Block Type Block ID Block Description # of Strs Subject to Lottery?

Total Page：16

File Type：pdf, Size：1020Kb

Block Type Block ID Block Description # of STRs Subject to lottery? Continue Sunset 015 Shell/Acropolis/Del Monte/Asilomar 3 3 0 031 Beach/Shell/Ocean View Blvd 1 1 0 035 Siren/Balboa/Ocean View Blvd 1 1 0 042 Balboa/Esplanade/Del Monte/Companion 1 1 0 134 Bayview/Del Monte/Lighthouse/17 Mile Dr 3 3 0 169 Central/19th/Lighthouse/Caledonia 1 1 0 188 Garden/11th/Central/Carmel 1 1 0 Type 1: Over 15% but all STRs comply with 55’ Zone of Exclusion 225 Central/1st/Evans 1 1 0 242 Lighthouse/1st/Laurel/2nd 2 No 2 0 (ZOE) 269 Laurel/Monterey/Pine/11th 2 2 0 284 Lighthouse/15th/Laurel/Fountain 1 1 0 304 Short/Park/Laurel/Congress 2 2 0 312 Lighthouse/Willow/Short/Cedar 2 2 0 324 Short/Wood/Laurel/Granite 2 2 0 493 Pine/Monterey/Spruce/11th St 1 1 0 517 Spruce/Eardley/4th 1 1 0 7-072 Pico/Asilomar/Sunset 3 3 0 Type 1 Subtotal 17 28 28 0 021 Ocean View Blvd/Beacon/Coral 2 1 1 071 Ocean View Blvd/Moss/Mermaid/Sea Palm 3 1 2 085 Mermaid/Ocean View Blvd/Mobile Home Park/Naiad 4 1 3 161 Union/19th/Central/Caledonia 3 1 2 228 Central/3rd/Lighthouse/4th 3 1 2 229 Central/4th/Lighthouse/5th 2 1 1 252 Lighthouse/6th/Laurel/7th 3 1 2 Type 2: Over 15% and no STRs comply with 55’ ZOE 253 Lighthouse/5th/Laurel/6th 3 Yes 1 2 314 Lighthouse/Wood/Short/Granite 2 1 1 318 Lighthouse/Park/Short/Congress 2 1 1 332 Short/Chestnut/Laurel/Alder 2 1 1 344 Lighthouse/Walnut/Short/Chestnut 4 2 2 348 Heacock/Bentley/Short/Walcott 2 1 1 504 Pine/6th/Laurel/7th 2 1 1 7-071 Arena/Asilomar/Pico/Sunset 2 1 1 Type 2 Subtotal 15 39 16 23 064 Balboa/Sea Palm/Del Monte/Siren 2 ZOE-compliant STRs will not 1 1 Type 3: Over 15% - Some STR(s) comply with 55’ ZOE and others 074 Mermaid/Naiad/Mobile Home Park/Del Monte/Sea Palm 9 be subject to the lottery; 5 4 do not 157 Ocean View Blvd/Grand/Park/Forest 4 remaining STRs will be 3 1 subject to the lottery 251 Lighthouse/7th/Laurel/8th 4 1 3 Type 3 Subtotal 4 19 10 9 123 Bayview/17 Mile Dr/Lighthouse 3 1 2 214 Ocean View Blvd/4th/Central/5th 2 1 1 223 1st/Central/2nd 2 1 1 Yes. Only one STR continues Type 4: Standalone duplexes and triplexes 265 Laurel/7th/Pine/8th 2 1 1 495 Spruce/10th/Junipero/Monterey 2 1 1 514 Eardley/Spencer/Line/Spruce 3 1 1 Type 4 Subtotal 6 14 6 7 204 Central/7th/Lighthouse/8th 3 2 1 Type 5: Hybrid block (duplex and SFD STRs on the same block) 224 Ocean View Blvd/Dewey/Sloat/1st 5 Yes 3 2 293 Lighthouse/17th/Laurel/18th 4 3 1 Type 6 Subtotal 3 12 8 4 073 Ocean View Blvd/Naiad/Mermaid/Clyte 4 1 3 Type 6: Hybrid Block (HOA/TIC and SFD STRs on the same block) Yes 156 Ocean View Blvd/Forest/Union/16th 10 2 8 Type 7 Subtotal 2 14 3 11 144 Pacific/Caledonia/Union 1 1 0 178 Doc Ricketts Row/15th/Lighthouse/Fountain 1 1 0 Yes. Only one STR may 227 Central/Evans/2nd/Lighthouse/3rd 3 1 2 Type 7: The unusually small blocks continue 245 Eardley/Lighthouse/Line/Laine 3 1 2 211 Ocean View Blvd/10th/Pearl/Monterey 2 1 1 Type 8 Subtotal 4 10 5 5 Grand Total 52 136 76 59 Estimated lottery results: 228 STRs continue.

Copy Link

Recommended publications

'Goblinlike, Fantastic: Little People and Deep Time at the Fin De Siècle
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output ’Goblinlike, fantastic: little people and deep time at the ﬁn de siècle https://eprints.bbk.ac.uk/id/eprint/40443/ Version: Full Version Citation: Fergus, Emily (2019) ’Goblinlike, fantastic: little people and deep time at the ﬁn de siècle. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ‘Goblinlike, Fantastic’: Little People and Deep Time at the Fin De Siècle Emily Fergus Submitted for MPhil Degree 2019 Birkbeck, University of London 2 I, Emily Fergus, confirm that all the work contained within this thesis is entirely my own. ___________________________________________________ 3 Abstract This thesis offers a new reading of how little people were presented in both fiction and non-fiction in the latter half of the nineteenth century. After the ‘discovery’ of African pygmies in the 1860s, little people became a powerful way of imaginatively connecting to an inconceivably distant past, and the place of humans within it. Little people in fin de siècle narratives have been commonly interpreted as atavistic, stunted warnings of biological reversion. I suggest that there are other readings available: by deploying two nineteenth-century anthropological theories – E. B. Tylor’s doctrine of ‘survivals’, and euhemerism, a model proposing that the mythology surrounding fairies was based on the existence of real ‘little people’ – they can also be read as positive symbols of the tenacity of the human spirit, and as offering access to a sacred, spiritual, or magic, world.
[Show full text]
Magical Creatures in Isadora Moon
The Magical Creatures of Isadora Moon In the Isadora Moon stories, Isadora’s mum is a fairy and her dad is a vampire. This means that, even though Isadora lives in the human world, she has adventures with lots of fantastical creatures. Harriet Muncaster writes and draws the Isadora Moon books. Writers like Harriet often look at stories and legends from the past to get ideas for their own stories. What are some of the legends that Harriet looked at when telling the story of Isadora Moon, and what has she changed to make her stories as unique as Isadora herself? Fairies In the modern day, we picture fairies as tiny human-like creatures with wings like those of dragonflies or butterflies. However, up until the Victorian age (1837- 1901), the word ‘fairy’ meant any magical creature or events and comes from the Old French word faerie, which means ‘enchanted’. Goblins, pixies, dwarves and nymphs were all called ‘fairies’. These different types of fairies usually did not have wings, and were sometimes human- sized instead of tiny. They could also be good or bad, either helping or tricking people. Luckily, Isadora’s mum, Countess Cordelia Moon, is a good fairy, who likes baking magical cakes, planting colourful flowers, and spending time in nature. Like most modern fairies, she has wings, magical powers, and a close connection with nature, but unlike fairies in some stories, she is human-size. Isadora’s mum can fly using her fairy wings and can use her magic wand to bring toys to life, make plants grow anywhere, and change the appearance of different objects, such as Isadora’s tent.
[Show full text]
"The Little Mermaid"</I
Volume 38 Number 1 Article 25 October 2019 The Pleasures of Metamorphosis: Japanese and English Fairy Tale Transformations of "The Little Mermaid" by Lucy Fraser Bianca L. Beronio Texas State University Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Beronio, Bianca L. (2019) "The Pleasures of Metamorphosis: Japanese and English Fairy Tale Transformations of "The Little Mermaid" by Lucy Fraser," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 38 : No. 1 , Article 25. Available at: https://dc.swosu.edu/mythlore/vol38/iss1/25 This Book Reviews 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 Lucy Fraser employs her vast knowledge of Japanese and English literature and pop culture to present
[Show full text]
Mhtml:File://S:\Shared\Library\Fairy Tales\DISNEY's SUBVERSION
Page 1 of 9 The link information below provides a persistent link to the article you've requested. Persistent link to this record: Following the link below will bring you to the start of the article or citation. Cut and Paste: To place article links in an external web document, simply copy and paste the HTML below, starting with "<a href" To continue, in Internet Explorer, select FILE then SAVE AS from your browser's toolbar above. Be sure to save as a plain text file (.txt) or a 'Web Page, HTML only' file (.html). In FireFox, select FILE then SAVE FILE AS from your browser's toolbar above. In Chrome, select right click (with your mouse) on this page and select SAVE AS Record: 1 Title: Disney's sub/version of Andersen's The Little Mermaid. Language: English Authors: Trites, R. Source: Journal of Popular Film & Television; Winter91, Vol. 18 Issue 4, p145, 8p, 5 Black and White Photographs Document Type: Article Publication Taylor & Francis Ltd Information: Subject Terms: LITTLE Mermaid, The (Film) MOTION pictures Abstract: Contends that Walt Disney's 1989 film version of `The Little Mermaid' contains changes that make the movie more sexist than the original story by Hans Christian Andersen. Andersen's mermaid quests for a soul, Disney's for a mate; Disney's message about repressing children; Dependency on male protection; Contrasts between the stories; Andersen's imagery; Reliance on women to create conflict; Movie's weight consciousness; Characterization of the little mermaid. Document Essay last updated: 19910101 Information: Lexile:
[Show full text]
Disney's the Little Mermaid
Disney’s The Little Mermaid A production by Variety Children’s Theatre October 24 - 26, 2014 Touhill Performing Arts Center University of Missouri - St. Louis Dear Educators, Variety Children’s Theatre is proud to present its sixth annual production, Disney’s The Little Mermaid. Once again under the direction of Tony Award nominee Lara Teeter, this show boasts some of the city’s greatest professional actors and designers. We all eagerly await the results of their craft— bringing the story of Ariel to life. Be sure that you and your students are there to experience the beauty of an opera house with a full orchestra, dazzling sets and brilliant costumes (including a trip under the sea). Musical theatre can enhance learning on so many levels. It builds an appreciation for the arts, brings to life a lesson on the parts of a story (i.e. characters, plot, conflict) and provides the perfect setting to learn a thing or two about fairy tales and why they are important windows into important facets of our lives. Variety takes that learning one step further, however, presenting an inclusive cast where adult equity actors, talented adults from community theatre, and gifted theatrical children, work side-by-side with children who have a wide range of disabilities. The production is truly a lesson in acceptance, perseverance and the “I CAN” spirit that shines through all Variety programs. In the near future, we will have Disney’s The Little Mermaid study guide to help you incorporate the show into your curriculum and to help your students prepare for the show.
[Show full text]
How to Be a Mermaid Guide V4.Indd
Join the Merpeople Contents What Is a Mermaid? 2 They have been an ongoing fascination for as long as we can all remember. Their History of the Mermpeople 3 strangeness and beauty, their fi erceness, their charm; mermaids and mermen are everything the word mystery embodies. Famous Mermaids & Mythical Creatures 6 We’re diving deep into the underwater world of these intriguing creatures to get a closer look at the life of merpeople. How To Be a Merperson 10 Mermaid Shopping 13 Mermaid Glossary 15 2 3 What Is a Mermaid? History of the Merpeople The word mermaid is made up of two parts: mer meaning sea, and maid meaning female. The male counterparts are called mermen, and as a group, they are known as merpeople or merfolk. Merpeolpe are half human and half fi sh. They have a reputation of being extremely beautiful with a fi erce - and sometimes frightening temper. Their attractive looks are the stu of folklore and legend – and these mystical sea-dwellers have fascinated people for millennia. From historical times up until now, we have had a preconceived perception of what being a merperson entails: Long, colourful tail A single shimmery fi n The enchantment surrounding mermaids dates back to Shiny, perfect hair the late Stone Age - around 30,000 years ago. This is where humans gained control over the land and started to sail across the seas. It was then that people began to Floral or coral accessories see paintings of mermaids adorning cave walls. Clothes and crowns made However, the stories of mythical merfolk vary in di erent from shells and coral parts of the world..
[Show full text]
MX), Washington, D.C
ED 347 505 CS 010 978 TITLE From Tales of the Tongue to Tales of the Pen: An Organic Approach to Children's Literature. Resource Guide. NEM 1989 Summer Institute. INSTITUTION Southwest Texas State Univ., San Marcos. Dept. of English. SPONS AGENC: National Endowment for the Humanities (MX), Washington, D.C. PUB DATE 89 CONTRACT ES-21656-89 NOTE 233p. PUB TYPE Guides - Classroom Use - Teaching Guides (For Teacher)(052) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS *Childrens Literature; Elementary Education; *Fairy Tales; *Folk Culture; Institutes (Training Programs); Lesson Plans; *Literature Appreciation; Multicultural Education; *Mythology; Summer Programs; Teaching Methods IDENTIFIERS Folktales; Odyssey; Southwest Texas State University ABSTRACT Developed from the activities of a summer institute in Texas that focused on "The Odyssey," folk andfairy tale, and folk rhyme, this resource guide presents 50 lesson plansoffering a variety of approaches to teaching mythology andfolklore to elementary school students. The lesson plans presented inthe resource guide share a common foundation inarchetypes and universal themes that makes them adaptable to and useful invirtually any elementary school setting. The 13 lesson plans in the firstchapter deal with on "The Odyssey." The 25 lesson plans inthe second chapter deal with folk and fairy tale (stories are ofEuropean, American Indian, African, Mexican American, and Japanesederivation; two units are specifically female-oriented).The 12 lesson plans in the third chapter encompass folk rhymes (most are from MotherGoose). The fourth chapter presents a scope and sequencedesigned to give librarians a sequential guideline and appropriateactivities for introducing and teaching mytAology, folk and fairytales, and nursery rhymes. Each lesson plan typically includes:author of plan; intended grade level; time frame clays and length of individual sessions); general information about the unit; materialsneeded; and a list of activities.
[Show full text]
Deciphering Spaces: the Mermaid & the Soul
SURF Conference Proceedings 2015 1 Deciphering Spaces: The Mermaid & The Soul Leah Tyus | English Literature | Session Number Professor Joseph Lavery | English Department The mermaid has been a resilient figure for centuries. Archetypally the mermaid form has re-occurred taking on the identity as the damsel in distress as seen in Disney’s film The Little Mermaid, adapted from the original text version by Hans Christian Andersen. The lore surrounding the mermaid presents the mermaid as a half human, half fish creature that is alluring yet dangerous; beautiful yet uncanny; familiar yet foreign. All in all whichever form an author, artist, or whoever presents the mermaid in, this particular figure remains an enigma of enchantment. Working extensively with Hans Christian Andersen’s “The Little Mermaid”, scholars such as Jack Zipes has considered the text within a feminist theoretical perspective, where the little mermaid is examined as a subjective figure to male domination. Zipes has considered the representations of Andersen’s female protagonists as misogynistic and aligns such depictions with the ideology of the writer. Pil Dahlerup’s essay “Splash! Six Views of The Little Mermaid” presents several approaches applied to the text. One of which has been a psychoanalytical approach that applies Freud’s theory of the Oedipal complex to the little mermaid, and Jungian theory whereby the little mermaid is recognized as a projection of Andersen’s anima.1 For my study, I examined the text through a psychoanalytical and biographical approach. To begin, Andersen’s tale is an adaptation of Fredriech de la Motte’s Foque’s Undine. Fredriech’s Undine that draws upon Paracelsus’ treatise, whereby the nature spirits (one is an undine) may resemble a human in every way except for the possession of a soul2, echoing the early Christian accounts (around 600AD) concerning the mermaid’s desire to gain an immortal soul.
[Show full text]
20 Atomic Sonnets
! ! ! ! ! ! 2 C O N T E N T S e− :: I’m Such Positron Trash for You 5 with me} 81TI :: When U Go Out Seeking Blood :: {PLAY 6 9F :: Appetite for Destruction 7 77Ir :: r u dense ? {I’m the Baddest Kiss} 8 51Sb :: {Beauty Killer} 9 55Cs :: How You Like Me Now 10 79Au :: {Celluloid Tarnish} 11 ∞ e− :: Sting Me Chase! Me Snatch! My Breath oh! Fermion Pheromones oh! Honeyed Mess! 12 37Rb :: ¡Rabbit! {Where You’d Red the Deep, Girl?} 13 Coat of Many Colors) 14) ְכּת ֹנֶת ַפּ ִסּים :: 83Bi 14Si :: {ok!} Computer 15 112Cn :: Come as You Are {Un Un Bi Ummmmm} 16 4Be :: Carcharhinus signatus {Night Shark} 17 ∞ e− :: {interstellar electron love song} 18 6C :: {Post-Life Cadenza} 19 {I Still Ride—} 17Br :: Wanted Dead or Alive 20 Throb 31Ga :: Heart {I’m Your Last Splash} 21 54Xe :: {Stranger} 22 87Fr :: Goodbye Horses {I’m Flying over You} 23 94Pu :: Rare Horses of the Kuiper Belt 24 Notes & Annotations on The Atomic Sonnets 25 3 “For me chemistry represented an indefinite cloud of future potentialities which enveloped my life… I’d watch the buds swell in spring, the mica glint in the granite, my own hands, and I would say to myself: I will understand this, too, I will understand everything.” — Primo Levi 4 20 ATOMIC SONNETS 5 e− :: I’m Such Positron Trash for You Don’t not speak to me of cloud chambers & stability. I’m a lead-head kind of letch. Into mutual annihilation. I wreck to re-dead. Molt, rinse, roulette.
[Show full text]
Creatures in the Mist
CREATURES IN THE MIST CREATURES IN THE MIST Little People, Wild Men and Spirit Beings around the World A Study in Comparative Mythology Gary R. Varner Algora Publishing New York © 2007 by Algora Publishing. All Rights Reserved www.algora.com No portion of this book (beyond what is permitted by Sections 107 or 108 of the United States Copyright Act of 1976) may be reproduced by any process, stored in a retrieval system, or transmitted in any form, or by any means, without the express written permission of the publisher. ISBN-13: 978-0-87586-545-4 (trade paper) ISBN-13: 978-0-87586-546-1 (hard cover) ISBN-13: 978-0-87586-547-8 (ebook) Library of Congress Cataloging-in-Publication Data — Varner, Gary R. Creatures in the mist: little people, wild men and spirit beings around the world : a study in comparative mythology / Gary R. Varner. p. cm. Includes bibliographical references and index. ISBN 978-0-87586-545-4 (trade paper: alk. paper) — ISBN 978-0-87586-546-1 (hard cover: alk. paper) — ISBN 978-0-87586-547-8 (ebook) 1. Mythology—Comparative studies. I. Title. BL312.V27 2007 398.4—dc22 2006102141 Front Cover: © Layne Kennedy/Corbis Howling Wolf on Mountain Peak © Corbis Printed in the United States For Tim and Brenna Other Books by Gary R. Varner Essays in Contemporary Paganism, 2000 Sacred Wells: A Study in the History, Meaning, and Mythology of Holy Wells & Waters, 2002 Water of Life — Water of Death: The Folklore & Mythology of Sacred Waters, 2004 Menhirs, Dolmen and Circles of Stone: The Folklore & Magic of Sacred Stone, Algora Publishing, 2004 The Mythic Forest, the Green Man and the Spirit of Nature, Algora Publishing, 2006 Strangely Wrought Creatures of Life & Death: Ancient Symbolism in European and American Architecture, 2006 The Dark Wind: Witches and the Concept of Evil, 2007 Acknowledgements This book could not have been written without the people who have been recording folklore around the world for the last two centuries.
[Show full text]
The Prairie Mermaid Love-Tests of Pioneer Women
CORE Metadata, citation and similar papers at core.ac.uk Provided by DigitalCommons@University of Nebraska University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Summer 1984 The Prairie Mermaid Love-Tests Of Pioneer Women Robert H. Solomon University of Alberta Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Solomon, Robert H., "The Prairie Mermaid Love-Tests Of Pioneer Women" (1984). Great Plains Quarterly. 1808. https://digitalcommons.unl.edu/greatplainsquarterly/1808 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE PRAIRIE MERMAID LOVE~TESTS OF PIONEER WOMEN ROBERT H. SOLOMON In some fictional, historical, and autobiograph Garden Cities movement, describes the period ical accounts of the lives of married women on in question as "the time of hard fighting and the prairies of North America during the brief unceasing struggle," when one could see "set period between initial exploration and perma tlers come in, but settlers go out again, sick of nent settlement, there appears a rather wide the country.,,1 She records this experience in spread and complicated motif. In it the woman her book In Western Canada before the War, lives on an empty prairie, usually far from the which also contains proud and sympathetic edge of town; physically isolated with her hus accounts of successful marriages on the prairie, band, she is psychologically alone, too, and similar to those in the work of Willa Cather, friendless, especially in terms of female com Nellie McClung, and others.2 Mitchell's account panionship.
[Show full text]
Mermaids and Sirens As Myth Fragments in Contemporary Literature ______
Mermaids and Sirens as Myth Fragments in Contemporary Literature ____________________________________________________ by Susan Elizabeth Trigg Bachelor of Arts, Bachelor of Letters (Hons) Submitted in fulfilment of the requirements for the degree of Master of Arts Deakin University November 2002 Acknowledgements My thanks are due to the people who have supported and encouraged me through the writing of this thesis: Associate Professor Frances Devlin-Glass and Annette Comte. Their generosity is very much appreciated. Abstract This thesis examines three works: Margaret Atwood’s The Robber Bride and Alias Grace, and Angela Carter’s Nights at the Circus. All three novels feature female characters that contain elements or myth fragments of mermaids and sirens. The thesis asserts that the images of the mermaid and siren have undergone a gradual process of change, from literal mythical figures, to metaphorical images, and then to figures or myth fragments that reference the original mythical figures. The persistence of these female half-human images points to an underlying rationale that is independent of historical and cultural factors. Using feminist psychoanalytic theoretical frameworks, the thesis identifies the existence of the siren/mermaid myth fragments that are used as a means to construct the category of the ‘bad’ woman. It then identifies the function that these references serve in the narrative and in the broader context of both Victorian and contemporary societies. The thesis postulates the origin of the mermaid and siren myths as stemming from the ambivalent relationship that the male infant forms with the mother as he develops an identity as an individual. Finally, the thesis discusses the manner in which Atwood and Carter build on this foundation to deconstruct the binary oppositions that disadvantage women and to expand the category of female.
[Show full text]