[Thing One!] Oh the Places He Went! Yes, There Really Was a Dr
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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
Download the Dr. Seuss Worksheet: Egg to Go
Watch an egg? What a job! What a hard thing to do! They can crack! They can smash! It all comes down to you And how careful you are and how warm it will be Underneath you, up high in a very high tree! When Horton the Elephant hatches the egg Egg He sits in the rain and the snow, ’til I’d beg For a rest! We can help! Make a carrying case activity 3 activity So Horton can egg-sit in some warmer place! to Go! So join us today–help an egg take a trip, By making a case that’s both sturdy and hip! Exhibition developed by Exhibition sponsored by “The elephant laughed. ‘Why, of all silly things! Try I haven’t feathers and I haven’t wings. ME on your egg? Why, that doesn’t make sense... Did you know? Your egg is so small, ma’am, and I’m so immense!’” It! —Dr. Seuss The idea for Horton Hatches the Egg came to Dr. Seuss one In Dr. Seuss’s book, Horton Hatches the Egg, a very generous elephant agrees to sit day when he happened to hold on a bird’s egg until it hatches, while the bird goes off on vacation. Horton endures a drawing of an elephant up to many challenges when some people move his tree (with him and the nest still in it) the window. As the light shone and cart it off to the circus. But, in the end, the elephant is rewarded for his patience through the tracing paper, the because the bird that comes out of the egg looks like a small elephant with wings. -
Theodor Seuss Geisel (Dr
Hey Kids, Meet Theodor Seuss Geisel (Dr. Seuss) American Cartoonist (1922-2000) Theodor Seuss Geisel was born March 2, 1904 in Springfield, Massachusetts. His father, Theodor Robert Geisel, and grandfather were brewmasters in the city. His mother, Henrietta Seuss Geisel, often put Ted and his sister Marnie to sleep with rhymes she remembered from her childhood. It was his mother that Ted credits for his ability to create rhymes. Ted's memories of his youth in Springfield can be seen throughout his books. Illustrations of Horton along streams in the Jungle of Nool recall the watercourses in Springfield's Forest Park while the truck driven by Sylvester McMonkey McBean in The Sneetches may very well be the tractor that Ted saw on the streets of his hometown. In the fall of 1921 Ted left Springfield to attend Dartmouth College. While there he became editor-in-chief of the Dartmouth College's Jack-O-Lantern humor magazine. Each contribution was signed "Seuss". It was the first time we would use his middle name to identify his work. In an attempt to please his father, Ted went on to Oxford University in England after graduating from Darmouth. While at Oxford he met his wife Helen Palmer. He also discovered that academic studies bored him so he left the university and traveled Europe instead. When Geisel returned to the United States he began to pursue a career as a cartoonist. The Saturday Evening Post published a few of his early cartoons but most of his efforts were devoted to creating advertising campaigns for Standard Oil. -
Filosofická Fakulta Masarykovy Univerzity
Masarykova univerzita Filozofická fakulta Katedra anglistiky a amerikanistiky Magisterská diplomová práce Erika F eldová 2020 Erika Feldová 20 20 Masaryk University Faculty of Arts Department of English and American Studies North American Culture Studies Erika Feldová From the War Propagandist to the Children’s Book Author: The Many Faces of Dr. Seuss Master’s Diploma Thesis Supervisor: Jeffrey Alan Smith, M.A, Ph. D. 2020 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank my family and friends for supporting me throughout my studies. I could never be able to do this without you all. I would also like to thank Jeffrey Alan Smith, M.A, Ph. D. for all of his help and feedback. Erika Feldová 1 Contents From The War Propagandist to the Children’s Book Author: the Many Faces of Dr. Seuss............................................................................................................................. 0 Introduction ...................................................................................................................... 2 Methodology .................................................................................................................... 5 Geisel and Dr. Seuss ..................................................................................................... 7 Early years .................................................................................................................. -
Representation of Race in Children's Picture Books and How Students Respond to Them
St. John Fisher College Fisher Digital Publications Education Masters Ralph C. Wilson, Jr. School of Education 8-2011 Representation of Race in Children's Picture Books And How Students Respond to Them Emily Conley St. John Fisher College Follow this and additional works at: https://fisherpub.sjfc.edu/education_ETD_masters Part of the Education Commons How has open access to Fisher Digital Publications benefited ou?y Recommended Citation Conley, Emily, "Representation of Race in Children's Picture Books And How Students Respond to Them" (2011). Education Masters. Paper 47. Please note that the Recommended Citation provides general citation information and may not be appropriate for your discipline. To receive help in creating a citation based on your discipline, please visit http://libguides.sjfc.edu/citations. This document is posted at https://fisherpub.sjfc.edu/education_ETD_masters/47 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. Representation of Race in Children's Picture Books And How Students Respond to Them Abstract This study examined how race is represented in children's picture bokos and how students reacted to those representations. Research was conducted in a child care center. Data was collected through field observations, interviews, questionnaires, and audio recordings. The findings showed that the students are familiar with multicultural texts and are able to point out differences among characters and cultures. However, the students did not analyze the text from a critical standpoint. In order for students to use critical literacy, educators must understand it and incorporate it into their classrooms. -
Reading the Past: Historical Antecedents to Contemporary Reading Methods and Materials
Reading Horizons: A Journal of Literacy and Language Arts Volume 49 Issue 1 October/November 2008 Article 4 10-2008 Reading the Past: Historical Antecedents to Contemporary Reading Methods and Materials Arlene Barry Follow this and additional works at: https://scholarworks.wmich.edu/reading_horizons Part of the Education Commons Recommended Citation Barry, A. (2008). Reading the Past: Historical Antecedents to Contemporary Reading Methods and Materials. Reading Horizons: A Journal of Literacy and Language Arts, 49 (1). Retrieved from https://scholarworks.wmich.edu/reading_horizons/vol49/iss1/4 This Article is brought to you for free and open access by the Special Education and Literacy Studies at ScholarWorks at WMU. It has been accepted for inclusion in Reading Horizons: A Journal of Literacy and Language Arts by an authorized editor of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. Reading the Past • 31 Reading the Past: Historical Antecedents to Contemporary Reading Methods and Materials Arlene L. Barry, Ph.D. University of Kansas, Lawrence, Kansas Abstract This article addresses the International Reading Association’s foun- dational knowledge requirement that educators recognize histori- cal antecedents to contemporary reading methods and materials. The historical overview presented here highlights the ineffective methods and restrictive materials that have been discarded and the progress that has been made in the development of more effective and inclusive reading materials. In addition, tributes are paid to seldom-recognized innovators whose early efforts to improve read- ing instruction for their own students resulted in important change still evident in materials used today. Why should an educator be interested in the history of literacy? It has been frequently suggested that knowing history allows us to learn from the past. -
The Cat in the Hat Study Guide
Main Street Theater for Youth Study Guide MainStreetTheater.com 713-524-9196 TheThe Cat in the HatCat TEACHERS FOR TEACHERS in the Hat We hope these supplemental materials will help you integrate your field trip into your classroom curriculum. We’ve included a number of activities and resources to help broaden your students’ experience. Please make sure that each teacher that will be attending the play has a copy of these materials as they prepare to see the show. ESTIMATED LENGTH OF SHOW: 45 MINUTES Have students write letters or draw pictures to the cast of THE CAT IN THE HAT with their thoughts and comments on the production! All correspondence should be sent to: SCHOOL BOOKINGS Main Street’s Theater for Youth 3400 Main Street #283 Houston, Texas 77002 Educational materials produced by Philip Hays and Vivienne St. John The Cat READ THE BOOK in the Hat Read The Cat in the Hat to your class before seeing the play! Point out the title and explain that it is the name of the book. Have your students name some other book titles. Point out the author’s name and explain that they are the one who wrote the book. Start by having the students look at the pictures. Ask them what they think the story is about. Remind them to use the pictures as clues. If they can, have them take turns reading. After reading the book, ask the students: What is their favorite part of the story? Did they think the story was make believe (fiction) or was it real (non-fiction)? The Cat ABOUT THE AUTHOR in the Hat WHO WROTE THE CAT IN THE HAT? streets of Springfield. -
What Can a Cartoon Tell Us About the US Military in World War
Primary Source Volume IV: Issue II Page 1 Private Snafu: What Can a Cartoon Tell Us About the U.S. Military in World War II? KEENAN SALLA n the field of military history, where so much study is focused on devastating technologies, brilliant strategies and Imonumental battlefields, it may seem odd to approach the study of the U.S. military inWorld War II by examin- ing something as seemingly innocuous as a series of animated cartoon shorts like Private Snafu. While studying the history of WWII through the scope of military propaganda may seem less odd to some, particularly those who are familiar with it, it may seem unconventional to focus on the esoteric Private Snafu over a grander, and more well know series, such as Why We Fight. Framed in one of the most popular forms of contemporary mass media, the Pri- vate Snafu shorts produced by the U.S. Army and Warner Brothers Studios during the war serve as a unique window into both the concerns of the World War II U.S. military command structure and the culture and composition of the enlisted military. The concerns of the military command structure, such as enforcing discipline and the dissemination of in- formation, are plainly illustrated by the content of the Snafu shorts. Along with hundreds of other training films and other forms of newly arrived mass media, Private Snafu would be part of one of the most rapid troop mobilizations in military history. However, one the most interesting facets of the Private Snafu shorts is that while they were never made for public consumption, but instead were considered secret military material that was only to be shown to the members of the armed forces, they also featured many of the same popular cultural references and comedic tropes of civilian animation. -
Who Is Dr. Seuss
MASARYK UNIVERSITY Faculty of Education Department of English Language and Literature Popularity of Dr. Seuss and the Use of His Books in Language Classes Final thesis Brno 2020 Supervisor: Author: PhDr. Alena Dobrovolná, Ph.D. Mgr. Jana Hegerová 2 Acknowledgments My profound appreciation goes to my supervisor PhDr. Alena Dobrovolná, Ph.D. for her valuable guidance and useful feedback during the writing process. 3 Prohlášení Prohlašuji, že jsem závěrečnou práci vypracovala samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů. V Brně dne 5. června 2020 .............................. Mgr. Jana Hegerová 4 Annotation Learning English language might be challenging whether it is someone’s first or second (third and so on) language. Theodor Geisel, better known as Dr. Seuss, wrote many books for children using a limited vocabulary mostly consisting of monosyllabic words that rhyme. This fact allows the reader to learn this vocabulary in a very playful way. Using Dr. Seuss’s books in language classes might be a great way to teach vocabulary to children. Children not only enjoy the rhymes and stories, but there are also “hidden” moral messages in each book that might be discussed in the classroom. The key aim for this thesis is to raise awareness of Dr. Seuss’s books as a very useful source of enjoyment during the teaching and learning process in schools. This thesis contains lesson plans based on Dr. -
Teachers╎ Muted Voices
Journal of Pedagogy, Pluralism, and Practice Volume 2 | Issue 1 Article 6 Fall 2000 Teachers’ Muted Voices Carol V. Lloyd Follow this and additional works at: https://digitalcommons.lesley.edu/jppp Recommended Citation Lloyd, Carol V. (2000) "Teachers’ Muted Voices," Journal of Pedagogy, Pluralism, and Practice: Vol. 2 : Iss. 1 , Article 6. Available at: https://digitalcommons.lesley.edu/jppp/vol2/iss1/6 This Article is brought to you for free and open access by DigitalCommons@Lesley. It has been accepted for inclusion in Journal of Pedagogy, Pluralism, and Practice by an authorized editor of DigitalCommons@Lesley. For more information, please contact [email protected]. Lloyd: Teachers’ Muted Voices 41 Teachers' Muted Voices Carol V. Lloyd, University of Nebraska at Omaha [email protected] Introduction Graduate students in education are typically classroom teachers. As such, they relate the content of their graduate education to their daily lives in schools. While recently teaching a graduate class that focussed on literacy instruction from a holistic perspective, the students/teachers continually talked about how their beliefs about teaching did not match what they were allowed and expected to teach. Optimal reading instruction in this country has been perceived as implementing a basal reading program (what many of us knew as the "Dick and Jane" series). One consequence of this belief has been the "deskilling" of teachers (Shannon, 1989), treating teachers as technicians who implement curricula rather than as decision-making professionals (Apple, 1995; Spring, 1998). But this attitude of teachers as non-professionals goes beyond reading instruction and pervades most of the school day (McLaren, 1989). -
Private SNAFU Release 2.19.13
Rare vintage WW II cartoons showing at Vonnegut Memorial Library 16mm training films poked fun while training soldiers with ‘Private Snafu’ INDIANAPOLIS (Feb. 19, 2013) – These films are intended for mature audiences only – that is, mature audiences who like irreverent humor about Nazis, getting blown to bits (literally) and what happens if you don’t take your malaria medicine. The Private Snafu films – with SNAFU standing for “Situation Normal, All Fouled (or F-d) Up” among the military men of the day – were created to teach World War II soldiers with low literacy skills what happens if you fail to follow military protocol. The films were never intended to be seen by the general public, and in fact weren’t until they were released on DVD in 2006, more than 60 years after they were created. But on March 1, 2013, you can see them in their original 16mm format at the Kurt Vonnegut Memorial Library’s IDADA First Friday event in downtown Indianapolis. Local historian Eric Grayson has won acclaim for his digital restorations of Buster Keaton’s Seven Chances from 1925 and the serial King of the Kongo from 1929. He has provided films, articles and lectures from New York to Finland. Now, he’ll share his Private Snafu films as a tribute to another WW II veteran and humorist, Kurt Vonnegut. The character was created by Frank Capra and voiced by Mel Blanc, and many episodes were written by Theodore “Dr. Seuss” Geisel. Date: Friday, March 1, 2013 Time: 6-9 p.m. Event: IDADA First Friday gallery tour Location: Kurt Vonnegut Memorial Library 340 N. -
Bulletin (32874) 02-26-2021.Pdf
Weekly Speaker By Mike Shewey on Friday, February 26, 2021 Jeff Willoughby Executive Director Club Meeting First Tee - North Florida Jeff started with First Tee - St. Johns County in December of 2009 as Lead Golf Instructor. He was named Executive Director of First Tee - South Jacksonville North Florida in July 2016. Jeff has held several different roles in the Meets at Southside Baptist First Tee Network including Program Director and Executive Director for Church, Fellowship Hall Buffet St. Johns County and Director of Programming for North Florida. He is a Lunch begins at 12:00 PM Recognized Coach and Program Director in The First Tee Network. Prior 1435 Atlantic Blvd to joining First Tee, Jeff was a Senior Director for the YMCA of Jacksonville, FL 32207 Florida s First Coast. Jeff holds degrees in Business Administration and Time: Tuesday at 12:30 PM � Sports Management from Flagler College. In his spare time, Jeff enjoys Events cooking, driving his Jeep on the beach, and traveling. March 2nd Jeff Willoughby & Brooke Smith March 9th Mark Mahon March 16th Melissa Nelson Oratory Update March 23rd Melissa Ross By Mike Shewey on Friday, February 26, 2021 No story selected for story_1 The St. Augustine Regional went very well today. Great club and a great atmosphere. Birthdays Connor Ambrose of Creekside HS was the winner. He spoke on WWII / Food Crisis. Ryan Maloney March 7th It was very competitive again today. Other participants were all very good. Akshay Rao / Nease HS / Black Death / Bubonic Club Anniversaries Plague Laura "Shelby" Newbold / Pedro Menendez HS / Years of Service Covid Pandemic Mia Hammond / St.