A Few Good Men a La Carte a La Mode Abacus Abbey Road Abel
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Afraid of Bear to Zuni: Surnames in English of Native American Origin Found Within
RAYNOR MEMORIAL LIBRARIES Indian origin names, were eventually shortened to one-word names, making a few indistinguishable from names of non-Indian origin. Name Categories: Personal and family names of Indian origin contrast markedly with names of non-Indian Afraid of Bear to Zuni: Surnames in origin. English of Native American Origin 1. Personal and family names from found within Marquette University Christian saints (e.g. Juan, Johnson): Archival Collections natives- rare; non-natives- common 2. Family names from jobs (e.g. Oftentimes names of Native Miller): natives- rare; non-natives- American origin are based on objects common with descriptive adjectives. The 3. Family names from places (e.g. following list, which is not Rivera): natives- rare; non-native- comprehensive, comprises common approximately 1,000 name variations in 4. Personal and family names from English found within the Marquette achievements, attributes, or incidents University archival collections. The relating to the person or an ancestor names originate from over 50 tribes (e.g. Shot with two arrows): natives- based in 15 states and Canada. Tribal yes; non-natives- yes affiliations and place of residence are 5. Personal and family names from noted. their clan or totem (e.g. White bear): natives- yes; non-natives- no History: In ancient times it was 6. Personal or family names from customary for children to be named at dreams and visions of the person or birth with a name relating to an animal an ancestor (e.g. Black elk): natives- or physical phenominon. Later males in yes; non-natives- no particular received names noting personal achievements, special Tribes/ Ethnic Groups: Names encounters, inspirations from dreams, or are expressed according to the following physical handicaps. -
Close Encounters with Creative Chemical Thinking: an Outreach Presentation Using Movie Clips About the Elemental Composition of Aliens and Extraterrestrial Minerals
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Chemistry Department Published Research - Department of Chemistry 2016 Close encounters with creative chemical thinking: An outreach presentation using movie clips about the elemental composition of aliens and extraterrestrial minerals Mark A. Griep University of Nebraska-Lincoln, [email protected] Marjorie L. Mikasen University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/chemfacpub Part of the Analytical Chemistry Commons, Medicinal-Pharmaceutical Chemistry Commons, and the Other Chemistry Commons Griep, Mark A. and Mikasen, Marjorie L., "Close encounters with creative chemical thinking: An outreach presentation using movie clips about the elemental composition of aliens and extraterrestrial minerals" (2016). Faculty Publications -- Chemistry Department. 128. https://digitalcommons.unl.edu/chemfacpub/128 This Article is brought to you for free and open access by the Published Research - Department of Chemistry at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Chemistry Department by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Educación Química (2016) 27, 154---162 educación Química www.educacionquimica.info CHEMISTRY DIDACTICS Close encounters with creative chemical thinking: An outreach presentation using movie clips about the elemental composition of aliens and extraterrestrial minerals ∗ Mark A. Griep , Marjorie L. Mikasen Department of Chemistry, University of Nebraska-Lincoln, Lincoln, NE 68588-0304, USA Received 6 March 2015; accepted 17 November 2015 Available online 24 December 2015 KEYWORDS Abstract To introduce more chemistry into a middle and high school bioengineering camp experience, we developed an educational and entertaining presentation that examines the Middle school; chemistry in movies about aliens and minerals from outer space. -
The Lost Book of Enki.Pdf
L0ST BOOK °f6NK1 ZECHARIA SITCHIN author of The 12th Planet • . FICTION/MYTHOLOGY $24.00 TH6 LOST BOOK OF 6NK! Will the past become our future? Is humankind destined to repeat the events that occurred on another planet, far away from Earth? Zecharia Sitchin’s bestselling series, The Earth Chronicles, provided humanity’s side of the story—as recorded on ancient clay tablets and other Sumerian artifacts—concerning our origins at the hands of the Anunnaki, “those who from heaven to earth came.” In The Lost Book of Enki, we can view this saga from a dif- ferent perspective through this richly con- ceived autobiographical account of Lord Enki, an Anunnaki god, who tells the story of these extraterrestrials’ arrival on Earth from the 12th planet, Nibiru. The object of their colonization: gold to replenish the dying atmosphere of their home planet. Finding this precious metal results in the Anunnaki creation of homo sapiens—the human race—to mine this important resource. In his previous works, Sitchin com- piled the complete story of the Anunnaki ’s impact on human civilization in peacetime and in war from the frag- ments scattered throughout Sumerian, Akkadian, Babylonian, Assyrian, Hittite, Egyptian, Canaanite, and Hebrew sources- —the “myths” of all ancient peoples in the old world as well as the new. Missing from these accounts, however, was the perspective of the Anunnaki themselves What was life like on their own planet? What motives propelled them to settle on Earth—and what drove them from their new home? Convinced of the existence of a now lost book that formed the basis of THE lost book of ENKI MFMOHCS XND PKjOPHeCieS OF XN eXTfCXUfCWJTWXL COD 2.6CHXPJA SITCHIN Bear & Company Rochester, Vermont — Bear & Company One Park Street Rochester, Vermont 05767 www.InnerTraditions.com Copyright © 2002 by Zecharia Sitchin All rights reserved. -
The Mesopotamian Origins of Byzantine Symbolism and Early Christian Iconography
The Mesopotamian Origins of Byzantine Symbolism and Early Christian Iconography BY PAUL JOSEPH KRAUSE The eagle-god is a prominent iconographic symbol of ancient Mesopotamian religion which wielded tremendous power in the Mesopotamian imagination. The eagle-like gods of Mesopotamia eventually evolved into double-headed gods whose depictions became widespread in imperial and religious symbolism and iconography in Sumer and Akkad.1 These symbols now have common misapprehension as in the common public as being tied to Byzantine Empire of Late Antiquity and the Middle Ages. Rather, the Byzantines most likely inherited these Mesopotamian symbols and employed them in a similar manner as the Sumerians, Akkadians, and Hittites did. Likewise, the iconographic symbols of the moon god Nanna-Sin, who had the power to render the fate of humans,2 re-appeared in early Christian iconography depicting Christ in the Last Judgment. To best understand the iconographic practices and symbols used by the Byzantine Empire and emerging early Christian Church is to understand the foundational contexts by which these symbols first arose and the common religious practice of transferring and re-dedicating prior religious shrines to new deities. “Today the Byzantine eagle flutters proudly from the flags of nations from Albania to Montenegro, and though each state has its local version of the church, the heritage they all bear 1 C.N. Deedes, “The Double-Headed God,” Folklore 46, no. 3 (1935): 197-200. 2 See Samuel Noah Kramer, The Sumerians: Their History, Culture, and Character (Chicago: University of Chicago Press, 1971), 132; Georges Roux, Ancient Iraq (New York: Penguin Books, 1992), 88. -
Songs by Title Karaoke Night with the Patman
Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
March 10 Stoprail.P65
Valley of the Sun Chapter Arizona Chapter of The American Theatre Organ Society Since 1976 Volume Thirty Five 6 Issue Three 6 March 6 Two Thousand Ten Organ Stop in March 14th Save the date - March 14th for a great luncheon and In This Issue music at Organ Stop Pizza. A great time this will be once again. Lew Williams will be entertaining us on the grand Wurlitzer. The saucer bells are playing now and 1 March Meeting they are a great addtion to the other bell sounds. Doors 1 Ella Cinders Film open at 1:15. Pizza and salad buffet is $9.00, bever- ages and ice cream are extra. Bring your guests to this spring meeting. Restaurant is west of the Walgreens 2 Circulation Man on the southwest corner of Stapley and Southern in Mesa. RSVP to Hassell Moores at 2 Membership Info 623-215-2953 or [email protected]. See you there! 2 Board Members Important note from Hassell: For our Organ Stop Meeting, we have a require- 2 March Birthdays ment to provide an advance head count to Organ Stop personnel. NO LATER THAN 3 MARCH 2010, PLEASE CONTACT HASSELL MOORES 623-694-7538 TO PLACE YOUR RESERVATION. 3 Calendar According to the info I received from Pat Rowan at Organ Stop, we must have 3 College work dates a guaranteed minimum of 50 people [we will have to pay for this number] for our 3 Upcoming Events meeting. This is why I want to stress the reservation info I provided. I have to 3 Jack Fancher contact Organ Stop personnel on 4 March 2010 with an initial head count. -
Mesopotamian Mythology
MESOPOTAMIAN MYTHOLOGY The myths, epics, hymns, lamentations, penitential psalms, incantations, wisdom literature, and handbooks dealing with rituals and omens of ancient Mesopotamian. The literature that has survived from Mesopotamian was written primarily on stone or clay tablets. The production and preservation of written documents were the responsibility of scribes who were associated with the temples and the palace. A sharp distinction cannot be made between religious and secular writings. The function of the temple as a food redistribution center meant that even seemingly secular shipping receipts had a religious aspect. In a similar manner, laws were perceived as given by the gods. Accounts of the victories of the kings often were associated with the favor of the gods and written in praise of the gods. The gods were also involved in the established and enforcement of treaties between political powers of the day. A large group of texts related to the interpretations of omens has survived. Because it was felt that the will of the gods could be known through the signs that the gods revealed, care was taken to collect ominous signs and the events which they preached. If the signs were carefully observed, negative future events could be prevented by the performance of appropriate apotropaic rituals. Among the more prominent of the Texts are the shumma izbu texts (“if a fetus…”) which observe the birth of malformed young of both animals and humans. Later a similar series of texts observed the physical characteristics of any person. There are also omen observations to guide the physician in the diagnosis and treatment of patients. -
In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire -
Download File
Spectatrices: Moviegoing and Women’s Writing, 1925-1945 Nolan Gear Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Nolan Gear All Rights Reserved Abstract Spectatrices: Moviegoing and Women’s Writing, 1925-1945 Nolan Gear How did cinema influence the many writers who also constituted the first generation of moviegoers? In Spectatrices, I argue that early moviegoing was a rich imaginative reservoir for anglophone writers on both sides of the Atlantic. Coming to cinema from the vantage of the audience, I suggest that women of the 1920s found in moviegoing a practice of experimentation, aesthetic inquiry, and social critique. My project is focused on women writers not only as a means of reclaiming the femininized passivity of the audience, but because moviegoing offered novel opportunities for women to gather publicly. It was, for this reason, a profoundly political endeavor in the first decades of the 20th century. At the movies, writers such as Jessie Redmon Fauset, Zora Neale Hurston, H.D., Dorothy Richardson, and Virginia Woolf developed concepts of temporary community, alternative desire, and discontinuous form that they then incorporated into their literary practice. Where most scholarship assessing cinema’s influence on literature is governed by the medium-specificity of film, my project emphasizes the public dimension of the movies, the fleeting and semi-anonymous intimacy of the moviegoing audience. In turning to moviegoing, Spectatrices opens new methods of comparison and cross-canonical reorganization, focusing on the weak social ties typified by moviegoing audiences, the libidinal permissiveness of fantasy and diva-worship, the worshipful rhetoric by which some writers transformed the theater into a church, and most significantly, the creation of new public formations for women across different axes of class, gender, and race. -
The National Fantasy Fan (Originally Bonfire), Vol
The National 80 Fantasy Fan Years Cras ad Stellas— Tomorrow to the Stars Volume 80 Number 1 January 2021 Life Member 2020 N3F Short Story Contest — David Speakman the Winners N3F Short Story Contest Judge Jefferson Swycaffer announces the winners of the 2020 N3F Short Story Contest. He reports: First Prize: The Azazel Tree, by Chris Owens, a tale of morali- ty, of absolute good and absolute evil, and one hero who strives to uphold the good, despite the awful cost. Second Prize: The Eternal Secret, by John Yarrow, Heroic Fan- tasy in the classical mold, a tale that might have been told of Odysseus or Jason, fighting monsters and solving riddles. Third Prize: If Music Be The Fruit of Love, by Jack Mulcahy, a tale of music and love, and how a crisis calls upon us to rise to the level of heroism. Honorable Mention: The Haunting of the Jabberwocky, by Charles Douglas, a truly Carrollian story of wordplay and mad- Without objection the N3F Directorate has awarded David ness, and how a hero, unarmed, has the greatest weapon of all. Speakman a Life Membership in the N3F. He is our third life [Short Story Contest Winners] This year's cadre of entrants are member. mostly from the United States, although four came in from Great Britain, and we are always happy to have an international David writes of himself: It's January 1, 2021. Happy New flavor to our contest. Year! This year marks the first time in about 2 decades that I have no "official" role other than member of this storied organ- There were twenty-one entries, science fiction and fantasy, ization. -
5 Expos Lesclat Dels Classics L
L’esclat dels clàssics Còmics i tebeos (1900-1950) DIPUTACIÓ DE VALÈNCIA EXPOSICIONS/EXPOSICIONES Textos Vicent Sanchis, Enric Melego, Valeria Suárez President de la Diputació de València/Presidente de la “L’esclat dels clàssics: Contrastos entre els grans mestres de Diputació de València la historieta nord-americana (1900-1945)” Traducció a l’anglés dels textos/Traducción al inglés de los Antoni Francesc Gaspar Ramos textos Comissari/Comisario Begoña García Soler Diputat de l’Àrea de Cultura/Diputado del Área de Cultura Enric Melego i Trilles Xavier Rius i Torres Coordinació tècnica/Coordinación técnica Muntatge/Montaje María José Navarro Josearte SL MUSEU VALENCIÀ DE LA IL·LUSTRACIÓ I DE LA Disseny expositiu/Diseño expositivo Pintura MODERNITAT (MUVIM) Alejandro Muñoz Ariño Teodosio Caballero Rodas Enmarcat/Enmarcado Director Disseny gràfic/Diseño gráfico Pilar Torrijos Rafael Company i Mateo Valeria Suárez Conde Transport/Transporte Subdirectora Textos Art i clar Carmen Ninet Vicent Sanchis, Enric Melego, Alejandro Muñoz, Valeria Suárez Il·luminació/Iluminación Cap d’exposicions/Jefe de exposiciones Grupo Luz Amador Griñó Traducció a l’anglés dels textos/Traducción al inglés de los textos Assegurances/Seguros Cap d’Investigació i Gestió Cultural/Jefe de investigación Begoña García Soler Generalli y gestión cultural Marc Borràs i Barberà Correcció de textos/Corrección de textos Fons procedents de col·leccions privades Unitat de Normalització Lingüística de la Diputació de Fondos procedentes de colecciones privadas Cap de protocol i