storytellers themselves and help the reader to recognize the relationship between tale and teller. -
Friday Sept. 13 Saturday Sept. 14 Sunday Sept. 15
FRIDAY SEPT. 13 Main Panels: Panels: Panels: eGaming: Birch Table Top: Walnut Table Top: Walnut Screening 1 Screening 2 Vendors / Programming Chestnut Elm Cedar Artist Alley 12:00 PM Open Open Gaming Open Gaming Bodacious Space Pirates Tsubasa: Reservoir Closed 12:00 PM 12:30 PM (Episodes 1-4) Chronicles (Episodes 1-4) 12:30 PM 1:00 PM Cosplay Advanced (Wig Wig) Puyo Puyo Tetris Open 1:00 PM 1:30 PM 1:30 PM 2:00 PM Love Live (Episodes 1-4) Persona 4: The Animation 2:00 PM 2:30 PM The Villains of Paul St. Peter T-Doll Training: An Intro Horror as Social **Splendor Tutorial** (Episodes 1-4) 2:30 PM 3:00 PM to Girls Frontline Commentary Splendor Tournament 3:00 PM 3:30 PM 3:30 PM 4:00 PM Ludo Light Sabre Academy Autograph Session Guess that Pokemon! Intro to AnimeFargo: Dragonball FighterZ Azumanga Daioh Pretear (Episodes 1-4) 4:00 PM 4:30 PM Volunteering or Staffing (Episodes 1-4) 4:30 PM 5:00 PM 5:00 PM 5:30 PM Opening 5:30 PM 6:00 PM Open Gaming Relic Knights Carp Captor Sakura: xxxHolic (Episodes 1-4) 6:00 PM 6:30 PM Consent Culture in Anime Wonderful Wigs (Wig Clear Card (Episodes 1-4) 6:30 PM 7:00 PM Cosplay chess Multiplayer Oreo: Choose and Manga Wig) Super Smash Bros 7:00 PM 7:30 PM Your Group Adventure Ultimate 4-Player 7:30 PM 8:00 PM InuYasha Season 1 Anime Court Kiddy Grade (Episodes 1- Save Me! Lolipop Closed 8:00 PM 8:30 PM Cyber-Dance 8:15 - 9:15 4) (Episodes 1-4) 8:30 PM 9:00 PM Karaoke Open Gaming (After Dark) Open Gaming (After Dark) 9:00 PM 9:30 PM Shino and friends (DSP) MaximumWeeaboo: 80s- 9:30 PM 10:00 PM HD Remastered Open Digital Breakdown Hetalia: Axis Powers Cowboy Bebop (Episodes 10:00 PM 10:30 PM (Paranoia Game) (Episodes 1-26) 1-4) 10:30 PM 11:00 PM Red Dragon Inn (18+) - How I Remember It (18+) BDSM 101 safety (18+) 11:00 PM 11:30 PM (Snowmen) 11:30 PM 12:00 AM Closed Closed 12:00 AM 12:30 AM Werewolf Spiral into horror 2: 12:30 AM 1:00 AM The Panel That Doesn't Exist Uzumaki Boogaloo (18+) Closed 1:00 AM 1:30 AM (18+) 1:30 AM SATURDAY SEPT. -
The Politics of Difference and Authenticity in the Practice of Okinawan Dance and Music in Osaka, Japan
The Politics of Difference and Authenticity in the Practice of Okinawan Dance and Music in Osaka, Japan by Sumi Cho A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) in the University of Michigan 2014 Doctoral Committee: Professor Jennifer E. Robertson, Chair Professor Kelly Askew Professor Gillian Feeley-Harnik Professor Markus Nornes © Sumi Cho All rights reserved 2014 For My Family ii Acknowledgments First of all, I would like to thank my advisor and dissertation chair, Professor Jennifer Robertson for her guidance, patience, and feedback throughout my long years as a PhD student. Her firm but caring guidance led me through hard times, and made this project see its completion. Her knowledge, professionalism, devotion, and insights have always been inspirations for me, which I hope I can emulate in my own work and teaching in the future. I also would like to thank Professors Gillian Feeley-Harnik and Kelly Askew for their academic and personal support for many years; they understood my challenges in creating a balance between family and work, and shared many insights from their firsthand experiences. I also thank Gillian for her constant and detailed writing advice through several semesters in her ethnolab workshop. I also am grateful to Professor Abé Markus Nornes for insightful comments and warm encouragement during my writing process. I appreciate teaching from professors Bruce Mannheim, the late Fernando Coronil, Damani Partridge, Gayle Rubin, Miriam Ticktin, Tom Trautmann, and Russell Bernard during my coursework period, which helped my research project to take shape in various ways. -
Inuyasha Series OC Bio
InuYasha Series OC Bio: Characteristics: Name: Nihongo: Meaning: First: Middle: Last: Alias: N/A Race: Human/Daiyokai/Yokai/Hanyo/Specter/Kugutsu/ Extra to Race: Full/ ¾ /Half/ ¼ Type: Kappa/Kitsune/Nekomata/Omukade/Bakeitachi/Bird/Flea/Inu/Wolf/Spider/Mantis/Moth/Turtle/Rat/Tiger/Tree/ Oni/Thunder/Wind/Dragon/Panther/Oyster/Bat/Humanoid/Cat/Hair/Horse/Root/Cow/Shikigami/Tanuki/Crow/ Mirror/Badger/Flower/Toad/Bone/Lizard/Salamander/Ninja/Otter/Snake/Coyote/Monkey/Ape/Lynx/Catfish/Sc orpion/Bull/Sheep/Ram/ Gender: Male/Female/Male (Transgender)/Female (Transgender)/Intersex Sexual Orientation: Heterosexual/Homosexual/Bisexual/Pansexual/Asexual Age: Birthday: Time of Birth: Blood Type: A+/A-/B+/B-/AB+/AB-/O+/O-/Unknown Personality: Horoscope: Aries/Taurus/Gemini/Cancer/Leo/Virgo/Libra/Scorpio/Sagittarius/Capricon/Aquarius/Pisces Appearance: Hair: Color: Length: Style: Eye Color: Skin Color: Body: Weight: Child: Pre-Teen: Teenager: Adult: Senior: Height: Child: Pre-Teen: Teenager: Adult: Senior: Outfit(s): Child: Pre-Teen: Teenager: Adult: Senior: Images: Child: Pre-Teen: Teenager: Adult: Senior: Professional Status: Affiliation: Precious Affiliations: Abilities: Weapons: Loyalty: Enemies: Personal Status: Status: Relatives: Best Friend(s): Friends: Pet(s): Hobbies: Likes: Dislikes: Former Love Interest: Love Interest: Portrayal: Voice Actors: Child: Pre-Teen: Teenager: Adult: Senior: Face Claims: Child: Pre-Teen: Teenager: Adult: Senior: Curiosities: Favorite Food: Favorite Color: Favorite Movie: (OC that are in Modern Time) Favorite -
Inuyasha Bloopers
Inuyasha Bloopers By narutofan1313 Submitted: April 3, 2007 Updated: June 4, 2011 What actually happens around the Inuyasha set. Provided by Fanart Central. http://www.fanart-central.net/stories/user/narutofan1313/44681/Inuyasha-Bloopers Chapter 1 - The beginning 2 Chapter 2 - chapter2 3 Chapter 3 - OMG?!?!?! 4 1 - The beginning Disclaimer:I do not own the character Inuyasha or any other character besides my own OC,Michi. ** mean actions ex:*plummets into ground* and () mean thoughts ex:(i hate her) Names will be shoter ex:Sesshomaru=Sesh or Inuyasha=Inu Narrator:We find our group walking down a trail,(oh crap, I just farted)and Kagome's in a bad mood.(MAN THAT STINKS!!! AND I'M IN A SECLUDED BOOTH!I CAN'T BREATH!!!!)*clawing at door* Kagome:Um...is he ok? Narrator:I...farted...and...I...can't...breath!!! Director:Ignore him.Keep the scene going. Narrator:HELP...ME!!! Backup Narrator:and she doesn't want to be messed with. Inu:What is wrong with you Kagome?Why are you being a-!!! Miroku:*covering Inu's mouth with hand*Kids are watching this or reading whatever. Inu:mmppphhhhh!!!!!!! Kagome:SIT!!!!!!!!!!!! Inu:*plummets into ground*Why'd you do that?!? Kagome:Because you were about to call me a-!!! Sango:*covering Kagomes mouth*What Miroku said. Shippo:Oh boy Kirara,there they go again. Kirara:(yea) Kikyo:What's up? Kagome:Where the hell did you come from?!?! Kikyo:Why do I need to explain everything to you?! Kagome Cause your a dog!!! Miroku:Sango!!! Sango:Sorry,I couldn't reach her in time! Inu:*Watching Kagome and Kikyo get into a catfight*(yea rip off her shirt!) Miroku:*sits next to Inu* Sango:*trys to stop Kagome and Kikyo buts gets herself into the fight*KYA! Shippo:*walks over*what are you two looking at? Miroku:*covers Shippo's eyes*This isn't for kids. -
3. 10 SHANTY Mencari Cinta Sejati (4:05) 4
Disc Bola 1. Judika Sakura (4:12) 2. Firman Esok Kan Masih Ada (3:43) 3. 10 SHANTY Mencari Cinta Sejati (4:05) 4. 14 J ROCK Topeng Sahabat (4:53) 5. Tata AFI Junior feat Rio Febrian There's A Hero (3:26) 6. DSDS Cry On My Shoulder (3:55) 7. Glenn Pengakuan Lelaki Ft.pazto (3:35) 8. Glenn Kisah Romantis (4:23) 9. Guo Mei Mei Lao Shu Ai Da Mi Lao Shu Ai Da Mi (Original Version) (4:31) 10. Indonesian Idol Cinta (4:30) 11. Ismi Azis Kasih (4:25) 12. Jikustik Samudra Mengering (4:24) 13. Keane Somewhere Only We Know (3:57) 14. Once Dealova (4:25) 15. Peterpan Menunggu Pagi [Ost. Alexandria] (3:01) 16. PeterPan Tak Bisakah (3:33) 17. Peterpan soundtrack album menunggu pagi (3:02) 18. Plus One Last Flight Out (3:56) 19. S Club 7 Have You Ever (3:19) 20. Seurieus Band Apanya Dong (4:08) 21. Iwan Fals Selamat Malam, Selamat Tidur Sayang (5:00) 22. 5566 Wo Nan Guo (4:54) 23. Aaron Kwok Wo Shi Bu Shi Gai An Jing De Zou Kai (3:57) 24. Abba Chiquitita (5:26) 25. Abba Dancing Queen (3:50) 26. Abba Fernando (4:11) 27. Ace Of Base The Sign (3:09) 28. Alanis Morissette Uninvited (4:36) 29. Alejandro Sanz & The Corrs Me Iré (The Hardest Day) (4:26) 30. Andy Lau Lian Xi (4:24) 31. Anggun Look Into Yourself (4:06) 32. Anggun Still Reminds Me (3:50) 33. Anggun Want You to Want Me (3:14) 34. -
Graphic Novels: Tools for Meaningful Literacy Practices
This thesis/project/dissertation has been reviewed for 508 compliance. To request enhancements, please email [email protected]. GRAPHIC NOVELS: TOOLS FOR MEANINGFUL LITERACY PRACTICES A Project Presented to the faculty of the Department of English California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in English Composition by Kaitlyn Myra Belle Ehrmantrout SPRING 2017 © 2017 Kaitlyn Myra Belle Ehrmantrout ALL RIGHTS RESERVED ii GRAPHIC NOVELS: TOOLS FOR MEANINGFUL LITERACY PRACTICES A Project by Kaitlyn Myra Belle Ehrmantrout Approved by: , Committee Chair Angela Clark-Oates, Ph.D. ____________________________ Date , Second Reader Susan Fanetti, Ph.D. iii Student: Kaitlyn Myra Belle Ehrmantrout I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the project. __________________________, Graduate Coordinator ___________________ Douglas Rice, Ph.D. Date Department of English iv Abstract of GRAPHIC NOVELS: TOOLS FOR MEANINGFUL LITERACY PRACTICES by Kaitlyn Myra Belle Ehrmantrout The focus of this project is to discover how graphic novels can provide opportunities for meaningful reading and writing. Multimodal texts, like graphic novels, can engage students in a significant experience, an experience that they can bring forth in their college-level reading and writing practices. In the fall semester of 2016, I -
An Icy Snow, and a Warm Heart
An icy snow, and a warm Heart By MilnhsDoggieboy Submitted: May 28, 2004 Updated: May 28, 2004 Just a short story of Inuyasah and kagome, trapped in a snow storm. Needs mor e but i'll post it now anyways Provided by Fanart Central. http://www.fanart-central.net/stories/user/MilnhsDoggieboy/3668/An-icy-snow-and-warm-Heart Chapter 1 - An Icy snow, and a warm heart 2 1 - An Icy snow, and a warm heart An Icy snow, and a warm heart The snow is coming down hard now and if you went outside you wouldn't be able to see your hand in front of your face. The sound that the snow is making as it hits the roof of the cabin. Is like thunder roaring through the skies. It even shakes the ground and cabin. Miroku, Shippo, Kirara, and Sango went on ahead of Inu-Yasha and the injured Kagome that had to stay behind in a cabin until the storm dies down. They didn’t have any firewood and Inuyasha was to proud to admit he was cold Kagome was freezing and couldn’t help but shiver. Inuyasah:Damnit she’s freezing and theres no blanket in this stupid cabin. I need to find a way to keep her warm. Kagome falls asleep from the cold, her lips turn blue from the cold and Inuyasha wasn’t excatly the warmest person either. He had to do something but couldn’t figure out what. Inuyasha: I know my kimono and shirt, (Inuyasah quickly removes his shirt and kimono and wraps Kagome up in them, he picks her up and holds her sheilding her from the cold) Please don’t die Kagome, I can’t lose you, not when I have you so close to me.