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Juniors Pick Prom Queen; Call Lanin, Devron to Play
Vol. XLI, No. 15 GEORGETOWN UNIVERSITY, WASHINGTON, D, C. Thursday, February 18, 1960 Parents &. Profs History Fraternity Set Get-Together Names 4 Seniors Juniors Pick Prom Queen; For Next Sunday For Membership Next Sunday, February 21, Call Lanin, Devron To Play will witness the Washington The Georgetown Beta-Phi Club's Fifth Annual Recep chapter of Phi Alpha Theta, Coughlin Promises tion for the Faculty of the national honor history fra Hawaiian Weekend College and the parents of the ternity, founded in 1921, has non-resident students. recently elected four new The Junior Prom, a yearly A full afternoon has been members from the College. tradition here at the Hilltop, planned, beginning in Gaston Hall They are seniors John Cole will enliven the weekend of at 2 p.m. with a short concert by the Chimes and a greeting to the man, Bob Di Maio, Arnold February 26. The events are parents by Rev. Joseph A. Sellin Donahue, and Al Staebler. open to all students in the ger, Dean of the College. Under the auspices of Dr. Tibor . University, not just the junior Kerekes, the Georgetown chapter class. Chairman of the fete is im has grown, since its inception in presario Paul J. Coughlin. Cough 1948, to three hundred members lin is an AB (Classical) economics and is one of the most active in the fraternity. major and a member of the Class The first admitted among Catho of '61. He was on the Spring Week lic universities, it comprises mem end Committee last year and is bers from the College, Foreign present.ly a membe1.· of the N. -
US, JAPANESE, and UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, and the CONSTRUCTION of TEEN IDENTITY By
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by British Columbia's network of post-secondary digital repositories BLOCKING THE SCHOOL PLAY: US, JAPANESE, AND UK TELEVISUAL HIGH SCHOOLS, SPATIALITY, AND THE CONSTRUCTION OF TEEN IDENTITY by Jennifer Bomford B.A., University of Northern British Columbia, 1999 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH UNIVERSITY OF NORTHERN BRITISH COLUMBIA August 2016 © Jennifer Bomford, 2016 ABSTRACT School spaces differ regionally and internationally, and this difference can be seen in television programmes featuring high schools. As television must always create its spaces and places on the screen, what, then, is the significance of the varying emphases as well as the commonalities constructed in televisual high school settings in UK, US, and Japanese television shows? This master’s thesis considers how fictional televisual high schools both contest and construct national identity. In order to do this, it posits the existence of the televisual school story, a descendant of the literary school story. It then compares the formal and narrative ways in which Glee (2009-2015), Hex (2004-2005), and Ouran koukou hosutobu (2006) deploy space and place to create identity on the screen. In particular, it examines how heteronormativity and gender roles affect the abilities of characters to move through spaces, across boundaries, and gain secure places of their own. ii TABLE OF CONTENTS Abstract ii Table of Contents iii Acknowledgement v Introduction Orientation 1 Space and Place in Schools 5 Schools on TV 11 Schools on TV from Japan, 12 the U.S., and the U.K. -
Booklet (As Updated by Any Amendments to It That We Have Provided You With), Your Schedule and Certificate of Motor Insurance
Sheilas’ Wheels Car Insurance Policy Contents Summary of policy 1 Welcome to Sheilas’ Wheels car insurance 5 Information about your contracts 5 Reporting a claim to us 6 Claims service 6 Our courtesy car service 7 What to do if you have an accident 8 You can help us to prevent a fraudulent claim being made against you 8 Windscreen care 9 Don’t let the criminal win 9 Is your vehicle at risk of being seized by the police? 9 Meaning of words and terms 10 Your policy 11 SECTION 1 Liability to other people and their property 12 SECTION 2 Damage to your car 14 SECTION 3 Fire and theft 15 SECTION 4 Windscreen damage 17 Exceptions which apply to Sections 2, 3 and 4 17 Conditions which apply to Sections 2, 3 and 4 18 SECTION 5 Additional benefits 19 SECTION 6 Territorial limits and use abroad 21 SECTION 7 No claim discount 22 Cancelling your policy and Optional Extras 24 General exceptions which apply to Sections 1 to 7 26 General conditions which apply to Sections 1 to 7 27 Endorsements which may apply to your policy 30 Contents (continued) SECTION 8 Motoring legal protection 32 Exceptions which apply to motoring legal protection 36 Conditions which apply to motoring legal protection 37 SECTION 9 Breakdown assistance cover 38 Things that are not covered 41 Important things to know 42 Who we’ll share your information with 43 SECTION 10 Personal injury benefit 45 Exceptions which apply to personal injury benefit + medical expenses benefit 48 Conditions which apply to personal injury benefit + medical expenses benefit 48 SECTION 11 Car hire benefit -
2019 Nursing Annual Report
2019 NURSING ANNUAL REPORT Letter from the Chief Nursing Officer Dear nurse colleagues: I am proud to share the 2019 nursing annual report which highlights the accomplishments of Woman’s exceptional nurses. Woman’s nurses have always proven to be innovative and committed to the needs of patients and families, the community and each other. This year was no exception. This was a year of transition for our organization, but the consistent excellence of our nurses never wavered. Our mission to improve the health of women and infants in our community is shared by every nurse. Our commitment to the core values of respect, compassion, innovation and excellence is lived out every day. Our shared governance work has brought the voice of the clinical nurse to decision-making processes and quality improvement projects are being led by nurses at the unit and organizational level. Our patient satisfaction scores remain exceptional and our patients’ experiences continue to be positively impacted by the compassionate care provided by Woman’s nurses. Lastly, I would like to express my sincere thanks to Woman’s nurses and care team members. I am humbled by your extraordinary dedication and commitment – every patient, every encounter, every day. Cheri Johnson, MSN, RNC-OB Senior Vice President, Patient Care/Chief Nursing Officer 2019 Woman’s Nursing Annual Report 1 Nursing Professional Practice Model: The Tree of Life Woman’s Professional Practice Model, referred to as The Tree of The model includes the theoretical framework, nursing care Life, guides how nurses practice, collaborate, communicate and delivery system, nursing and organizational value structure, develop professionally. -
Student Handbook 2016-2017 MADISON JUNIOR HIGH SCHOOL
Student Handbook 2016-2017 MADISON JUNIOR HIGH SCHOOL Home of the Warhawks Student Handbook & Planner 2016-17 This planner/handbook belongs to: NAME _________________________________________________ ADDRESS _____________________________________________ CITY/TOWN ______________________ZIP CODE _________ PHONE ________________________________________________ TEAM _________________________________________________ 1000 River Oak Drive Naperville, IL 60565 (630) 420-6400 www.naperville203.org/Domain/25 1 MJHS 2016-17 SCHEDULE PD Class Teacher Room 1 2 3 4 5 6 7 8 9 Applied Arts & Science Trimester #2/Quarter #2 Applied Arts & Science Trimester #3/Quarter #3 Applied Arts & Science Quarter #4 I have band/chorus/orchestra on ______________________day/days. 2 MADISON JUNIOR HIGH: HOME OF THE SOARING WARHAWKS Fight, fight, fight for mighty Madison, Oh see that Warhawk fly! Black and gold we will defend you, As we raise our banner high. Courage, strength and honor Will be yours, oh Madison. We will stand by you forever more, You’re the best, you’re number one! President James Madison --Ms. Ellen Bartel 1809- 1817 (Written for the Inaugural year 1978) President Madison was the foremost architect Of the U.S. Constitution, a leading theorist of the republican government and the fourth president of the United States. Madison Junior High Mission DISTRICT 203 MISSION STATEMENT Statement In partnership with the community, Madison Junior Our mission is to educate students to be High students are provided the opportunities to self-directed learners, collaborative grow intellectually. Socially, ethically and creatively workers, complex thinkers, quality in a safe Environment that enhances independence, producers and community contributors. Healthy decision making, and life-long Learners with a global perspective. DISTRICT AND MADISON BELIEFS NCUSD203 and Madison believe an Exemplary school district: Values dignity and uniqueness of each individual Promotes responsible citizenship Is the result of a collective partnership of students, staff, parents and community. -
Kurt Hummel's Language Features in Glee Television
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI KURT HUMMEL’S LANGUAGE FEATURES IN GLEE TELEVISION SERIES SEASON 1: A SOCIOLINGUISTIC ANALYSIS A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Yustina Rostyaningtyas Student Number: 131214113 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2017 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI “There is no substitute for hard work.” Thomas A. Edison This thesis is dedicated to: Antonius Wiryono, Yuliana Saryati, and myself iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Rostyaningtyas, Yustina. 2017. Kurt Hummel’s Language Features in Glee Television Series Season 1: A Sociolinguistic Analysis. Yogyakarta: English Language Education Study Program, Sanata Dharma University. The use of language by individuals is influenced by many factors. Gender is one factor that influences the use of language. In this research, gender is seen to be different from sex. It is seen as a social construction rather than as a fixed category. As a result, women and men do not stick to one language style but change it based on their social context. Therefore, the researcher was interested in analyzing the women’s language used by a feminine man named Kurt Hummel in Glee Television Series Season 1. In conducting the research, a research question was formulated: What women’s language features does Kurt Hummel use in his speech in Glee Television Series Season 1? The research was qualitative research in which discourse analysis was employed to analyze the data. -
"Glee: Silly Love Songs (#2.12)" (2011) Santana Lopez: Please. I've Had Mono So Many Times It Turned Into Stereo
"Glee: Silly Love Songs (#2.12)" (2011) Santana Lopez: Please. I've had mono so many times it turned into stereo. Santana Lopez: I've kissed Finn, and can I just say: NOT worth a buck. I would, however, pay $100 to jiggle one of his man boobs. Santana Lopez: Finn only wears that gassy infant look when he feels guilty about something. Santana Lopez: I'll just marry an NFL player. They're super reliable. Santana Lopez: I just try to be really, really honest with people when I think that they suck. Santana Lopez: That's how we do it in Lima Heights. "Glee: Sectionals (#1.13)" (2009) Mercedes Jones: I thought you and Puck were dating? Santana Lopez: Sex is not dating. Brittany: Yeah, if it was, Santana and I would be dating. Santana Lopez: Look, we may still be Cheerios, but neither of us ever gave Sue the set list. Brittany: Well... I did. But I didn't know what she was gonna do with it. Santana Lopez: Okay, look... believe what you want, but no one's forcing me to be here. And if you tell anyone this, I'll deny it - but I like being in Glee Club. It's the best part of my day, okay? I wasn't gonna go and mess it up. Rachel Berry: I believe you. Santana Lopez: Sex is not dating. Brittany: If it was, Santana and I would be dating. Santana Lopez: Sex is not dating. Brittany Pierce: If it were, Santana and I would be dating. -
Last Nationals.Fdx
GLEE "LAST NATIONALS" Written by Kyle Burbank [email protected] (480) 510-2629 1 INT. BREADSTIX -- NIGHT 1 ARTIE, TINA, BLAINE and SAM sit in a booth at BREADSTIX. A BANNER saying “CONGRATULATIONS” hangs from the table. They have PUNCH GLASSES raised as Blaine is about to give a toast. BLAINE To the reigning champion New Directions! They cheers, and drink. TINA We couldn’t have done it without you, Blaine. BLAINE Well, thanks, Tina. But we’re a team and we came together to make it happen! SAM (trying to play along) Yeah, and this punch is as sweet as the victory we have achieved. ARTIE Yeahhh, Blaine, I hate to be the one to ask, but why are we having a victory party before we’ve even competed? BLAINE Guys! It’s called “envisioning”. If you have a positive attitude and envision yourself winning, then you will. (then) Besides, I thought it would be nice for us seniors to get together and enjoy our time together before we graduate. SAM What -- aren’t we all just going to New York? TINA I’m not going to New York... It’s slightly awkward, but it gets even more awkward because as Tina finishes her sentence, SUE appears at the end of their table. (CONTINUED) "Last Nationals" 2. 1 CONTINUED: 1 SUE Well, well, well -- if it isn’t the Old Directions -- presumably celebrating the creation of yet another ridiculously random organization. I’m guessing this one is the “Teens Who Don’t Read ‘Yelp’ Reviews Club”. BLAINE Actually, we’re celebrating our impeding Nationals win. -
Jus' Like That
VOLUME 5- MARCH 2016 ISSUE 04 Jus’ like that... The Kentones during a coaching weekend, as they start their preparations for this year’s BABS Convention in Harrogate. More inside. Vol. 5 Iss. 4 Page 1 The Kentonian Acafellas at Chelsfield Methodist Church Acafellas 31st January Acafellas were once again asked to join a Songs of Praise Acafellas at Beckenham Probus Oakley House Service at the start of another new year with the congregation 1st December of Chelsfield Methodist Church. Probus clubs are apolitical and non-religious organisations This service is part of the whose purpose is to provide regular meetings for retired profes- active liaison between the sional and business men who would value increased social con- church and the various tacts and the opportunity for meeting others in similar circum- communities and organi- stances. Acafellas were invited to sing to the Beckenham Pro- sations that meet there bus group after their Christmas lunch at Oakley House. during the course of the One of the chorus, short on numbers, had been unexpectedly week, not least BBHC delayed and our usual compère, David T, had gone sick - and who regularly hold Aca- the lunch was running ahead of schedule. It was going to be one fellas practices there. At of those afternoons. a time when local authori- Fortunately our very own getaway driver, Brian da Wheels-Fish ties continue to reduce the number of community meeting plac- came, or rather went, storming to the rescue and shortly reap- es available to clubs and adult education classes, this is indeed peared with said delayed member – only a few minutes into the a gem of a venue, not only as somewhere to hold singing prac- performance! tices, but where we are welcomed by the congregation. -
Sing! 1975 – 2014 Song Index
Sing! 1975 – 2014 song index Song Title Composer/s Publication Year/s First line of song 24 Robbers Peter Butler 1993 Not last night but the night before ... 59th St. Bridge Song [Feelin' Groovy], The Paul Simon 1977, 1985 Slow down, you move too fast, you got to make the morning last … A Beautiful Morning Felix Cavaliere & Eddie Brigati 2010 It's a beautiful morning… A Canine Christmas Concerto Traditional/May Kay Beall 2009 On the first day of Christmas my true love gave to me… A Long Straight Line G Porter & T Curtan 2006 Jack put down his lister shears to join the welders and engineers A New Day is Dawning James Masden 2012 The first rays of sun touch the ocean, the golden rays of sun touch the sea. A Wallaby in My Garden Matthew Hindson 2007 There's a wallaby in my garden… A Whole New World (Aladdin's Theme) Words by Tim Rice & music by Alan Menken 2006 I can show you the world. A Wombat on a Surfboard Louise Perdana 2014 I was sitting on the beach one day when I saw a funny figure heading my way. A.E.I.O.U. Brian Fitzgerald, additional words by Lorraine Milne 1990 I can't make my mind up- I don't know what to do. Aba Daba Honeymoon Arthur Fields & Walter Donaldson 2000 "Aba daba ... -" said the chimpie to the monk. ABC Freddie Perren, Alphonso Mizell, Berry Gordy & Deke Richards 2003 You went to school to learn girl, things you never, never knew before. Abiyoyo Traditional Bantu 1994 Abiyoyo .. -
Agility Equipment, and Is Incorporated in Various Dogsports, Including Obedience and Rally
The American Brittany December 2018 • Volume LXX • Number 12 QUAIL CLASSIC CHICKEN CLASSIC NAFC/FC/AFC Glade Run Irish Roustabout’s Eustace CHUKAR CLASSIC GUN DOG CLASSIC FC Staley’s Orange Outlaw Mr. Cooper Marjo’s Leftover PHEASANT CLASSIC GROUSE/WOODCOCK CLASSIC CVK’s Spartan King Iron Ivy Marshfield, MO Marshfield, PAID POSTAGE Periodical IF SOMEONE TOLD YOU THAT 91OF THE TOP 100 SPORTING DOGS* EAT THE SAME BRAND OF FOOD Would you ask what it is? HELPS OPTIMIZE SUPPORTS 30% PROTEIN / OXYGEN METABOLISM IMMUNE SYSTEM 20% FAT FOR INCREASED HEALTH HELPS MAINTAIN ENDURANCE LEAN MUSCLE proplansport.com EXCLUSIVELY AT PET SPECIALTY AND ONLINE RETAILERS *Based on 2017 National, World & Invitational Champions and Purina Award Winners. The handler or owner of these champions may have received Pro Plan dog food as Purina ambassadors. Purina trademarks are owned by Société des Produits Nestlé S.A. Printed in USA. CheckMark Communication American Brittany 1111 Chouteau Avenue, St. Louis, MO 63102 JOB# 086060 OK WITH DATE PRINTING CMYK July 2018 APPROVALS REVISION PROCESS BRAND Director Design OFFSET Ad code: NPPL16FFTBSA1-REV3 Breeder Art Director PROJECT Copywriter FLEXO Ad size: 8-1/2"W x 11"D + Bleed American Brittany Prod. Designer ROTO SIZE Proofreader 8.5 x 11 Acct. Director OTHER LAST MODIFIED Acct. Coordinator 05 30 18 Client NUMBER FILE CREATED BY FINAL OK OF COLORS J Camp NOTE: Although this artwork has been checked for accuracy, 4 MODIFIED BY final approval is the client's responsibility. Please double check before signing o. VOLUME LXX • NUMBER 12 • DECEMBER 2018 Objective and Purpose: To promote cooperation and friendship among the breeders and owners of Brittanys and to encourage higher standards in breeding, training and showing of Brittanys in the field and in the show ring; to discourage the breed from becoming split into groups of “field dogs” and “show dogs” and to strive to keep it forever a “dual dog”. -
Modernism, Anti-Theatricality, and Irish Drama Michael Bogucki A
BRUTAL PHANTOMS: Modernism, Anti-Theatricality, and Irish Drama Michael Bogucki A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2009 Approved by: John McGowan Nicholas Allen Gregory Flaxman Megan Matchinske Toril Moi ©2009 Michael Bogucki All Rights Reserved ABSTRACT MICHAEL BOGUCKI: Brutal Phantoms: Modernism, Ireland, and Anti-Theatrical Drama (Under the direction of John McGowan and Nicholas Allen) This dissertation analyzes the fate of realist theatrical conventions in the work of George Moore, John M. Synge, Bernard Shaw, W.B. Yeats, and James Joyce. These writers reconfigured the conditions of theater so as to avoid the debased forms of expression they associated with the performance practices of British touring companies and with commercialism generally. Each playwright experimented with texts, performers, audiences, and theater spaces so as to foreground and criticize those aspects of the material stage they found inauthentic, sensational, and excessive. Recent narratives of the relationship between modernism and theater have rightly focused on the way literary or imagist avant-gardes generate new modes of innovative, radicalized theatrical display by, in effect, taking the stage outdoors or into the text. By locating these writers‘ anxieties about theatricality in the overlapping histories of the Irish Revival and the economies of transatlantic theater production, I argue that the theater itself was often the site of its own most sophisticated critiques, and that the strategies these late naturalist and early modernist writers develop resonate with contemporary questions in Irish studies and performance theory about the status of live theater.