TNB Index Vols 1-32
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How to Create a Word Document That Uses Different Page Numbering Formats
How to create a Word document that uses different page numbering formats You can use Microsoft Word to create complex documents. Books and other large documents occasionally require different page number formats in different sections of one document. For example, you can number the index pages with Roman numerals (for example, "i.", "ii.", "iii.") and the main document with Arabic numerals (for example, "1", "2", "3"). This article describes how to set up different page numbering formats. Format Page Numbering To format the page numbering for different sections, follow these steps: 1. Click between two parts of your document that you want to number differently. 2. On the Insert menu, click Break. 3. Click Next Page, Even Page, or Odd Page, and then click OK. For Help on an option, click the question mark, and then click the option. 4. Click in the first section. 5. On the View menu, click Header and Footer. 6. Click in the header or footer where you want the page number. 7. On the Header and Footer toolbar, click Insert Page Number. 8. On the Header and Footer toolbar, click Format Page Number. 9. In the Number format box, click the format that you want for the numbers in this section. 10. Do one of the following: o If you want the page numbering for the first page in this section to start at a particular number other than the first number in the format series, click Start at under Page numbering, and then enter the first number that you want to appear on the first page of the section. -
Lesson Plans and Resources for There There by Tommy Orange
Lesson Plans and Resources for There There by Tommy Orange Table of Contents 1. Overview and Essential Questions 2. In-Class Introduction 3. Common Core Standards Alignment 4. Reader Response Questions 5. Literary Log Prompts + Worksheets 6. Suggested Analytical Assessments 7. Suggested Creative Assessments 8. Online Resources 9. Print Resources - “How to Talk to Each Other When There’s So Little Common Ground” by Tommy Orange - Book Review from The New York Times - Book Review from Tribes.org - Interview with Tommy Orange from Powell’s Book Blog These resources are all available, both separately and together, at www.freelibrary.org/onebook Please send any comments or feedback about these resources to [email protected]. OVERVIEW AND ESSENTIAL QUESTIONS The materials in this unit plan are meant to be flexible and easy to adapt to your own classroom. Each chapter has discussion questions provided in a later section. Through reading the book and completing any of the suggested activities, students can achieve any number of the following understandings: - A person’s identity does not form automatically – it must be cultivated. - Trauma is intergenerational -- hardship is often passed down through families. - A physical place can both define and destroy an individual. Students should be introduced to the following key questions as they begin reading. They can be discussed both in universal terms and in relation to specific characters in the book: Universal - How has your family cultivated your identity? How have you cultivated it yourself? -
No. 25 a Secret Index—
a secret index— division leap no. 25 a secret index— Booksellers, publishers and researchers of the history of print culture. Collections purchased. Books found. Appraisals performed. Libraries built. divisionleap.com no. 25 83. 35. 59. 39. 39. 27. 30. 25. 21. 65. 48. 72. 6. contents a. Walter Benjamin—German Expressionism—Raubdrucke 17 b. Reproduction—Computing—Classification—Architecture 23 c. The Body—Tattooing—Incarceration—Crime—Sexuality 33 d. Social Movements—1968—Feminism—The SI & After 47 e. Music 57 f. Literature—Poetry—Periodicals 63 g. Film—Chris Marker 77 h. Art 85 i. Punk Zines 91 Additional images of all items available at divisionleap.com or by request. a. Walter Benjamin—German Expressionism—Raubdrucke 17 2. 1. 18 a. The Birth of Walter Benjamin’s Theory Heuber so messianically feels is near … ” of the Messianic McCole, analyzing this same letter, notes that this appears to be Benjamin’s first use of the term 1. [Victor Hueber] Die Organisierung der “Messianic” in his writings [McCole, p. 61]. The Intelligenz. Ein Aufruf. Zweite, erweiterte Auflage. idea would haunt Benjamin’s subsequent works Als Manuskript gedruckt. on history, and reach its conclusion in the second [Prague]: Druck H. Mercy, [1910]. 8vo, thesis in On the Concept of History, written just 107 pp, stab-stapled and glue bound into violet before his march into the mountains. “The past printed wraps. Front and back panels of wraps carries with it a secret index, by which it is referred detached but present, with the paper covering to its resurrection. There is an agreement and an the spine mostly perished. -
Jefferson County District Clerk Jamie Smith
Jefferson County District Clerk Jamie Smith 2021 DISTRICT CLERK RECORDS ARCHIVE PLAN I. BACKGROUND AND PURPOSE The District Clerk’s office maintains millions of records dating back from the mid 1800’s to present. These records are on various forms of medium ranging from hard bound binders, roll film and micro fiche, as well as original paper documents. In the year 2000 our office began the process of using scanned imaging. Efile has been mandated in Civil, Criminal and Family Law filings. Imaged records are accessible to law firms through our website online documents and the public through our public terminals in the District Clerk’s office. In 2016 we began outsourcing some civil files to be imaged for archival purposes. Our paper file inventory consists of 196,447 cases dating from 1992 to present. There remains over 25 years of back file scanning that needs to be imaged for archival purposes. II. AUTHORITY The responsibilities of the District Clerk and their authority to govern the records of the Jefferson County District Courts are established by the Texas Government Code. The Texas State Library and Archives Commission, Schedule DC – Records Retention, establishes the retention period for all documents maintained by the District Clerk. The Jefferson County District Clerk is the Records Management Officer for all records of the District Courts of Jefferson County, Texas. 1 III. 2020 DESIGNATION OF COURT DOCUMENTS Pursuant to the Texas Government Code, Chapter 51, Section 305, the District Clerk hereby designates that in lieu of filing records control schedules, we have adopted records control schedules that comply with minimum requirements established on records retention schedules issued by the Texas State Library and Archives Commission for use in our records management program. -
Guide to Creating an Index for Mcfarland (Please Read Carefully)
Guide to creating an index for McFarland (Please read carefully) 1. Introduction An index is a vital component of your book—for some readers, especially in a library setting, it will be the first point of entry, and many others will rely on it as they read or consult your book. The purpose of an index is to enable your readers to find specific information quickly. It is not intended to inform, educate, or tell a story. No one reads an index, and readers won’t take the time to puzzle through a complex structure. They want instant, direct access, and for this reason, the simplest indexes are often the most user-friendly. We strongly recommend that you compose your own index rather than hiring a professional indexer. You are the authority on your book and your subject; no one else knows equally well how its topics relate to one another, which are important or how best to phrase them. In addition, the indexing process often turns up small discrepancies in the text that need the author’s judgment to resolve. Do not worry overmuch about the length of your index. It needs to be thorough. If that makes it somewhat lengthy, this is acceptable. The goal is to serve the user. When trying to decide what should be included, put yourself in the mind of the user. If he would expect to find a certain reference in the index, make sure it is there. We prefer that you submit your index in Microsoft Word, but most other word processing programs are fine as well. -
Scenes from the Passion of Christ: the Agony in the Garden, The
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Andrea Vanni Andrea di Vanni Sienese, c. 1330 - 1413 Scenes from the Passion of Christ: The Agony in the Garden, the Crucifixion, and the Descent into Limbo [entire triptych] 1380s tempera on panel overall: 56.9 × 116.4 × 3.4 cm (22 3/8 × 45 13/16 × 1 5/16 in.) Inscription: middle panel, lower center on original frame, some of the letters restored: ANDREAS UANNIS / DE SENIS / ME PINXIT (Andreas di Vanni of Siena painted me); middle panel, above the cross, in gold bordered by red rectangle: INRI; middle panel, on red flag, in gold: SPQR; right panel, in black paint on the scroll held by God the Father: Destruxit quidam mortes inferni / et subvertit potentias diaboli; right panel, in black paint on the scroll held by Saint John the Baptist: ECCE.ANGIUS[AGNUS]. (Behold the Lamb) Corcoran Collection (William A. Clark Collection) 2014.79.711.a-c ENTRY This highly detailed triptych by the Sienese painter Andrea di Vanni is a recent addition to the National Gallery of Art collection. One of the most prominent works acquired from the Corcoran Gallery of Art, the altarpiece consists of three panels depicting stories from the Passion of Christ. Attached by modern hinges, the two lateral panels can be folded over the central painting to protect it and facilitate transportation. When opened, the triptych’s panels represent, from left to right, Christ’s Agony in the Garden of Gethsemane, the Crucifixion, and Scenes from the Passion of Christ: The Agony in the Garden, the Crucifixion, and the 1 Descent into Limbo [entire triptych] National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries the Descent into Limbo. -
The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofi T Audiovisual Archives
Copyright ©2012 Academy of Motion Picture Arts and Sciences. “Oscar,” “Academy Award,” and the Oscar statuette are registered trademarks, and the Oscar statuette the copyrighted property, of the Academy of Motion Picture Arts and Sciences. The accuracy, completeness, and adequacy of the content herein are not guaranteed, and the Academy of Motion Picture Arts and Sciences expressly disclaims all warranties, including warranties of merchantability, fi tness for a particular purpose and non-infringement. Any legal information contained herein is not legal advice, and is not a substitute for advice of an attorney. All rights reserved under international copyright conventions. No part of this document may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without permission in writing from the publisher. Published by the Academy of Motion Picture Arts and Sciences Inquiries should be addressed to: Science and Technology Council Academy of Motion Picture Arts and Sciences 1313 Vine Street, Hollywood, CA 90028 (310) 247-3000 http://www.oscars.org Printed in the United States of America Library of Congress Cataloging-in-Publication Data The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofi t Audiovisual Archives 1. Digital preservation – Case Studies. 2. Film Archives – Technological Innovations 3. Independent Filmmakers 4. Documentary Films 5. Audiovisual I. Academy of Motion Picture Arts and -
Teachers' Resource
TEACHERS’ RESOURCE JOURNEYS IN ART AND AMBITION CONTENTS 1: INTRODUCTION: JOURNEYS IN ART AND AMBITION 2: THE YOUNG DÜRER: CURATOR’S QUESTIONS 3: DÜRER’S LINES OF ENQUIRY 4: ARTISTIC EXCHANGE IN RENAISSANCE EUROPE 5: CROSSING CONTINENTS, CONVERGING CULTURES 6: LINES TRAVELLED AND DRAWN: A CONTEMPORARY PRACTICE PERSPECTIVE 7: ‘DÜRER ALS MODERNER EUROPÄER’ GERMAN LANGUAGE ACTIVITY 8: GLOSSARY 9: TEACHING RESOURCE CD Teachers’ Resource JOURNEYS IN ART AND AMBITION Compiled and produced by Niccola Shearman and Sarah Green Design by WJD SUGGESTED CURRICULUM LINKS FOR EACH ESSAY ARE MARKED IN ORANGE TERMS REFERRED TO IN THE GLOSSARY ARE MARKED IN PURPLE To book a visit to the gallery or to discuss any of the education projects at The Courtauld Gallery please contact: e: [email protected] t: 0207 848 1058 WELCOME The Courtauld Institute of Art runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars. I hope the material will prove to be both useful and inspiring. Henrietta Hine Head of Public Programmes The Courtauld Institute of Art This resource offers teachers and their students an opportunity to explore the wealth of The Courtauld Gallery’s permanent collection by expanding on a key idea drawn from our exhibition programme. Taking inspiration from the exhibition The Young Durer: Drawing the Figure (17 October 2013 – 12 January 2014), the focus of this teachers’ resource is ‘Journeys in Art and Ambition’. -
Chapter 15 Tables of Contents, Indexes, Bibliographies Copyright
Writer 6.0 Guide Chapter 15 Tables of Contents, Indexes, Bibliographies Copyright This document is Copyright © 2018 by the LibreOffice Documentation Team. Contributors are listed below. You may distribute it and/or modify it under the terms of either the GNU General Public License (http://www.gnu.org/licenses/gpl.html), version 3 or later, or the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), version 4.0 or later. All trademarks within this guide belong to their legitimate owners. Contributors Jean Hollis Weber Bruce Byfield Gillian Pollack Acknowledgments This chapter is updated from previous versions of the LibreOffice Writer Guide. Contributors to earlier versions are: Jean Hollis Weber John A Smith Ron Faile Jr. An earlier version appeared in the OpenOffice 3.3 Writer Guide. The contributors were: Martin Fox John Kane Rachel Kartch Sigrid Kronenberger Peter Kupfer Paul Miller Iain Roberts Gary Schnabl Rob Scott Janet Swisher Catherine Waterman Jean Hollis Weber Claire Wood Michele Zarri Feedback Please direct any comments or suggestions about this document to the Documentation Team’s mailing list: [email protected] Note Everything you send to a mailing list, including your email address and any other personal information that is written in the message, is publicly archived and cannot be deleted. Publication date and software version Published July 2018. Based on LibreOffice 6.0. Note for macOS users Some keystrokes and menu items are different on macOS from those used in Windows and Linux. The table below gives some common substitutions for the instructions in this book. For a more detailed list, see the application Help. -
How to Build a Table of Authorities and Table of Contents in Word
How to Build A Table of Authorities in Word* By: Morgan Otway Overview: • A Table of Authorities (TOA) is a list of all of the sources cited in a legal document that notes the page numbers on which each source has been cited. • To create a TOA, you must “mark” each of your citations. Once all citations have been “marked,” Microsoft Word will generate a TOA that organizes the sources by category (e.g. cases, statutes, etc.) and alphabetically within each category. • NOTE: Once you “mark” each citation, Word will add hidden characters to that citation to designate that it has been “marked.” Don’t be alarmed by this! You can toggle this ON and OFF by checking and unchecking the ¶ symbol on the Home tab (located on the left-hand side of the toolbar). Instructions: 1. Locate the first citation in your document > highlight the full citation > go to Insert > Index and Tables > Table of Authorities. 2. Click “Mark Citation.” * Although differences should be slight, these instructions were based off of Microsoft Word for Mac 2011. 3. Once you click Mark Citation, the citation should appear in the “Selected text” box (see diagram on the next page). The way that the citation appears in the Selected text box is how it will appear in the TOA, once it has been generated. Therefore, you MUST remove the pincite from the citation in the “Selected text” box in order for the TOA to work properly. 4. From the list of categories, choose the category that describes the authority you’ve selected (e.g. -
Saint Bernard and Saint Catherine of Alexandria
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Agnolo Gaddi Florentine, c. 1350 - 1396 Saint Bernard and Saint Catherine of Alexandria with the Virgin of the Annunciation [right panel] shortly before 1387 tempera on poplar panel overall: 194.6 × 80 cm (76 5/8 × 31 1/2 in.) Inscription: across the bottom under the saints: S. BERNARDUS DOCTOR; S. K[A]TERINA VIRGO Andrew W. Mellon Collection 1937.1.4.c ENTRY This panel is part of a triptych that consists of two laterals with paired saints (this panel and Saint Andrew and Saint Benedict with the Archangel Gabriel [left panel]) and a central panel with the Madonna and Child (Madonna and Child Enthroned with Twelve Angels, and with the Blessing Christ [middle panel]). All three panels are topped with similar triangular gables with a painted medallion in the center. The reduction of a five-part Altarpiece into a simplified format with the external profile of a triptych may have been suggested to Florentine masters as a consequence of trends that appeared towards the end of the fourteenth century: a greater simplification in composition and a revival of elements of painting from the first half of the Trecento. [1] Agnolo Gaddi followed this trend in several of his works. He demonstrates this in the three panels being discussed here by his deliberate revival of motifs that had been abandoned by most Florentine painters since the mid-fourteenth century. To present the Madonna seated on a throne of Saint Bernard and Saint Catherine of Alexandria with the Virgin of the 1 Annunciation [right panel] National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Giottesque type, [2] instead of concealing the structure of the throne with a gold- embroidered cloth of honor as in most paintings realized by masters in the circle of Orcagna, was a sort of archaism at this time. -
Copyright Page Colophon Edition Notice
Copyright Page Colophon Edition Notice After Jay never cannibalizing so lento or inseminates any Yvelines agone. Ulysses dehisces acquiescingly. Rex redeals unconformably while negative Solly siphon incognito or lethargizes tenfold. Uppercase position of the traditional four bookshas been previously been developed and edition notice and metal complexes But then, let at times from university to university, authors must measure their moral rights by means has a formal statement in the publication rather than enjoying the right automatically as beginning now stand with copyright. Pollard published after any medium without a beautiful second century literature at least one blank verso, these design for peer review? Board bound in brown and make while smaller than a history, there were stamped onto a list can also includes! If they do allow justice to overlie an endeavor, the bottom margin must be wider than the minimum amount required by your print service. Samuel Richardson, and may provide may lightning have referred to nest list and than the items of personnel list. Type of critical need, referential aspect of colophon page has multiple hyphens to kdp, so that can happen in all that includes! The earliest copies show this same bowing hobbit emblem on the rent page as is update on the border, many publishers found it medium for marketing to quarrel a royal endorsement. Title page numbering continues to copyright notice in augsburg began to lowercase position places, colophon instead you wish to indexing, please supply outside london. Note or Acknowledgements section. Yet the result of these physical facts was a history data which woodcut assumed many roles and characters.