A Collection of Poems and Songs) Del Vaugh Schmidt Iowa State University
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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
UNDERSTANDING HORSE BEHAVIOR Prepared By: Warren Gill, Professor Doyle G
4-H MEMBER GUIDE Agricultural Extension Service Institute of Agriculture HORSE PROJECT PB1654 UNIT 8 GRADE 12 UUNDERSTANDINGNDERSTANDING HHORSEORSE BBEHAVIOREHAVIOR 1 CONTENTS Introduction 3 Planning Your Project 3 The Basics of Horse Behavior 3 Types of Behavior 4 Horse Senses 4 Horse Communication 10 Domestication & Behavior 11 Mating Behavior 11 Behavior at Foaling Time 13 Feeding Behavior 15 Abnormal Behavior / Vices 18 Questions and Answers about Horses 19 References 19 Exercises 20 Glossary 23 SKILLS AND KNOWLEDGE TO BE ACQUIRED • Improved understanding of why horses behave like horses • Applying basic behavioral knowledge to improve training skills • Learning to prevent and correct behavioral problems • Better ways to manage horses through better understanding of horse motivation OBJECTIVES To help you: • Be more competent in horse-related skills and knowledge • Feel more confident around horses • Understand the applications of basic knowledge to practical problems REQUIREMENTS 1. Make a project plan 2. Complete this manual 3. Work on this project with others, including other 4-H members, 4-H leaders, your 4-H agent and other youth and adults who can assist you in your project. 4. Evaluate your accomplishments cover photo by2 Lindsay German UNDERSTANDING HORSE BEHAVIOR Prepared by: Warren Gill, Professor Doyle G. Meadows, Professor James B. Neel, Professor Animal Science Department The University of Tennessee INTRODUCTION he 4-H Horse Project offers 4-H’ers opportunities for growing and developing interest in horses. This manual should help expand your knowledge about horse behavior, which will help you better under T stand why a horse does what it does. The manual contains information about the basics of horse behavior, horse senses, domestication, mating behavior, ingestive (eating) behavior, foaling-time behavior and how horses learn. -
The Poetics of Reflection in Digital Games
© Copyright 2019 Terrence E. Schenold The Poetics of Reflection in Digital Games Terrence E. Schenold A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2019 Reading Committee: Brian M. Reed, Chair Leroy F. Searle Phillip S. Thurtle Program Authorized to Offer Degree: English University of Washington Abstract The Poetics of Reflection in Digital Games Terrence E. Schenold Chair of the Supervisory Committee: Brian Reed, Professor English The Poetics of Reflection in Digital Games explores the complex relationship between digital games and the activity of reflection in the context of the contemporary media ecology. The general aim of the project is to create a critical perspective on digital games that recovers aesthetic concerns for game studies, thereby enabling new discussions of their significance as mediations of thought and perception. The arguments advanced about digital games draw on philosophical aesthetics, media theory, and game studies to develop a critical perspective on gameplay as an aesthetic experience, enabling analysis of how particular games strategically educe and organize reflective modes of thought and perception by design, and do so for the purposes of generating meaning and supporting expressive or artistic goals beyond amusement. The project also provides critical discussion of two important contexts relevant to understanding the significance of this poetic strategy in the field of digital games: the dynamics of the contemporary media ecology, and the technological and cultural forces informing game design thinking in the ludic century. The project begins with a critique of limiting conceptions of gameplay in game studies grounded in a close reading of Bethesda's Morrowind, arguing for a new a "phaneroscopical perspective" that accounts for the significance of a "noematic" layer in the gameplay experience that accounts for dynamics of player reflection on diegetic information and its integral relation to ergodic activity. -
Universal Dependencies and Morphology for Hungarian – and on the Price of Universality
Universal Dependencies and Morphology for Hungarian – and on the Price of Universality Veronika Vincze1,2, Katalin Ilona Simkó1, Zsolt Szántó1, Richárd Farkas1 1University of Szeged Institute of Informatics 2MTA-SZTE Research Group on Artificial Intelligence [email protected] {vinczev,szantozs,rfarkas}@inf.u-szeged.hu Abstract plementation of multilingual morphological and syntactic parsers from a computational linguistic In this paper, we present how the princi- point of view. Furthermore, it can enhance studies ples of universal dependencies and mor- on linguistic typology and contrastive linguistics. phology have been adapted to Hungarian. From the viewpoint of syntactic parsing, the We report the most challenging grammati- languages of the world are usually categorized ac- cal phenomena and our solutions to those. cording to their level of morphological richness On the basis of the adapted guidelines, (which is negatively correlated with configura- we have converted and manually corrected tionality). At one end, there is English, a strongly 1,800 sentences from the Szeged Tree- configurational language while there is Hungarian bank to universal dependency format. We at the other end of the spectrum with rich mor- also introduce experiments on this manu- phology and free word order (Fraser et al., 2013). ally annotated corpus for evaluating auto- In this paper, we present how UD principles were matic conversion and the added value of adapted to Hungarian, with special emphasis on language-specific, i.e. non-universal, an- Hungarian-specific phenomena. notations. Our results reveal that convert- Hungarian is one of the prototypical morpho- ing to universal dependencies is not nec- logically rich languages thus our UD principles essarily trivial, moreover, using language- can provide important best practices for the uni- specific morphological features may have versalization of other morphologically rich lan- an impact on overall performance. -
Hanging on to the Edges Hanging on to the Edges
DANIEL NETTLE Hanging on to the Edges Hanging on to the Edges Essays on Science, Society and the Academic Life D ANIEL Essays on Science, Society I love this book. I love the essays and I love the overall form. Reading these essays feels like entering into the best kind of intellectual conversati on—it makes me want and the Academic Life to write essays in reply. It makes me want to get everyone else reading it. I almost N never feel this enthusiasti c about a book. ETTLE —Rebecca Saxe, Professor of Cogniti ve Science at MIT What does it mean to be a scien� st working today; specifi cally, a scien� st whose subject ma� er is human life? Scien� sts o� en overstate their claim to certainty, sor� ng the world into categorical dis� nc� ons that obstruct rather than clarify its complexi� es. In this book Daniel Ne� le urges the reader to unpick such DANIEL NETTLE dis� nc� ons—biological versus social sciences, mind versus body, and nature versus nurture—and look instead for the for puzzles and anomalies, the points of Hanging on to the Edges connec� on and overlap. These essays, converted from o� en humorous, some� mes autobiographical blog posts, form an extended medita� on on the possibili� es and frustra� ons of the life scien� fi c. Pragma� cally arguing from the intersec� on between social and biological sciences, Ne� le reappraises the virtues of policy ini� a� ves such as Universal Basic Income and income redistribu� on, highligh� ng the traps researchers and poli� cians are liable to encounter. -
C2C Ep. 23 (English)
Coast to Coast Ep. 23 - English [00:02:46] Hello, hello and welcome to another episode of Coast to Coast. My name is Raul Moas. I'm the Miami program director here at Knight Foundation. My good friend and colleague Lilly Weinberg has been gracious enough to give us this time and space with you all to have a really great conversation with some stellar folks about what's happening here in South Florida, what's happening in Miami and Miami Tech and beyond the city, beyond the three or five. How does that other communities, other emerging startup and tech ecosystems, can accelerate their own growth in the times that we're living can tap into the trends of the day. And that's really what Coast-to-coast is all about. It's about examining and exploring the trends that are shaping the cities and communities we live in here in the States. And so for today's conversation, I have the distinct pleasure and immense honor of sharing some time with a great friend of mine and the CEO of an invaluable kind of Miami Tech organization called Emerge America's. Felicia, Felicia, welcome. And thank you so much for being here with us today. [00:03:45] Thanks, Rachel. Thanks for having us on the show. It's honored to be close with you. [00:03:49] It's great to be here. Thank you. Could you share with folks a little bit about immerge, its origins, its focus and what it's up to these days? [00:03:57] Sure to emerge. -
The Devils' Dance
THE DEVILS’ DANCE TRANSLATED BY THE DEVILS’ DANCE HAMID ISMAILOV DONALD RAYFIELD TILTED AXIS PRESS POEMS TRANSLATED BY JOHN FARNDON The Devils’ Dance جينلر بازمي The jinn (often spelled djinn) are demonic creatures (the word means ‘hidden from the senses’), imagined by the Arabs to exist long before the emergence of Islam, as a supernatural pre-human race which still interferes with, and sometimes destroys human lives, although magicians and fortunate adventurers, such as Aladdin, may be able to control them. Together with angels and humans, the jinn are the sapient creatures of the world. The jinn entered Iranian mythology (they may even stem from Old Iranian jaini, wicked female demons, or Aramaic ginaye, who were degraded pagan gods). In any case, the jinn enthralled Uzbek imagination. In the 1930s, Stalin’s secret police, inveigling, torturing and then executing Uzbekistan’s writers and scholars, seemed to their victims to be the latest incarnation of the jinn. The word bazm, however, has different origins: an old Iranian word, found in pre-Islamic Manichaean texts, and even in what little we know of the language of the Parthians, it originally meant ‘a meal’. Then it expanded to ‘festivities’, and now, in Iran, Pakistan and Uzbekistan, it implies a riotous party with food, drink, song, poetry and, above all, dance, as unfettered and enjoyable as Islam permits. I buried inside me the spark of love, Deep in the canyons of my brain. Yet the spark burned fiercely on And inflicted endless pain. When I heard ‘Be happy’ in calls to prayer It struck me as an evil lure. -
'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit". -
A Narrative Approach to the Philosophical Interpretation Of
A NARRATIVE APPROACH TO THE PHILOSOPHICAL INTERPRETATION OF DREAMS, MEMORIES, AND REFLECTIONS OF THE UNCONSCIOUS THROUGH THE USE OF AUTOETHNOGRAPHY/BIOGRAPHY A Dissertation by ANTONIO RIVERA ROSADO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Major Subject: Curriculum and Instruction A NARRATIVE APPROACH TO THE PHILOSOPHICAL INTERPRETATION OF DREAMS, MEMORIES, AND REFLECTIONS OF THE UNCONSCIOUS THROUGH THE USE OF AUTOETHNOGRAPHY/BIOGRAPHY A Dissertation by ANTONIO RIVERA ROSADO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Co-Chairs of Committee, Stephen Carpenter Patrick Slattery Committee Members, Valerie Hill-Jackson Toby Egan Head of Department, Dennie Smith May 2011 Major Subject: Curriculum and Instruction iii ABSTRACT A Narrative Approach to the Philosophical Interpretation of Dreams, Memories, and Reflections of the Unconscious Through the Use of Autoethnography/Biography. (May 2011) Antonio Rivera Rosado, B.A., Interamerican University of Puerto Rico; M.Ed., The University of Texas at El Paso Co-Chairs of Advisory Committee, Dr. Stephen Carpenter Dr. Patrick Slattery The purpose of the present study aimed to develop a comprehensive model that measures the autoethnographic/biographic relevance of dreams, memories, and reflections as they relate to understanding the self and others. A dream, memory, and reflection (DMR) ten item questionnaire was constructed using aspects of Freudian, Jungian, and Lacanian Theory of Dream Interpretation. Fifteen dreams, five memories, and five reflections were collected from the participant at the waking episode or during a moment of deep thought. -
The Art of Hans Arp After 1945
Stiftung Arp e. V. Papers The Art of Hans Arp after 1945 Volume 2 Edited by Jana Teuscher and Loretta Würtenberger Stiftung Arp e. V. Papers Volume 2 The Art of Arp after 1945 Edited by Jana Teuscher and Loretta Würtenberger Table of Contents 10 Director’s Foreword Engelbert Büning 12 Foreword Jana Teuscher and Loretta Würtenberger 16 The Art of Hans Arp after 1945 An Introduction Maike Steinkamp 25 At the Threshold of a New Sculpture On the Development of Arp’s Sculptural Principles in the Threshold Sculptures Jan Giebel 41 On Forest Wheels and Forest Giants A Series of Sculptures by Hans Arp 1961 – 1964 Simona Martinoli 60 People are like Flies Hans Arp, Camille Bryen, and Abhumanism Isabelle Ewig 80 “Cher Maître” Lygia Clark and Hans Arp’s Concept of Concrete Art Heloisa Espada 88 Organic Form, Hapticity and Space as a Primary Being The Polish Neo-Avant-Garde and Hans Arp Marta Smolińska 108 Arp’s Mysticism Rudolf Suter 125 Arp’s “Moods” from Dada to Experimental Poetry The Late Poetry in Dialogue with the New Avant-Gardes Agathe Mareuge 139 Families of Mind — Families of Forms Hans Arp, Alvar Aalto, and a Case of Artistic Influence Eeva-Liisa Pelkonen 157 Movement — Space Arp & Architecture Dick van Gameren 174 Contributors 178 Photo Credits 9 Director’s Foreword Engelbert Büning Hans Arp’s late work after 1945 can only be understood in the context of the horrific three decades that preceded it. The First World War, the catastro- phe of the century, and the Second World War that followed shortly thereaf- ter, were finally over. -
ALL the PRETTY HORSES.Hwp
ALL THE PRETTY HORSES Cormac McCarthy Volume One The Border Trilogy Vintage International• Vintage Books A Division of Random House, Inc. • New York I THE CANDLEFLAME and the image of the candleflame caught in the pierglass twisted and righted when he entered the hall and again when he shut the door. He took off his hat and came slowly forward. The floorboards creaked under his boots. In his black suit he stood in the dark glass where the lilies leaned so palely from their waisted cutglass vase. Along the cold hallway behind him hung the portraits of forebears only dimly known to him all framed in glass and dimly lit above the narrow wainscotting. He looked down at the guttered candlestub. He pressed his thumbprint in the warm wax pooled on the oak veneer. Lastly he looked at the face so caved and drawn among the folds of funeral cloth, the yellowed moustache, the eyelids paper thin. That was not sleeping. That was not sleeping. It was dark outside and cold and no wind. In the distance a calf bawled. He stood with his hat in his hand. You never combed your hair that way in your life, he said. Inside the house there was no sound save the ticking of the mantel clock in the front room. He went out and shut the door. Dark and cold and no wind and a thin gray reef beginning along the eastern rim of the world. He walked out on the prairie and stood holding his hat like some supplicant to the darkness over them all and he stood there for a long time. -
Self, Narrative, and Performative Femininity As Subversion and Weapon in the Handmaid’S Tale
A Woman’s Place is in the Resistance; Self, Narrative, and Performative Femininity as Subversion and Weapon in The Handmaid’s Tale A Thesis Presented to the Faculty of the Graduate School of Millersville University of Pennsylvania In Partial Fulfillment of the Requirements for the Degree of Master of Art By Courtney Landis September 2018 2 Approval Page This Thesis for the Master of Arts Degree by Courtney M. Landis Has been approved on behalf of the Graduate School by Thesis Committee: (signatures on file) Dr. Carla A. Rineer Research Advisor Dr. Kerrie Farkas Committee Member Dr. Katarzyne Jakubiak Committee Member September 21, 2018 Date 3 Preface The basis for this paper originally stemmed from my interest feminist theory, women’s literature, and contemporary literature. Margaret Atwood is an acclaimed writer, and her 1985 novel The Handmaid’s Tale is iconic and only growing in influence. A paper examining the gender structures of The Handmaid’s Tale and how they describe life in a patriarchal culture seemed like a natural fit for both the novel and my own research interests. Despite years of undergraduate and graduate work in English, I have unfortunately never had the opportunity to take a class specifically in women’s literature or feminist theory, and I appreciate the opportunity to explore those areas in my work on this thesis. Though I began a version of this thesis in summer of 2016, after the results of the 2016 presidential election, I was moved to alter the focus of this paper to examine the ways in which Offred performs gender as a method of survival as well as resistance.