Repo R T R E S U M E S Ed 013 818 24 Te Odd 060 a Curriculum for English ; Student Packet, Grace 7

Total Page:16

File Type:pdf, Size:1020Kb

Repo R T R E S U M E S Ed 013 818 24 Te Odd 060 a Curriculum for English ; Student Packet, Grace 7 REPO R T R E S U M E S ED 013 818 24 TE ODD 060 A CURRICULUM FOR ENGLISH ; STUDENT PACKET, GRACE 7. NEBRASKA UNIV., LINCOLN,CURRICULUM DEV. CTR. PUB DATE 65 CONTRACT OEC-2-10-119 EDRS PRICE MF-$1.00 HCNOT AVAILABLE rROM MRS. 258F. DESCRIPTORS- *CURR/CULUM GUIDES,*ENGLISH CURRICULUM, *ENGLISH INSTRUCTION, *GRADE 7,*INSTRUCTIONAL MATERIALS, COMPOSIIION (LITERARY), LINGUISTICS,LITERATURE, LANGUAGE, LITERARY ANALYSIS, MYTHOLOGY, SPELLING,SHORT STORIES; FORM CLASSES (LANGUAGES), DICTIONARIES,NEBRASKA CURRICULUM DEVELOPMENT CENTER THE SEVENTH-GRADE STUDENTPACKET, PRODUCED BY THE NE9RASKA CURRICULUM DEVELOPMENTCENTER, BEGINS WITH THEUNIT ENTITLED "THE MAKING OF STORIES"IN WHICH STUDENTS CONSIDER WRITERS' AUDIENCES AND METHODSCF COMPOSITION AND PRESENTATION. SUCH MATERIAL AS "ACHRISTMAS CAROL" AND SELECTIONS FROM "THE ODYSSEY,""BEOWULF," "HYMN TO HERMES," AND GRIMM'S "FAIRY TALES"ARE STUDIED TO SHOW THEDIFFERENT SETS Cf CONDITIONS UNDERWHICH AUTHORS "MAKE UF"STORIES. A RELATED UNIT, "THE MEANING OFSTORIES," ATTEMPTS TO TEACH STUDENTS, THROUGH POEMS ANDSTORIES, TO ASK WHAT A STORY MEANS AND FICAd THE MEANING ISCOMMUNICATED. WITH THIS BACKGROUND, STUDENTS ARE PREPAREDTO STUDY SELECTIONS IN THREE UNITS ON MYTHOLOGYGREEKMYTHS; HECREW LITERATURE,AND AMERICAN INDIAN MYTHS. IN THEFOLLOWING UNIT, STUDENTS ENCOUNTER BALLADS, AMERICANFOLKLORE, AND A WESTERN NOVEL, "SHANE." THE FINAL LITERATUREUNIT, "AUTOBIOGRAPHYBENJAMIN FRANKLIN," IS DESIGNED FOR THESTUDY Cf A LITERARY GENRE AND THE WRITING OF PERSONALAUTOBIOGRAPHIES. IN THE LANGUAGE UNITS, STUDENTS STUDY FORMS OFWORDS AND POSITIONS Cf WORDS IN SENTENCES, THE ORGANIZATIONAND USE CF THE DICTIONARY,AND METHODS OF SOLVING INDIVIDUALSPELLING PROBLEMS. UNITS CONTAIN OVERVIEWS OF MATERIALTO OE STUDIED, DISCUSSIONS Of LITERARY GENRES, HISTORICALBACKGROUNDS OF WORKS, STUDY AND DISCUSSION QUESTIONS, COMPOSITIONASSIGNMENTS, EXERCISES; SUPPLEMENTARY READING LISTS, VOCABULARYLISTS, AND GLOSSARIES. LITERARY SELECTIONSNOT READILY AVAILABLE IN TEXTDOOKS ARE REPRINTED IN THE STUDENTPACKET. THIS MANUAL (THREE VOLUMES) IS AVAILABLEFROM THE UNIVERSITY Cf NEBRASKA PRESS, 215 NEBRASKA HALL, LINCOLN,NEBRASKA 68508. THE RELATED TEACHER PACKET FOR GRADESEVEN IS TE 000 059. (LK) .11111t116.2.10L. a.- ,, 11":4116.; 0:11 Abouol.116.2.7-4.....4- 1r. ..444,141.elitAL-LeaUtionlir .461.1116. U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. A CURRICULUM FCR ENGLISH Student Packet THE MAKING OF STORIES Grade7 CopyrightThe University of Nebraska., 1965 ExperimentalMaterials Nebraskg6 Curriculum Development Center PERMISSION TO REPRODUCE THIS COPYRIGHT( D MATERIAL HAS BEEN GRANTED BY...ta-e-e) Ao TO ERIC AAt ORGANIZATIONS OPERATING UNDER AGREMENTS WITH THE U.S. OFFICE OF EDUCATION. FURTHER REPRODUCTION OUTSIDE THE ERIC SYSTEM REOUIRES PERMISSION OF THE COPYRIG IT OWNER." L THE MAKING OF STORIES Grade 7 CORE TEXTS: Charles Dickens, A ChristmasCarol Selections from "The Songof Milman Parry,"The Odyssey, Beowulf, "Hymn to Hermes," etc, includedin the student packet. SUPPLEMENTARY TUTS: None. Additional readings andassignments as required b eacher. OVERVIEW: This unit deals withsome of the problems an author has when he "makes up" a story. You have been readingand enjoying stories fora long time, and you know that these stories were "made up" once by someone. But have you ever really thought seriously about how or whyan author makes up a story?Have you ever wondered how it was possible for people to enjoy storieseven before writing was invented or people could read?Do you realize that there are people in some foreign lands who, even today,cannot read and write, but who enjoy stories anyway? What were the first stories "made up" in such"illiterate" cultures like? The answers to questionslike these can helpyou to increase your enjoyment, understanding,andappreciation of many of the truly wonderful stories produced byyour cultural heritage. When you analyzea story situation,you will constantly be faced with these major considerations: (1) the author'smethod of composing his "story; (2) the author's method of presentinghis "story" to his audience, and (3)the nature of the audience to which the "story" is presented. Weput "story" in quotation =sks here becausewe do not want to limitour discussion to works of "prose fiction," the kind of works thatmost people refer to when theyuse the word "story." We wantto recognize in thestudy of this unit that "poems" can be stories, too; and this unitwill include a number of selectionsthat are not even "narratives" in a strict sense. But they are "stor.Les" in thesense that they were "made up"by some "author" andthey are to be communicated to some "audience." As you read the selectionsof the unit,you will examine rather closely the methods of composition andpresentation, and the nature of the audience for which theyare composed and to which theyare presented. You will recognize immediatelyof course thata countless number of story situations exists, but theselections of this unitare so selected and arranged that you will study them as representative of four basicallydifferent sets of ceinditirns =der which authorsare brought to "make up" stories: (1) that in which the author composes his "story" as he recites itorally, using traditional tales and devices, delivering the storyto an audience madeup entirely of people who are "like" the author and who are representativeof the whole of the author's society; (2) that in which theauthor composes his "story"before he is to deliver it for a specific occasion,delivering the stody ina relatively set pattern, perhaps through memorization,to as audience again closely relatedto the author; (3) that in which theauthor again composes his"story" before he 2 delivers it, either orally or in written form, toa special audienoe,just a part of the society of the author; and (4) that inwhich the author, while writing his "story" according toa specific plan, is completely divorced from his audience, knowingvery little or perhaps nothing about that audience's cultural tradition or literary tastes,and possibly sharing very few of the audience's values.After you have examineda number of selections representing each of these sets of conditions,you wx11 examine a set of "lyric" poems in order to see if youcan tell anything about these poems using the same "sets of conditions" that you used toexamine the "narrative." I. THE POET COMPOSES AS HE RECITES. A. Introduction: The first stories were madeup by their authors at the very moment that they were told. In ancient Greece, for instance, before the people could read and write, certainmen stood in the middle of groups of people and sang about events which had happenedyears before in Greece. Their songs told about great battles and brave warriors.These taleswere at first little more than accounts of happenings suchas we now find in our newspapers; but as the years passed, some of the minor incidents inthe stories about wars were forgotten and the more important incidents were changed slowly and,in some cases, were greatly exag- gerated. You no doubt knowthat this happens whena person tells the story of something which happenedlong ago. For instance, you know that there -rea,47 was a man named Daniel Boone whowas an early pioneer in Kentucky. But you also know that the stories toldabout him have become greatly exaggeratedas they have been handed down fromone person to another. This is what happened to the first stories told about thingsthat happened in Greece. After the first storieswere told, they were not forgotten, but were retold time after tim. But each time theperson who retold these stories would change them slightly and wouldmany times mix them up with otherstories, so that the story was really new anddifferent at each telling.Nor would a story-teller plan his tale before hesang it; he would begin and relate the incidents that he wanted to or that he knewhis audience would wantto hear. Such early story-tellershad however, certainways in which they cold relate their stories more easily. They had certainways of expressing what they told which did not change.You know that whenyou were younger and were told stories by older people, these stories usually beganwith "once upon a time" and ended with "and they lived happilyever after." Well, early story-tellers made use of certain devices likethese to help themin presenting their tales, and you ehouldtry to find such devicesas you read the following selections. B. "The Song of Nilman Parry" This story-poem,or narrative poem, wassung in Yugoslavia in 1933 by a guslar,, or story-teller. Do you wonder why sucha newly-made story is the first one you are to read?In many ways, Yugoslaviain 1933 was very much like ancient Greece. There were many people whocould neither readnor write, and so many of the stories told in Yugoslaviawere sung just as stories hadbeenmany ages be- fore in Greece. The singers of stories, thegnaw, told about great things that had happened involving theircountry ana their people, andsome of the things 4 3 they told about had happened many years before. In 1933, an American named Milman Parry, auniversity professor, wentto Yugoslavia and traveled tbnyeett that country. Parry was interested he went from place tp placewith a young in collecting very oldt4Ongs3 so Yugoslavian man named Nikola Vujnovic and lis to guslars inall parts of
Recommended publications
  • Sample Odyssey Passage
    The Odyssey of Homer Translated from Greek into English prose in 1879 by S.H. Butcher and Andrew Lang. Book I In a Council of the Gods, Poseidon absent, Pallas procureth an order for the restitution of Odysseus; and appearing to his son Telemachus, in human shape, adviseth him to complain of the Wooers before the Council of the people, and then go to Pylos and Sparta to inquire about his father. Tell me, Muse, of that man, so ready at need, who wandered far and wide, after he had sacked the sacred citadel of Troy, and many were the men whose towns he saw and whose mind he learnt, yea, and many the woes he suffered in his heart upon the deep, striving to win his own life and the return of his company. Nay, but even so he saved not his company, though he desired it sore. For through the blindness of their own hearts they perished, fools, who devoured the oxen of Helios Hyperion: but the god took from them their day of returning. Of these things, goddess, daughter of Zeus, whencesoever thou hast heard thereof, declare thou even unto us. Now all the rest, as many as fled from sheer destruction, were at home, and had escaped both war and sea, but Odysseus only, craving for his wife and for his homeward path, the lady nymph Calypso held, that fair goddess, in her hollow caves, longing to have him for her lord. But when now the year had come in the courses of the seasons, wherein the gods had ordained that he should return home to Ithaca, not even there was he quit of labours, not even among his own; but all the gods had pity on him save Poseidon, who raged continually against godlike Odysseus, till he came to his own country.
    [Show full text]
  • Early Theories of Foreignness (Kennedy, RECW Ch 1 Pp
    Clas 122 2017 Mon Oct 2: Homer and Hesiod: Early Theories of Foreignness (Kennedy, RECW Ch 1 pp. 3-13) Overview of Homer's Odyssey -- a map of the world imagined by speakers of Greek The poem itself invites its audience to think about: What is a good society? What is a good leader? As readers here and now, we can also ask critical Questions: What are the poem's blind spots? How does the poem encourage its audience to think and behave? Do the poem's ideas about a good society and a good leader have meaning today? The images below come from a series of collages and paintings by Romare Bearden (1911-1988). The Smithsonian Institution organized a bautiful exhibit of the series recently, and there is a good free app (showing many of the works and adding audio commentary) available for I phone and android; search for "A Black Odyssey" where you get apps. As our story begins ..... During his journey back to his home in Ithaca after the war at Troy, Odysseus is on the island of Calypso. Athena asks Zeus if Odysseus can come home to Ithaca. Zeus says yes, and sends Hermes to tell Calypso that Odysseus needs to come home. Calypso lets Odysseus build a raft and he departs. This is only possible because .... RECW 1.1 Od. 1.22-26: Poseidon, the god of the sea, is visiting the Ethiopians, and thus is not watching Odysseus. Poseidon had been thwarting the homecoming because of the way that Odysseus treated the Cyclops Polyphemus, who was descended from Poseidon.
    [Show full text]
  • Giant List of Folklore Stories Vol. 5: the United States
    The Giant List of Stories - Vol. 5 Pattern Based Writing: Quick & Easy Essay Skim and Scan The Giant List of Folklore Stories Folklore, Folktales, Folk Heroes, Tall Tales, Fairy Tales, Hero Tales, Animal Tales, Fables, Myths, and Legends. Vol. 5: The United States Presented by Pattern Based Writing: Quick & Easy Essay The fastest, most effective way to teach students organized multi-paragraph essay writing… Guaranteed! Beginning Writers Struggling Writers Remediation Review 1 Pattern Based Writing: Quick & Easy Essay – Guaranteed Fast and Effective! © 2018 The Giant List of Stories - Vol. 5 Pattern Based Writing: Quick & Easy Essay The Giant List of Folklore Stories – Vol. 5 This volume is one of six volumes related to this topic: Vol. 1: Europe: South: Greece and Rome Vol. 4: Native American & Indigenous People Vol. 2: Europe: North: Britain, Norse, Ireland, etc. Vol. 5: The United States Vol. 3: The Middle East, Africa, Asia, Slavic, Plants, Vol. 6: Children’s and Animals So… what is this PDF? It’s a huge collection of tables of contents (TOCs). And each table of contents functions as a list of stories, usually placed into helpful categories. Each table of contents functions as both a list and an outline. What’s it for? What’s its purpose? Well, it’s primarily for scholars who want to skim and scan and get an overview of the important stories and the categories of stories that have been passed down through history. Anyone who spends time skimming and scanning these six volumes will walk away with a solid framework for understanding folklore stories.
    [Show full text]
  • Physiology and Mysticism at Pherai. the Funerary Epigram for Lykophron
    Kernos Revue internationale et pluridisciplinaire de religion grecque antique 15 | 2002 Varia Physiology and Mysticism at Pherai. The Funerary Epigram for Lykophron Aphrodite A. Avagianou Electronic version URL: http://journals.openedition.org/kernos/1368 DOI: 10.4000/kernos.1368 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 2002 ISSN: 0776-3824 Electronic reference Aphrodite A. Avagianou, « Physiology and Mysticism at Pherai. The Funerary Epigram for Lykophron », Kernos [Online], 15 | 2002, Online since 21 April 2011, connection on 20 April 2019. URL : http:// journals.openedition.org/kernos/1368 ; DOI : 10.4000/kernos.1368 Kernos Kernos 15 (2002), p. 75-89. Physiology and Mysticism at Pherai. The Funerary Epigram for Lykophron* Ta the starry heaven, where my saut will live. For historians of religion, a funerary epigram from Pherai dated to the early Hellenistic period1 has special interest. The text is as follows: Znvàc; ànà QU;,nc; IlEyéû,ou AUXOqJQillV 6 <PLÀLOXOU oo1;nL, àÀn8ElaL ôÈ Èx nUQàc; à8uvérrou' xut セキ Èv OÙQUVLOLC; èiOtQOLC; iJJtà nutQàc; àEQ8ElC;' oWIlU ôÈ IlntQàc; ÈlliiC; IlntÉQu yf\v XatÉXEL. I, Lykophron, the son of Philiskos, seem sprung from the root of great Zeus, but in truth am from the immortal fire; and l live among the heavenly stars uplifted by my father; but the body born of my mother oecupies mother-earth. The main idea of the epigram, that the soul of the dead goes to the astral heaven while the body returns to the earth, that is, the mother, is easy to grasp and it could be argued that this notion is a standard expression in funerary epigrams.
    [Show full text]
  • Pocono Provis. 6Grp 71115
    S.V.R.A SVRA Pocono Vintage Festival S.V.R.A. Hawk Performance Endurance Series with the Shelby American Convention SVRA Sprint Race Series and Historic Oval Racing Exhibition Cars Southeast Road Circuit: 1.37miles Pocono Raceway Long Pond, Pa. Tri-Oval: 2.5 miles Provisional Schedule August 20--23, 2015 July 11, 2015 Wednesday, August 19th Saturday, continued 3:00pm—6:00pm Registration 4:00pm Facility Access (approximate time) 12:00pm—1:10pm LUNCH BREAK SVRA & SAAC Track Touring Thursday, August 20th (8-6pm) 7:00am—5:00pm Registration 1:10pm Group 7, 9 Race 1 30m win 7:30am—6:00pm Tech Inspection ARCA Garages 1&2. After 1:40pm Group 6 Race 1 3pm, priority to first 4 run Groups of Friday schedule. 2:00pm Entry deadline for Historic/GT/GTP Enduro (Sat PM) (Log Books by Appt.) 2:10pm Group 10, 11 Race 1 8:00am-11:45am/ 4:45pm-6:00pm SAAC Track Day Sessions 2:40pm Group 2 Race 1 9:30am Drivers' Meeting---Test Day Drivers-ARCA Pavilion 3:10pm Group 5, 8 Race 1 10:00am SVRA DOP/TOP Classroom--ARCA Pavilion 3:40pm Group 1,3,4 Race 1 11:45--12:45 LUNCH DOP/TOP Track Van Around Sessions 4:25—5:55pm Historic GT/GTPALMS Enduro 90 minutes End #2 (Groups 5b,6b,7,9,10,11) 2 pit stops 12:00pm-4:45pm SVRA TEST DAY/DOP-TOP SESSIONS Friday, August 21st ( 8-6pm) 6:15-6:30 SVRA Car Show "Final Laps" 7:00am--5:00pm Registration 6:30pm SVRA Event Party & Concert 7:30am-11:30am / 1:30pm-5:30pm Tech Insp.
    [Show full text]
  • Getting Acquainted with the Myths Search the GML Advanced
    Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Getting acquainted with the myths Search the GML advanced Sections in this Page I. Getting acquainted with the myths II. Four "gateways" of mythology III. A strategy for reading the myths I. Getting acquainted with the myths What "getting acquainted" may mean We'll first try to clarify the meaning that the expression "getting acquainted" may have in this context: In a practical sense, I mean by "acquaintance" a general knowledge of the tales of mythology, including how they relate to each other. This concept includes neither analysis nor interpretation of the myths nor plunging too deep into one tale or another. In another sense, the expression "getting acquainted" has further implications that deserve elucidation: First of all, let us remember that we naturally investigate what we ignore, and not what we already know; accordingly, we set out to study the myths not because we feel we know them but because we feel we know nothing or very little about them. I mention this obvious circumstance because I believe that we should bear in mind that, in this respect, we are not in the same position as our remote ancestors, who may be assumed to have made their acquaintance with the myths more or less in the same way one learns one's mother tongue, and consequently did not have to study them in any way.
    [Show full text]
  • Homer's Iliad Via the Movie Troy (2004)
    23 November 2017 Homer’s Iliad via the Movie Troy (2004) PROFESSOR EDITH HALL One of the most successful movies of 2004 was Troy, directed by Wolfgang Petersen and starring Brad Pitt as Achilles. Troy made more than $497 million worldwide and was the 8th- highest-grossing film of 2004. The rolling credits proudly claim that the movie is inspired by the ancient Greek Homeric epic, the Iliad. This was, for classical scholars, an exciting claim. There have been blockbuster movies telling the story of Troy before, notably the 1956 glamorous blockbuster Helen of Troy starring Rossana Podestà, and a television two-episode miniseries which came out in 2003, directed by John Kent Harrison. But there has never been a feature film announcing such a close relationship to the Iliad, the greatest classical heroic action epic. The movie eagerly anticipated by those of us who teach Homer for a living because Petersen is a respected director. He has made some serious and important films. These range from Die Konsequenz (The Consequence), a radical story of homosexual love (1977), to In the Line of Fire (1993) and Air Force One (1997), political thrillers starring Clint Eastwood and Harrison Ford respectively. The Perfect Storm (2000) showed that cataclysmic natural disaster and special effects spectacle were also part of Petersen’s repertoire. His most celebrated film has probably been Das Boot (The Boat) of 1981, the story of the crew of a German U- boat during the Battle of the Atlantic in 1941. The finely judged and politically impartial portrayal of ordinary men, caught up in the terror and tedium of war, suggested that Petersen, if anyone, might be able to do some justice to the Homeric depiction of the Trojan War in the Iliad.
    [Show full text]
  • Another Penelope: Margaret Atwood's the Penelopiad
    Monica Bottez ANOTHER PENELOPE: MARGARET ATWOOD’S THE PENELOPIAD Keywords: epic; quest; hybrid genre; indeterminacy; postmodernism Abstract: The paper sets out to present The Penelopiad as a rewriting of Homer’s Odyssey with Penelope as the narrator. Using the Homeric intertext as well as other Greek sources collected by Robert Graves in his book The Greek Myths and Tennyson‟s “Ulysses,” it evidences the additions that the new narrative perspective has stimulated Atwood to imagine. The Penelopiad is read as propounding a new genre, the female epic or romance where the heroine’s quest is analysed on analogy with the traditional romance pattern. The paper dwells on the contradictory and parody- like versions of events and characters embedded in the text: has Penelope been the perfect patient devoted wife, a cunning lustful pretender, or the High Priestess of an Artemis cult? In conclusion, the reader can never know the truth, being tied up in the utterly puzzling indeterminacy of meaning specific to postmodernism. The title of Margaret Atwood‟s novella makes the reader expect a rewriting of Homer‟s Odyssey, which is precisely what the author does in order to enrich it with new interpretations; since myths and legends are the repository of our collective desires, fears and longings, their actuality can never be exhausted: Atwood has used mythology in much the same way she has used other intertexts like folk tales, fairy tales, and legends, replaying the old stories in new contexts and from different perspectives – frequently from a woman‟s point of view – so that the stories shimmer with new meanings.
    [Show full text]
  • Hesiod Theogony.Pdf
    Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
    [Show full text]
  • Aesop's Fables
    aesop's fables ILLUSTRATED BY FKIT2^ KKEDEL ILLUSTr a TED JUNIo r LIBraru / aesop's fa b le s Illustrated Junior Library WITH DRAWINGS BY Fritz Kredel GROSSET Sc DUNLAP £•» Publishers The special contents of this edition are copyright © 1947 by Grosset & Dunlap, Inc. All rights reserved. Printed in the United States of America. Published simultaneously in Canada. Library of Congress Catalog Card Number: 47-31077 ISBN: 0-448-11003-2 1987 P r in t in g THE DOC IN THE MANCER 1 THE WOLF IN SHEEP’S CLOTHING 2 MERCURY AND THE WOODMAN 3 THE FOX AND THE CROW 5 THE CARDENER AND HIS DOC 7 THE ANCLER AND THE LITTLE FISH 8 THE FAWN AND HER MOTHER 9 THE MILKMAID AND HER PAIL 10 THE ANT AND THE CRASSHOPPER 12 THE MICE IN COUNCIL 13 THE GNAT AND THE BULL 14 THE FOX AND THE GOAT 15 THE ASS CARRYING SALT 16 THE FOX AND THE GRAPES 18 THE HARE WITH MANY FRIENDS 19 THE HARE AND THE HOUND 21 THE HOUSE DOC AND THE WOLF 22 THE GOOSE WITH THE GOLDEN ECCS 25 THE FOX AND THE HEDCEHOC 26 THE HORSE AND THE STAC 28 THE LION AND THE BULLS 30 THE GOATHERD AND THE GOATS 31 THE HARE AND THE TORTOISE 32 ANDROCLES AND THE LION 34 THE ANT AND THE DOVE 36 THE ONE-EYED DOE 37 THE ASS AND HIS MASTERS 38 THE LION AND THE DOLPHIN 39 THE ASSS SHADOW 41 THE ASS EATING THISTLES 42 THE HAWK AND THE PICEONS 44 THE BELLY AND THE OTHER MEMBERS 46 THE FROGS DESIRINC A KING 47 THE HEN AND THE FOX 49 THE CAT AND THE MICE 51 THE MILLER.
    [Show full text]
  • The Flight Plan
    M A R C H 2 0 2 1 THE FLIGHT PLAN The Newsletter of AIAA Albuquerque Section The American Institute of Aeronautics and Astronautics AIAA ALBUQUERQUE MARCH 2021 SECTION MEETING: MAKING A DIFFERENCE A T M A C H 2 . Presenter. Lt. Col. Tucker Hamilton Organization USAF F-35 Developmental Test Director of Operations INSIDE THIS ISSUE: Abstract I humbly present my flying experiences through SECTION CALENDAR 2 pictures and videos of what it takes and what it is like to be an Experimental Fighter Test Pilot. My personal stories include NATIONAL AIAA EVENTS 2 major life-threatening aircraft accidents, close saves, combat SPACE NUCLEAR PROPULSION REPORT 3 flying revelations, serendipitous opportunities testing first of its kind technology, flying over 30 aircraft from a zeppelin to a ALBUQUERQUE DECEMBER MEETING 5 MiG-15 to an A-10, and managing the Joint Strike Fighter De- velopmental Test program for all three services. Through ALBUQUERQUE JANUARY MEETING 6 these experiences you will learn not just what a Test Pilot does, but also gain encour- ALBUQUERQUE FEBRUARY MEETING 7 agement through my lessons learned on how to make a difference in your local com- munities…did I mention cool flight test videos! CALL FOR SCIENCE FAIR JUDGES 9 Lt Col Tucker "Cinco" Hamilton started his Air Force career as an CALL FOR SCHOLARSHIP APPLICATIONS 10 operational F-15C pilot. He supported multiple Red Flag Exercises and real world Operation Noble Eagle missions where he protect- NEW AIAA HIGH SCHOOL MEMBERSHIPS 10 ed the President of the United States; at times escorting Air Force One.
    [Show full text]
  • On the Origin of Alphabetic Writing
    Aren M. Wilson-Wright Radboud University, Nijmegen November 2019 On the Origin of Alphabetic Writing Over the past few years, several scholars have advanced new theories regarding the origin of the alphabetic writing. Douglas Petrovich (2016) and Paul LeBlanc (2017), for example, both argue that the ancient Israelites invented the alphabet during their sojourn in Egypt.1 And in a 2019 article for Bible and Interpretation, Robert Holmstedt suggests that the inhabitants of Byblos developed the alphabet from the earlier Byblos Script, an undeciphered writing system found at the Phoenician city of Byblos. As part of this article, he articulates several important questions about the invention of the alphabetic writing that should guide all future inquiries into the topic: Who invented the alphabet? Where did they come from? Were they familiar with any of the other writing systems used in the ancient Near East? In this article, I will review the inscriptional and historical data that can help us answer these questions, evaluate Holmstedt’s arguments, and present my own theory of alphabetic origins. I. Review of the Evidence The earliest alphabetic inscriptions furnish the primary evidence regarding the invention of the alphabet. These inscriptions come from the Egyptian sites of Serabit el-Khadem and Wadi el-Ḥôl (see map). In 1905, Sir Flinders Petrie (1906: 129–30) discovered ten early alphabetic inscriptions while excavating the Egyptian temple and turquoise mining facility at Serabit el-Khadem. Subsequent excavations at Serabit el-Khadem—from 1920s to the 2000s—have uncovered an additional 37 early alphabetic inscriptions (Lindblom 1931; Butin 1932; Starr and Butin 1936; Gerster 1961: pl.
    [Show full text]