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Upper East Region
REGIONAL ANALYTICAL REPORT UPPER EAST REGION Ghana Statistical Service June, 2013 Copyright © 2013 Ghana Statistical Service Prepared by: ZMK Batse Festus Manu John K. Anarfi Edited by: Samuel K. Gaisie Chief Editor: Tom K.B. Kumekpor ii PREFACE AND ACKNOWLEDGEMENT There cannot be any meaningful developmental activity without taking into account the characteristics of the population for whom the activity is targeted. The size of the population and its spatial distribution, growth and change over time, and socio-economic characteristics are all important in development planning. The Kilimanjaro Programme of Action on Population adopted by African countries in 1984 stressed the need for population to be considered as a key factor in the formulation of development strategies and plans. A population census is the most important source of data on the population in a country. It provides information on the size, composition, growth and distribution of the population at the national and sub-national levels. Data from the 2010 Population and Housing Census (PHC) will serve as reference for equitable distribution of resources, government services and the allocation of government funds among various regions and districts for education, health and other social services. The Ghana Statistical Service (GSS) is delighted to provide data users with an analytical report on the 2010 PHC at the regional level to facilitate planning and decision-making. This follows the publication of the National Analytical Report in May, 2013 which contained information on the 2010 PHC at the national level with regional comparisons. Conclusions and recommendations from these reports are expected to serve as a basis for improving the quality of life of Ghanaians through evidence-based policy formulation, planning, monitoring and evaluation of developmental goals and intervention programs. -
This Bell Life Costume Guide for Musical Numbers
This Bell Life ✰ Costume guide for musical numbers 1910s/1920s number: “Have a Little Faith in Me” School dance. Colors should be muted/neutral/sepia-toned. NO bright or bold colors. GIRLS BOYS Old-timey pinstriped suits, button-down sweaters or vests, tie or bow tie. Dress pants/slacks, dress shoes. (Cole H. and Jayden Fancy ballroom dresses. K. should look especially snazzy/dressed-up.) Should be ankle-length or at least go past the knees. Nice shoes that you can still dance in. Page 1 This Bell Life ✰ Costume guide for musical numbers 1930s number: “Somewhere Over the Rainbow” School classroom and playground. STUDENTS TEACHERS Girls can wear simple dresses with collars, flower patterns, etc. Boys can wear overalls, shirts and ties, etc. We just want you all to look like young schoolchildren from this time period. The two teachers (Kayla C., Katie L.) should look a bit different to distinguish them from the students. Maybe a nicer dress, a hat, or gloves. Page 2 This Bell Life ✰ Costume guide for musical numbers 1940s/1950s number: “Boogie Woogie”/“Rockin’ Robin”/“Stupid Cupid” Performers in each song group will wear a different costume as specified below. “Boogie Woogie” “Rockin’ Robin” “Stupid Cupid” We’d like these girls to wear something that Girls in this number should looks like a vintage wear a 1950s poodle skirt or military uniform. A something like it - but it simple blouse and skirt doesn’t have to have an in khaki, brown, or green actual poodle on it! would be great. *We will provide the hats and any These boys should look a bit necessary accessories.* like greasers from the ‘50s, but in a sweater, sports jacket, or letterman jacket if possible. -
By: Mikayla Wollner Table of Contents African Fashion … 3 Nails a Short Story … 4 Teenage Girl Fashion … 5 Unfortunate Fashion … 6 Letter from the Editor … 7
By: Mikayla Wollner Table of contents African Fashion … 3 Nails a short story … 4 Teenage girl fashion … 5 Unfortunate fashion … 6 Letter from the editor … 7 Strike a pose … 8 Letter to the editor … 9 Fashion from the 1890s … 10 Fashion from the 80s … 11 Yoggies Activewear … 12 African Clothing English French The idea of African clothing inspires images of L'idée de vêtements africains inspire des images rich colors and ceremonial dress but, the fact is, de couleurs riches et robe de cérémonie mais, African clothing is as diverse as the African du fait n'est, vêtements africains est aussi continent. Africa's ancient civilizations diversifiée que sur le continent africain. demonstrate the continent's long history of Anciennes civilisations de l'Afrique montrent creating clothing for utilitarian as well as longue histoire de la création de vêtements à celebratory and symbolic purposes. Despite its des fins utilitaires ainsi que de célébration et many variations, there are several unifying symboliques du continent. Malgré ses features of and facts about African clothing. nombreuses variations, il ya plusieurs caractéristiques unificatrices de faits et sur les vêtements de l'Afrique. The Time I Cut My Nails Lucy collected her fingernails since age 12. day for school and people could not believe Yep I said 12. What makes this a tad bit it. Lucy was told so many times how stranger is that Lucy is 13 years old. And if beautiful her nails were. But this was not you can figure that out she didn’t cut her really what Lucy was envisioning. -
George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
Westminsterresearch the Feminine Awkward
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The Feminine Awkward: Graceless Bodies and the Performance of Femininity in Fashion Photographs Shinkle, E. This is an Accepted Manuscript of an article published by Taylor & Francis in Fashion Theory, doi: 10.1080/1362704X.2016.1252524 The final definitive version is available online: https://dx.doi.org/10.1080/1362704X.2016.1252524 © 2017 Taylor & Francis The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] The feminine awkward: graceless bodies and the performance of femininity in fashion photographs Eugenie Shinkle The past decade or so has seen fashion photography embracing a catalogue of uncomfortable attitudes. Anxious, embarrassed gazes. Knotted hands. Knees and elbows, necks and torsos, bent and folded at uncomfortable angles. Mottled skin and disembodied limbs. Grating, uneasy relationships between bodies and garments. This idiom, particularly prevalent within the alternative fashion press and increasingly within photographic art as well, is one that I’ve come to think of as the ‘feminine awkward’.1 Awkwardness, as I understand it here, is a negative or “agonistic” affect, organised by “trajectories of repulsion;” (Ngai 2005, 11) a feeling that tends to repel rather than to attract. It involves a combination of emotional and bodily unease – gawky, bumbling embarrassment and physical discomfort; a mild torment of body and mind. -
Music 18145 Songs, 119.5 Days, 75.69 GB
Music 18145 songs, 119.5 days, 75.69 GB Name Time Album Artist Interlude 0:13 Second Semester (The Essentials Part ... A-Trak Back & Forth (Mr. Lee's Club Mix) 4:31 MTV Party To Go Vol. 6 Aaliyah It's Gonna Be Alright 5:34 Boomerang Aaron Hall Feat. Charlie Wilson Please Come Home For Christmas 2:52 Aaron Neville's Soulful Christmas Aaron Neville O Holy Night 4:44 Aaron Neville's Soulful Christmas Aaron Neville The Christmas Song 4:20 Aaron Neville's Soulful Christmas Aaron Neville Let It Snow! Let It Snow! Let It Snow! 2:22 Aaron Neville's Soulful Christmas Aaron Neville White Christmas 4:48 Aaron Neville's Soulful Christmas Aaron Neville Such A Night 3:24 Aaron Neville's Soulful Christmas Aaron Neville O Little Town Of Bethlehem 3:56 Aaron Neville's Soulful Christmas Aaron Neville Silent Night 4:06 Aaron Neville's Soulful Christmas Aaron Neville Louisiana Christmas Day 3:40 Aaron Neville's Soulful Christmas Aaron Neville The Star Carol 2:13 Aaron Neville's Soulful Christmas Aaron Neville The Bells Of St. Mary's 2:44 Aaron Neville's Soulful Christmas Aaron Neville Tell It Like It Is 2:42 Billboard Top R&B 1967 Aaron Neville Tell It Like It Is 2:41 Classic Soul Ballads: Lovin' You (Disc 2) Aaron Neville Don't Take Away My Heaven 4:38 The Grand Tour Aaron Neville I Owe You One 5:33 The Grand Tour Aaron Neville Don't Fall Apart On Me Tonight 4:24 The Grand Tour Aaron Neville My Brother, My Brother 4:59 The Grand Tour Aaron Neville Betcha By Golly, Wow 3:56 The Grand Tour Aaron Neville Song Of Bernadette 4:04 The Grand Tour Aaron Neville You Never Can Tell 2:54 The Grand Tour Aaron Neville The Bells 3:22 The Grand Tour Aaron Neville These Foolish Things 4:23 The Grand Tour Aaron Neville The Roadie Song 4:41 The Grand Tour Aaron Neville Ain't No Way 5:01 The Grand Tour Aaron Neville The Grand Tour 3:22 The Grand Tour Aaron Neville The Lord's Prayer 1:58 The Grand Tour Aaron Neville Tell It Like It Is 2:43 Smooth Grooves: The 60s, Volume 3 L.. -
Dashikis Choose Your Perfect Fit
1 Dashikis Choose Your Perfect Fit S-XL Colors: 1X-6X Colors: Black Black/Blue Fuchsia Black/Dark Green Gold Black/Light Blue Green Black/Purple Light Blue Black/Red Maroon Black Red Blue Green Lime Military Green Mustard Red White/Lt Blue White/Lime White/Pink Yellow Mustard Blue Pink White/ Purple Traditional Print Dashiki - 3 Sizes King-Sized Dashikis Comes in sizes: Small (42”-44” chest), Choose from 1X, 2X, 3X, 4X, 5X, and 6X. Medium (46”-50” chest), and Large (48”-52” chest). 100% cotton. Made in India. C-U932 Made in Thailand. C-U918 Fitted Long Hoodie Elastic Sleeve Colors: Colors: Colors: Waist Burgundy Blue Black Green Light Blue Red Orange Lime Purple Maroon Yellow Orange Purple Red White / Black White / Blue Blue Gold Purple Traditional Elastic Dashiki Traditional Print Long-Sleeve Dashiki Trad Print Long Hoodie Up to a 42” bust, 32” long. Made in India Available in SM, MD, LG Available in LG, XL, 2X C-WS851 C-U940 C-U204 Colors: White Style 4 Navy Black Blue Brown Style 2 Black Batik Mud Print Mud Dashiki Lt. Blue Free size: Will fit up to a 52” bust and is 33” in length Embroidered Travelers Dashiki Kente Dashiki Fits up to a 50” chest. 35” length. 55% Fits up to 56” bust/chest measurement. with 19” sleeves. Plus size: Will fit up to a 56” bust and cotton/45% polyester. Made in India. C-U151 33” length. Made in India C-U920 is 36” in length with 20” sleeves. C-WH800 2 Best Sellers Black Red White/ Black/ White Black Light Blue White Blue Orange Traditional Print Luxury Skirt Set Polka Dot Maxi Skirt Mixed Print Denim Skirt - ASSORTED Make a bold statement with this traditional print It is 40” in length and fits up to a 48” elastic Fits up to 48” waist and is 41” long. -
As Americans Fixated on Modern Art and the Space Race, Harper's
POP GOES BAZAAR As Americans fixated on modern art and the space race, Harper’s Bazaar editor Nancy White pushed fashion to its outer limits By Stephen Mooallem ON APRIL 9, 1959, NASA announced the start of Project Mercury, a program whose goal was to send the rst astronauts into orbit. It was the latest volley in the Cold War–era space race, as the U.S. and the Soviet Union competed to conquer outer space. Harper’s Bazaar soon got in on the action too. For a fashion story in the February 1960 issue, Richard Avedon traveled to the NASA space center at Cape Canaveral, Florida, where he photographed the model Dovima in a series of con- spicuously modish looks with geometric shapes. At one point during the shoot, Dovima posed in front of a launch pad rigged with an SM-65 Atlas, which was not actually a spacecraft but the rst intercontinental ballistic missile capable of carrying a nuclear warhead. There was still a month to go in the 1950s, but the 1960s had already arrived. Nancy White, a longtime fashion editor at Hearst’s Good Housekeeping, had succeeded Carmel Snow as the editor of Bazaar two years earlier. White was the daughter of Hearst executive Tom White—and Snow’s niece—and her appointment was intended to help ease the transition as Snow, whose physical health had begun to decline as her drinking increased, moved to an emeritus role at the magazine. ‰ FOUNDATION © THE RICHARD AVEDON PHOTOGRAPH: COVER Jean Shrimpton, helmet by Mr. John, on the cover of the April 1965 issue, photographed by Richard Avedon 132 hite wasn’t a grande verging, and Bazaar raced to keep up. -
Ghana Poverty Mapping Report
ii Copyright © 2015 Ghana Statistical Service iii PREFACE AND ACKNOWLEDGEMENT The Ghana Statistical Service wishes to acknowledge the contribution of the Government of Ghana, the UK Department for International Development (UK-DFID) and the World Bank through the provision of both technical and financial support towards the successful implementation of the Poverty Mapping Project using the Small Area Estimation Method. The Service also acknowledges the invaluable contributions of Dhiraj Sharma, Vasco Molini and Nobuo Yoshida (all consultants from the World Bank), Baah Wadieh, Anthony Amuzu, Sylvester Gyamfi, Abena Osei-Akoto, Jacqueline Anum, Samilia Mintah, Yaw Misefa, Appiah Kusi-Boateng, Anthony Krakah, Rosalind Quartey, Francis Bright Mensah, Omar Seidu, Ernest Enyan, Augusta Okantey and Hanna Frempong Konadu, all of the Statistical Service who worked tirelessly with the consultants to produce this report under the overall guidance and supervision of Dr. Philomena Nyarko, the Government Statistician. Dr. Philomena Nyarko Government Statistician iv TABLE OF CONTENTS PREFACE AND ACKNOWLEDGEMENT ............................................................................. iv LIST OF TABLES ....................................................................................................................... vi LIST OF FIGURES .................................................................................................................... vii EXECUTIVE SUMMARY ........................................................................................................ -
Meanings of Kente Cloth Among Self-Described American And
MEANINGS OF KENTE CLOTH AMONG SELF-DESCRIBED AMERICAN AND CARIBBEAN STUDENTS OF AFRICAN DESCENT by MARISA SEKOLA TYLER (Under the Direction of Patricia Hunt-Hurst) ABSTRACT Little has been published regarding people of African descent’s knowledge, interpretation, and use of African clothing. There is a large disconnect between members of the African Diaspora and African culture itself. The purpose of this exploratory study was to explore the use and knowledge of Ghana’s kente cloth by African and Caribbean and American college students of African descent. Two focus groups were held with 20 students who either identified as African, Caribbean, or African American. The data showed that students use kente cloth during some special occasions, although they have little knowledge of the history of kente cloth. This research could be expanded to include college students from other colleges and universities, as well as, students’ thoughts on African garments. INDEX WORDS: Kente cloth, African descent, African American dress, ethnology, Culture and personality, Socialization, Identity, Unity, Commencement, Qualitative method, Focus group, West Africa, Ghana, Asante, Ewe, Rite of passage MEANINGS OF KENTE CLOTH AMONG SELF-DESCRIBED AMERICAN AND CARIBBEAN STUDENTS OF AFRICAN DESCENT By MARISA SEKOLA TYLER B.S., North Carolina Agricultural & Technical State University, 2012 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF SCIENCE ATHENS, GEORGIA 2016 ©2016 Marisa Sekola Tyler All Rights Reserved MEANINGS OF KENTE CLOTH AMONG SELF-DESCRIBED AMERICANS AND CARIBBEAN STUDENTS OF AFRICAN DESCENT by MARISA SEKOLA TYLER Major Professor: Patricia Hunt-Hurst Committee: Tony Lowe Jan Hathcote Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2016 iv DEDICATION For Isaiah and Lydia. -
Symbolic Colors Found in African Kente Cloth (Grades K – 2)
Bold and beautiful: symbolic colors found in African Kente cloth (Grades K – 2) Procedure Introduction Have the students look closely at the clothes they are wearing, as well as any other fabrics in the classroom. Invite them to suggest how the fabrics might have been created: What materials and tools were used? Who might have made them? And so on. Ask whether fabrics and clothing are the same in other parts of the world, how they might be different, or why they may be different. Announce that they are going to learn about a very special type of fabric that was worn by kings in Africa, and point out Ghana on the map or globe in relation to the United States. The colors chosen for Kente cloths are symbolic, and a combination of colors come together to tell a story. For a full list of color symbol- ism, see background information (attached) Object-based Instruction Display the images. Guide the discussion using the following ques- tioning strategy, adapting it as desired. Include information about Kente cloth from the background material during the discussion. Akan peoples, Ghana, West Africa, Kente Cloth. Describe: What are we looking at? What colors and shapes do you see? How would you describe them? What kinds of lines are there? Time Analyze: What colors or shapes repeat? What are some patterns? 45 – 60 minutes Where do the patterns seem to change? How do you think this was made? Objectives Interpret: How do the colors in this cloth make you feel? Why do you think the weaver chose these colors? What other decisions did Students will identify, describe, create, and extend patterns using the weaver need to make while creating this piece of fabric? What lines, colors, and shapes, as they create Kente cloth designs. -
Initial Measures of New Regime. President Kwame Nkrumah of Ghana, While on a Visit to Communist China, Was Deposed on Feb
Keesing's Record of World Events (formerly Keesing's Contemporary Archives), Volume 12, March, 1966 Ghana, Page 21273 © 1931-2006 Keesing's Worldwide, LLC - All Rights Reserved. Initial Measures of New Regime. President Kwame Nkrumah of Ghana, while on a visit to Communist China, was deposed on Feb. 24 as the result of swift action in an Army coup which established in power a National Liberation Council led by Major-General Joseph A. Ankrah, the former Chief of Defence Staff of the Army. In the early hours of Feb. 24 units of the Ghanaian Army occupied key installations in Accra and the other principal towns and attacked President Nkrumah's presidential guard of about 200 men at Flagstaff House, the President's strongly fortified palace in Accra; many of the guard surrendered by 11 a.m. and were arrested, but others continued to resist until the following day. One of the coup leaders, Brigadier A. K. Ocran [see below], said on March 7 that the action had been carried out by two brigades totalling 3,000 men, and that no more than 27 persons had lost their lives, including seven members of the Army and between 10 and 20 presidential guards at Flagstaff House. Among those killed was Major-General Charles M. Barwah, the Deputy Chief of Staff. The leader of the military action, Colonel Emmanuel Kwashie Kotoka (the commander of the 2nd Army Brigade stationed in Kumasi) announced in a broadcast on Feb. 24: “The myth surrounding Kwame Nkrumah has been broken.” President Nkrumah and all his Ministers, Colonel Kotoka stated, had been dismissed, his Convention People's Party (C.P.P.) declared illegal, and Parliament dissolved.