200 Kid-Friendly Jokes for the Classroom
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Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories
Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories PAUL A. CRUTCHER DAPTATIONS OF GRAPHIC NOVELS AND COMICS FOR MAJOR MOTION pictures, TV programs, and video games in just the last five Ayears are certainly compelling, and include the X-Men, Wol- verine, Hulk, Punisher, Iron Man, Spiderman, Batman, Superman, Watchmen, 300, 30 Days of Night, Wanted, The Surrogates, Kick-Ass, The Losers, Scott Pilgrim vs. the World, and more. Nevertheless, how many of the people consuming those products would visit a comic book shop, understand comics and graphic novels as sophisticated, see them as valid and significant for serious criticism and scholarship, or prefer or appreciate the medium over these film, TV, and game adaptations? Similarly, in what ways is the medium complex according to its ad- vocates, and in what ways do we see that complexity in Batman graphic novels? Recent and seminal work done to validate the comics and graphic novel medium includes Rocco Versaci’s This Book Contains Graphic Language, Scott McCloud’s Understanding Comics, and Douglas Wolk’s Reading Comics. Arguments from these and other scholars and writers suggest that significant graphic novels about the Batman, one of the most popular and iconic characters ever produced—including Frank Miller, Klaus Janson, and Lynn Varley’s Dark Knight Returns, Grant Morrison and Dave McKean’s Arkham Asylum, and Alan Moore and Brian Bolland’s Killing Joke—can provide unique complexity not found in prose-based novels and traditional films. The Journal of Popular Culture, Vol. 44, No. 1, 2011 r 2011, Wiley Periodicals, Inc. -
How Fun Are Your Meetings? Investigating the Relationship Between Humor Patterns in Team Interactions and Team Performance
University of Nebraska at Omaha DigitalCommons@UNO Psychology Faculty Publications Department of Psychology 11-2014 How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance Nale Lehmann-Willenbrock Vrije University Amsterdam Joseph A. Allen University of Nebraska at Omaha, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/psychfacpub Part of the Industrial and Organizational Psychology Commons Recommended Citation Lehmann-Willenbrock, Nale and Allen, Joseph A., "How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance" (2014). Psychology Faculty Publications. 118. https://digitalcommons.unomaha.edu/psychfacpub/118 This Article is brought to you for free and open access by the Department of Psychology at DigitalCommons@UNO. It has been accepted for inclusion in Psychology Faculty Publications by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. In press at Journal of Applied Psychology How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance Nale Lehmann-Willenbrock1 & Joseph A. Allen2 1 VU University Amsterdam 2 University of Nebraska at Omaha Acknowledgements The initial data collection for this study was partially supported by a grant from the German Research Foundation, which is gratefully acknowledged. We appreciate the support by Simone Kauffeld and the helpful feedback by Steve Kozlowski. Abstract Research on humor in organizations has rarely considered the social context in which humor occurs. One such social setting that most of us experience on a daily basis concerns the team context. Building on recent theorizing about the humor—performance association in teams, this study seeks to increase our understanding of the function and effects of humor in team interaction settings. -
Spring-And-Summer-Fun-Pack.Pdf
Spring & Summer FUN PACK BUILD OUR KIDS' SUCCESS Find many activities for kids in Kindergarten through Grade 9 to get moving and stay busy during the warmer months. Spring & Summer FUN PACK WHO IS THIS BOOKLET FOR? 1EVERYONE – kids, parents, camps, childcare providers, and anyone that is involved with kids this summer. BOKS has compiled a Spring & Summer Fun Pack that is meant to engage kids and allow them to “Create Their Own Adventure of Fun” for the warmer weather months. This package is full of easy to follow activities for kids to do independently, as a family, or for camp counselors/childcare providers to engage kids on a daily basis. We have included a selection of: BOKS Bursts (5–10 minute activity breaks) BOKS lesson plans - 30 minutes of fun interactive lessons including warm ups, skill work, games and nutrition bits with video links Crafts Games Recipes HOW DOES THIS WORK? Choose two or three activities daily from the selection outlined on page 4: 1. Get physically active with Bursts and/or BOKS fitness classes. 2. Be creative with cooking and crafts. 3. Have fun outdoors (or indoors), try our games! How do your kids benefit? • Give kids time to play and have fun. • Get kids moving toward their 60 minutes of recommended daily activity. • Build strong bones and muscles with simple fitness skills. • Reduce symptoms of anxiety. • Encourage a love of physical activity through engaging games. • We encourage your kids to have fun creating their own BOKS adventure. WHO WE ARE… BOKS (Build Our Kids' Success) is a FREE physical activity program designed to get kids active and establish a lifelong commitment to health and fitness. -
Humor & Classical Music
Humor & Classical Music June 29, 2020 Humor & Classical Music ● Check the Tech ● Introductions ● Humor ○ Why, When, How? ○ Historic examples ○ Oddities ○ Wrap-Up Check the Tech ● Everything working? See and hear? ● Links in the chat ● Zoom Etiquette ○ We are recording! Need to step out? Please stop video. ○ Consider SPEAKER VIEW option. ○ Please remain muted to reduce background noise. ○ Questions? Yes! In the chat, please. ○ We will have Q&A at the end. Glad you are here tonight! ● Steve Kurr ○ Middleton HS Orchestra Teacher ○ Founding Conductor - Middleton Community Orchestra ○ M.M. and doctoral work in Musicology from UW-Madison ■ Specialties in Classic Period and Orchestra Conducting ○ Continuing Ed course through UW for almost 25 years ○ Taught courses in Humor/Music and also performed it. WHAT makes humorous music so compelling? Music Emotion with a side order of analytical thinking. Humor Analytical thinking with a side order of emotion. WHY make something in music funny? 1. PARODY for humorous effect 2. PARODY for ridicule [tends toward satire] 3. Part of a humorous GENRE We will identify the WHY in each of our examples tonight. HOW is something in music made funny? MUSIC ITSELF and/or EXTRAMUSICAL ● LEVEL I: Surface ● LEVEL II: Intermediate ● LEVEL III: Deep We will identify the levels in each of our examples tonight. WHEN is something in music funny? ● Broken Expectations ● Verisimilitude ● Context Historic Examples: Our 6 Time Periods ● Medieval & Renaissance & Baroque ○ Church was primary venue, so humor had limits (Almost exclusively secular). ● Classic ○ Music was based on conventions, and exploration of those became the humor of the time. ● Romantic ○ Humor was not the prevailing emotion explored--mainly used in novelties. -
DISGUST: Features and SAWCHUK and Clinical Implications
Journal of Social and Clinical Psychology, Vol. 24, No. 7, 2005, pp. 932-962 OLATUNJIDISGUST: Features AND SAWCHUK and Clinical Implications DISGUST: CHARACTERISTIC FEATURES, SOCIAL MANIFESTATIONS, AND CLINICAL IMPLICATIONS BUNMI O. OLATUNJI University of Massachusetts CRAIG N. SAWCHUK University of Washington School of Medicine Emotions have been a long–standing cornerstone of research in social and clinical psychology. Although the systematic examination of emotional processes has yielded a rather comprehensive theoretical and scientific literature, dramatically less empirical attention has been devoted to disgust. In the present article, the na- ture, experience, and other associated features of disgust are outlined. We also re- view the domains of disgust and highlight how these domains have expanded over time. The function of disgust in various social constructions, such as cigarette smoking, vegetarianism, and homophobia, is highlighted. Disgust is also becoming increasingly recognized as an influential emotion in the onset, maintenance, and treatment of various phobic states, Obsessive–Compulsive Disorder, and eating disorders. In comparison to the other emotions, disgust offers great promise for fu- ture social and clinical research efforts, and prospective studies designed to improve our understanding of disgust are outlined. The nature, structure, and function of emotions have a rich tradition in the social and clinical psychology literature (Cacioppo & Gardner, 1999). Although emotion theorists have contested over the number of discrete emotional states and their operational definitions (Plutchik, 2001), most agree that emotions are highly influential in organizing thought processes and behavioral tendencies (Izard, 1993; John- Preparation of this manuscript was supported in part by NIMH NRSA grant 1F31MH067519–1A1 awarded to Bunmi O. -
From Folktale to Fantasy
From Folktale to Fantasy A Recipe-Based Approach to Creative Writing Michael Fox ABSTRACT In an environment of increasing strategies for creative writing “lessons” with varying degrees of constraints – ideas like the writing prompt, fash fction, and “uncreative” writing – one overlooked idea is to work with folktale types and motifs in order to create a story outline. Tis article sketches how such a lesson might be constructed, beginning with the selection of a tale type for the broad arc of the story, then moving to the range of individual motifs which might be available to populate that arc. Advanced students might further consider using the parallel and chiastic structures of folktale to sophisticate their outline. Te example used here – and suggested for use – is a folktale which informs both Beowulf and Te Hobbit and which, therefore, is likely at least to a certain extent to be familiar to many writers. Even if the outline which this exercise gen- erates were never used to write a full story, the process remains useful in thinking about the building blocks of story and traditional structures such as the archetypal “Hero’s Journey.” Writing in Practice 131 Introduction If the terms “motif” and “folktale” are unfamiliar, I am working with the following defnitions: a motif, I teach on the Writing side of a Department in terms of folklore, is “the smallest element in a tale of English and Writing Studies. I trained as a having a power to persist in tradition. In order to medievalist, but circumstances led me to a unit have this power, it must have something unusual and which teaches a range of courses from introductory striking about it” (Tompson 1977: 415). -
What the Riddle-Makers Have Hidden Behind the Fire of a Dragon
Volume 38 Number 2 Article 7 5-15-2020 What the Riddle-Makers Have Hidden Behind the Fire of a Dragon Laurence Smith Independent Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Smith, Laurence (2020) "What the Riddle-Makers Have Hidden Behind the Fire of a Dragon," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 38 : No. 2 , Article 7. Available at: https://dc.swosu.edu/mythlore/vol38/iss2/7 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Classical mythology, folklore, and fairy tales are full of dragons which exhibit fantastic attributes such as breathing fire, hoarding treasure, or possessing more than one head. This study maintains that some of these puzzling phenomena may derive from riddles, and will focus particularly on some plausible answers that refer to a real creature that has for millennia been valued and hunted by man: the honeybee. -
Mathematics K Through 6
Building fun and creativity into standards-based learning Mathematics K through 6 Ron De Long, M.Ed. Janet B. McCracken, M.Ed. Elizabeth Willett, M.Ed. © 2007 Crayola, LLC Easton, PA 18044-0431 Acknowledgements Table of Contents This guide and the entire Crayola® Dream-Makers® series would not be possible without the expertise and tireless efforts Crayola Dream-Makers: Catalyst for Creativity! ....... 4 of Ron De Long, Jan McCracken, and Elizabeth Willett. Your passion for children, the arts, and creativity are inspiring. Thank you. Special thanks also to Alison Panik for her content-area expertise, writing, research, and curriculum develop- Lessons ment of this guide. Garden of Colorful Counting ....................................... 6 Set representation Crayola also gratefully acknowledges the teachers and students who tested the lessons in this guide: In the Face of Symmetry .............................................. 10 Analysis of symmetry Barbi Bailey-Smith, Little River Elementary School, Durham, NC Gee’s-o-metric Wisdom ................................................ 14 Geometric modeling Rob Bartoch, Sandy Plains Elementary School, Baltimore, MD Patterns of Love Beads ................................................. 18 Algebraic patterns Susan Bivona, Mount Prospect Elementary School, Basking Ridge, NJ A Bountiful Table—Fair-Share Fractions ...................... 22 Fractions Jennifer Braun, Oak Street Elementary School, Basking Ridge, NJ Barbara Calvo, Ocean Township Elementary School, Oakhurst, NJ Whimsical Charting and -
The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception
BEHAVIORAL AND BRAIN SCIENCES (2017), Page 1 of 63 doi:10.1017/S0140525X17000309, e347 The Distancing-Embracing model of the enjoyment of negative emotions in art reception Winfried Menninghaus1 Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Valentin Wagner Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Julian Hanich Department of Arts, Culture and Media, University of Groningen, 9700 AB Groningen, The Netherlands [email protected] Eugen Wassiliwizky Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Thomas Jacobsen Experimental Psychology Unit, Helmut Schmidt University/University of the Federal Armed Forces Hamburg, 22043 Hamburg, Germany [email protected] Stefan Koelsch University of Bergen, 5020 Bergen, Norway [email protected] Abstract: Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art’s purposes. -
The Gay Science (`La Gaya Scienza')
Cambridge University Press 0521631599 - The Gay Science: With a Prelude in German Rhymes and an Appendix of Songs Friedrich Nietzsche Excerpt More information The Gay Science R`La gaya scienza') This house is my own and here I dwell, I've never aped nothing from no one and ± laugh at each master, mark me well, who at himself has not poked fun. Over my front door. The title is a translation into German Rin our edition, into English) of the ProvencËal subtitle. Gaya scienza R`joyful, cheerful, or gay science') was a term used by the troubadours in the twelfth to fourteenth centuries to refer to the art of poetry. In Ecce Homo Nietzsche writes that he has used the term gaya scienza here to designate the speci®c unity of `singer, knight, and free spirit' which was characteristic of early ProvencËal culture. © Cambridge University Press www.cambridge.org Cambridge University Press 0521631599 - The Gay Science: With a Prelude in German Rhymes and an Appendix of Songs Friedrich Nietzsche Excerpt More information Preface to the second edition 1 This book might need more than one preface; and in the end there would still be room for doubting whether someone who has not experienced something similar could, by means of prefaces, be brought closer to the experiences of this book. It seems to be written in the language of the wind that brings a thaw: it contains high spirits, unrest, contradiction, and April weather, so that one is constantly reminded of winter's nearness as well as of the triumph over winter that is coming, must come, perhaps has already come. -
A Hip-Hop Copying Paradigm for All of Us
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ............................................... -
Blob and Its Audience: Making Sense of Meta- Television
MEDIA@LSE MSc Dissertation Series Compiled by Dr. Bart Cammaerts, Dr. Nick Anstead and Ruth Garland Blob and its audience: making sense of meta- television Giulia Previato, MSc in Media and Communications Other dissertations of the series are available online here: http://www.lse.ac.uk/media@lse/research/mediaWorkingPapers /ElectronicMScDissertationSeries.aspx Dissertation submitted to the Department of Media and Communications, London School of Economics and Political Science, August 2013, in partial fulfilment of the requirements for the MSc in Media, Communication and Development. Supervised by Dr Pollyanna Ruiz The Author can be contacted at: [email protected] Published by Media@LSE, London School of Economics and Political Science ("LSE"), Houghton Street, London WC2A 2AE. The LSE is a School of the University of London. It is a Charity and is incorporated in England as a company limited by guarantee under the Companies Act (Reg number 70527). Copyright in editorial matter, LSE © 2014 Copyright, Giulia Previato © 2014. The authors have asserted their moral rights. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission in writing of the publisher nor be issued to the public or circulated in any form of binding or cover other than that in which it is published. In the interests of providing a free flow of debate, views expressed in this dissertation are not necessarily those of the compilers or the LSE. MSc Dissertation of Giulia Previato Blob and its audience: Making sense of meta-television Giulia Previato ABSTRACT This dissertation deals with the audience’s interpretations of Blob, an Italian satirical and meta-televisual programme.