DOCSLIB.ORG

Story As an Organizing and Inquiry Tool for Educational Partnerships

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Story As an Organizing and Inquiry Tool for Educational Partnerships Story as an Organizing and Inquiry Tool for Educational Partnerships Committed to Social Justice, School, and Community Change A Dissertation Submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Ph.D.) In the Department of Educational Studies College of Education, Criminal Justice, and Human Services 2013 by Mark Kohan Miriam B. Raider-Roth, Ed.D., Chair Mary Brydon-Miller, Ph.D. Holly Johnson, Ph.D. Chet H. Laine, Ph.D. i Abstract This dissertation is an arts-based action inquiry into a grassroots educational partnership for social justice in an era of high-stakes standardized testing and teaching. Drawing on educational research in the public interest and multicultural theory (Ladson- Billings & Tate, 2006; Banks, 2006), I examine how students, teachers and educators who participate in an educational partnership organized by story describe and address the challenges, barriers and constraints they face in public schooling. It unites the work of a variety of social justice workers in education by organizing through stories and other arts- based inquiry activities (Cochran-Smith & Lytle, 2009; Gruwell & Freedom Writers, 2007; Sunstein & Chiseri-Strater, 2002) to create a dystopian novel about the current and future issues facing public education. Using arts-based qualitative research guides (Barone, 2006; Maxwell, 1996; Vickers, 2010; Winter, 1991) and action research principles (Brydon-Miller, 2007; Cammarota & Fine, 2008; Freire, 1970; Anderson, Herr, & Nihlen, 2007), I inquire into current and past educational practices, policy, and partnerships and theorize future ones based on the expressed experiences of students, teachers, and teacher educators, as well as through dominant paradigms for schooling and teaching. In a brave new world of public education seeing the erosion of state funding and increased dependence on foundation grants and private entities, partnerships guided by social justice stories of students, teachers, and other educators, offer an important way to communicate across organizations and contexts more effectively, enable a shared culture of empowerment, share costs and resources, and develop social innovations in schools that are community- based and globally aware. ii iii Acknowledgements “Who wouldn’t be well served by some time for introspection?” ~ Alison Kohan Thank you to those who dare to question, teach, and advocate for childhood and for future generations. iv Table of Contents Abstract…………………………………………………………………………………...ii Acknowledgements……………………………………………………………………….iv Section One: Introduction…..…………………………………………….……………….1 Introduction: Setting the Stage for Story & Partnership Assumptions Stories Of Positionality Section Two: Conceptual Lenses & Research Goals……………………..……..……….19 Conceptual Lenses Goal 1 Goal 2 Goal 3 Section Three: Research Methods…………….……………………………………...….30 Research Questions Relationships & Sites of Research Methods of Data Collection Methods of Analysis Trustworthiness Section Four: A Dystopian Story.………………………………………………………43 Chapter 1: Winter Chapter 2: Resistance Chapter 3: The Test Chapter 4: The Philosopher & the Fighter v Chapter 5: A Way In Chapter 6: Fissures Chapter 7: Cracks Chapter 8: Breaking… A Way Out Chapter 9: Seeing Stars Chapter 10: The Flood Chapter 11: Driftwood Chapter 12: Ascent Chapter 13: Hilltop Chapter 14: Fish Out of Water Chapter 15: Tributaries Chapter 16: Reading, Writing, & Rocking Chairs Chapter 17: Lightning Flashes Chapter 18: Autumn Brilliance Chapter 19: Knightwatch Chapter 20: In the Shade of the Falls Chapter 21: Kookaburras and Crows Chapter 22: Blinking and Believing Chapter 23: Little Fingers Letter from Hilltop Epilogue: Call to Action vi Section Five: Reflections on Process of Interpretation, Writing, & Revision….………358 On Interpretation On Writing On Revision Section Six: Implications……………………………………………………………….372 Appendices……………………………………………………………………………...379 References………………………………………………………………………………384 vii Section One I. Introduction “Education is not the filling of a pail, but the lighting of a fire.” ~William Butler Yeats Humans are hard-wired for story (Connelly & Clandinin, 1990; Gottschall, 2012; MacIntyre, 1981), having used narrative for teaching and learning since first walking the earth. Stories are both personal and cultural, individualistic and communal, and they have been the centerpiece of many social movements in the United States (Davis, 2002; Ganz, 2001; Horton & Freire, 1990; Loseke, 2007), which have relied on forms of partnership work and commitments. In recent decades, stories of schooling, teaching, and inequity continue to reveal the rigid, regimented, and high-stakes day-to-day reality our nation’s students and teachers face (Alonso, Anderson, Su, & Theorharis, 2009; Kozol, 1991, 2005; Ravitch, 2010). A paradigm shift is needed (Cammarota & Fine, 2008; Greene, 1997; Gutierrez, 2008) to reassert the importance of story telling (or re-telling), narrative writing, and listening in education (Ball, 2006; Bell, 2010; Freedom Writers & Gruwell, 1999; Goodson, Biesta, Tedder, & Adair, 2010; hooks, 1994; Hopkins, 1994; Johnson & Freedman, 2001; Milner, 2010; Postman, 1999; Strong-Wilson, 2007). Calls for attending to unity and diversity in democratizing schools, as well as a focus on seeing, supporting, and celebrating assets or strengths rather than deficits in the public sphere are many in educational research (Ford, 2006; Gonzalez, Moll, & Amanti, 2005; Parker, 2004). Few, however, have been heeded by political and business leaders “invested” in public education and the crafting of its policy. The majority of educational research – especially qualitative and action research forms – has been underappreciated, inaccessible, or insignificant in informing public and 1 policy conversations. While the history of education and educational reform play an important role in this marginalization, many current issues stem from the disinterest of the Board of Governor’s Association coupled with the power of testing, textbook, and technology lobbies on state and national politicians as well as educational administrators (Cochran-Smith & Lytle, 2009; Ladson-Billings & Tate, 2006; Ravitch, 2010; Spring, 2011, 2012). This dissertation is an attempt to address the need for more academic writing to be written in and for the public interest so as to capture their imaginations and concerns about what schooling, teaching, and learning are, have been, and could be in and beyond an era of high stakes standardized testing and regimented instruction. This writing is predicated on engaging story in two ways – story as an organizing process for educational partnerships for social justice (i.e., as a method for youth participatory action research, supporting teacher education, and inspiring school reform) and as a method of inquiry and analysis through dystopian story writing (i.e., creation of fiction). Educational partnerships that make story and counter-narratives central to their organization can help address the marginalization of qualitative inquiry and action research traditions in the public sphere (Evans, Lomax, & Morgan, 2000; Griffiths, 2003; Magolda, 2001). Part of a broader call for post-modern arts and humanities research (Barone, 2006; Brown & Jones, 2001; Greene, 1977; Diamond & Mullen, 1999; Leavy, 2012a), focusing on story acknowledges that life in schools and communities are dynamic, temporal, and contextual, and that understandings of one another and our institutions are only ever partial. Story offers a way to rethink dominant schooling, teaching, learning, and research paradigms, and inspire an education of possibility rather than for certificate or credential. These understandings stand on a foundation of 2 sociocultural theory (Vygotsky, 1978) and expect that the reading of – and listening to – one another’s stories is a transactional, exploratory, and subjective process (Rosenblatt, 1938/1991) with transformative potential. This includes the process of writing stories encompassing the Self, the Other, community and/or society, and current issues (Sunstein & Chiseri-Strater, 2002; Leavy, 2013). Of all story genres, science fiction dystopia has been used as one of the most powerful forms of social critique written to/for the public for nearly one hundred years (London, 1908/1975; Huxley, 1932/1989). Its roots lie even further back in utopian and satiric literature, such as Plato’s Republic, Arthurian Legend, Thomas More’s Utopia, and Swift’s Gullivar’s Travels, intertwining with the epic genre. George Orwell, in particular, wrote essays and dystopias that meditated on the role of social structures (1949), including schools (1992). This genre is a form of research akin to self-study, autoethnography, writing as inquiry, and arts-based inquiry movements in education primarily because it attempts to make sense of individuals and communities involved in complex social structures from subjective and intersubjective stances (Davis, 2004), but with one important difference. Science fiction dystopias have captured the public’s imagination and trust in recent decades in film (e.g., Star Wars, the Matrix, The Hunger Games, District 9), fiction (e.g, Clockwork Orange, Kindred, Handmaid’s Tale, 1984, We, I am Legend, Fahrenheit 451, A Canticle for Liebowitz, Anthem, and the myriad stories of Ursula K. Le Guin, Kurt Vonnegut, and Phillip K. Dick), and young adult fiction/literature (e.g . The Hunger Games, Divergent, The Giver, House of
Load more

Recommended publications
  • Crimson Dragon 2
    Brief Prologue "Ahh!" Pyrothraxus cried. "Get it off! Get it off!" The ent latched onto his ear frill tightly, grinding his splintery teeth against the membrane. He pulled down upon Pyrothraxus, bending the Red Dragon's neck awkwardly. Though the ent was as tall as Pyrothraxus' shoulder, Pyrothraxus still had another 40 feet to his neck. With one snap of the ent's shoulders, Pyrothraxus came toppling down onto his side. "Give it back to me!" the ent bellowed. "Give it back now!" "What?" Pyrothraxus asked. "Give what back?" The ent pulled harder, wrapping his arms around Pyrothraxus' neck and holding him tightly in a lock. The Red Dragon struggled under the great strength of the tree ent's branch-like arms. "Aiyah, Jonathan!" called Lao Shi from the pavement. "Just give whatever it is he wants back to him." "I don't know what it is he wants," Pyrothraxus growled back, trying to pull himself away from the vice-like grip of the ent's arms. "You're the dragon who stole it!" the ent shouted. "Stole what?" Pyrothraxus asked. The ent let loose a hollow bellow and flipped Pyrothraxus over onto his back. Cars parked in the street were suddenly tossed into the air by the Red Dragon's thrashing tail. Pyrothraxus gripped his claws into the pavement, sending the tar cracking and splintering across the surface. "Give it back!" the ent bellowed, tightening his grip around the dragon's neck. "That's it, I'm getting tired of guessing games, here," Pyrothraxus growled, black smoke slowly rising up from his nostrils.
    [Show full text]
  • ENDER's GAME by Orson Scott Card Chapter 1 -- Third
    ENDER'S GAME by Orson Scott Card Chapter 1 -- Third "I've watched through his eyes, I've listened through his ears, and tell you he's the one. Or at least as close as we're going to get." "That's what you said about the brother." "The brother tested out impossible. For other reasons. Nothing to do with his ability." "Same with the sister. And there are doubts about him. He's too malleable. Too willing to submerge himself in someone else's will." "Not if the other person is his enemy." "So what do we do? Surround him with enemies all the time?" "If we have to." "I thought you said you liked this kid." "If the buggers get him, they'll make me look like his favorite uncle." "All right. We're saving the world, after all. Take him." *** The monitor lady smiled very nicely and tousled his hair and said, "Andrew, I suppose by now you're just absolutely sick of having that horrid monitor. Well, I have good news for you. That monitor is going to come out today. We're going to just take it right out, and it won't hurt a bit." Ender nodded. It was a lie, of course, that it wouldn't hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. "So if you'll just come over here, Andrew, just sit right up here on the examining table.
    [Show full text]
  • Canadian Media Production Association
    COLLECTIVE AGREEMENT BETWEEN International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories and Canada Affiliated with the AFL-CIO and CLC Canadian Media Production Association January 1, 2016- December 31, 2016 CRAFTSERVICE PROVIDERS AND HONEYWAGON OPERATORS COLLECTIVE AGREEMENT BETWEEN: LOCAL411 OF THE INTERNATIONAL ALLIANCE OF THEATRICAL STAGE EMPLOYEES, MOVING PICTURE TECHNICIANS, ARTISTS AND ALLIED CRAFTS OF THE UNITED STATES, ITS TERRITORIES AND CANADA HEREINAFTER REFERRED TO AS "THE UNION" (on behalf of Craftservice Providers and Honeywagon Operators) --AND·· THE CANADIAN FILM AND TELEVISION PRODUCTION ASSOCIATION (CMPA) HEREINAFTER REFERRED TO AS "THE ASSOCIATION" (on its own behalf and behalf of its members) (Production Company) For the Production currently entitled CONTENTS ARTICLE PAGE 1 Obi igations 2 2 Recognition and Scope of Agreement 3 3 Producer Rights 4 4 Jurisdiction and Division of Work 4 5 Individual Contracts of Engagement 5 6 Non-Discrimination and Anti Harassment 5 7 Union Personnel 6 8 Hours of Work and Work Week 6 9 Overtime Hours and Other Non-Regular Hour Premiums 8 10 Location Boundaries 8 11 Holidays 8 12 Remittances and Deductions 9 13 Security for Wages 10 14 Remuneration and Payment of Wages 11 15 Travel and Accommodation 11 16 Insurance 12 17 Cancellation of Calls 12 18 Discipline, Layoff and Dismissal 12 19 Settlement of Disputes 13 20 Health and Safety 14 21 Employee Indemnification 15 22 Communications 15 23 Intent of
    [Show full text]
  • Beginnings 15.Indd
    Beginnings 15 A PUBLICATION OF ADULT STUDENT WRITING OF THE Ohio Writers’ Conference OHIO LITERACY RESOURCE CENTER ii iii Foreword I was introduced to the work of the Ohio Literacy Resource Center at Kent State University and the annual Ohio Writers’ Conference by Lyn Ford. In the fall of 2010 Lyn invited me to join her in telling stories at the 2011 conference. I was de- lighted and honored to share the stage with such an accomplished storyteller and advocate for literacy. Lyn described the conference as a celebration, and she lent me several copies of a book titled Beginnings. Lyn explained that each year students enrolled in adult and family literacy programs throughout the state submitted writings to the annual journal for publication. I read the books and I was amazed by the stories and poems that spanned an incredible variety of human experiences. Some of these writers had immigrated to Ohio from countries across the globe. Others were survivors of personal hardships, illnesses and addictions. The individual passions, hopes and ambitions that I discovered in the pages of Beginnings touched me and humbled me with respect for each writer’s courage. I was now honored to be a part of a conference that celebrated the accomplishments of men and woman who seek to develop themselves and improve their lives. Lyn also told me that the writers attending the confer- ence were encouraged to share their published poems or stories in an oral presentation that culminates the day’s events. There was no way to anticipate the impact of these live readings.
    [Show full text]
  • BRIAN VERHOOG Production Designer Represented by Lara Bryant
    BRIAN VERHOOG Production Designer Represented by Lara Bryant 14 Prince Arthur Ave. Suite 109 www.bdvdesign.net Toronto, ON. M5R 1A9 Tel: 416.920.5110 Production Design - Selected Credits Features/MOW Christmas Club - Hallmark 2019 Christmas Club Productions Inc. Lost & Found Producers: Jon Eskenas, Kim Bradley L&F Films Inc. / Feature Ian Dimerman Producers: Joesph Itaya, Scott Bridges Director: Jeff Beesley Kim Selby, Borga Dorter Good Witch ‘Halloween Special” Director: Joesph Itaya Hallmark 2018 Mortgage Apple Cake Good Witch 5 Productions Inc. eOne / UP TV / MOW Producers: Frank Siracusa, Craig Price, Producers: Ira Pincus, Jonathan Schwartz, Darin Goldberg M Robert Lee Director: Michael Kennedy Director: Michael Scott Anne of Green Gables - Fire & Dew Dear Viola Breakthrough Ent. / PBS / YTV eOne / UP TV / MOW Producers: Ira Levy, Joan Lambur, Producers: Ira Pincus, Jonathan Schwartz, Jim Corston Betty Orr Director: John Kent Harrison Director: Laurie Lynd Anne of Green Gables - The Good Stars Rocky Road Breakthrough Ent. / PBS / YTV eOne / UP TV / MOW Producers: Ira Levy, Joan Lambur, Producers: Ira Pincus, Jonathan Schwartz, Jim Corston Betty Orr Director: John Kent Harrison Director: Brian Roberts Reel Love eOne / CMT Producers: Ira Pincus, Kay May Director: Brian K Roberts Production Design - Selected Credits Television Series The Hardy Boys 2019/20 Pure Pwnage HB One Productions Inc. Showcase / TV for Noobs Prod. Producers: Joan Lambur/ Paula Smith Producer: Derek Harvie Director: Jason Stone Line Producer: Paula Devonshire Good Witch Halloween Special 2018 Space Janitors Good Witch 5 Productions Inc. Space Mop Prod. Producers: Frank Siracusa, Craig Price, Producer: Davin Langyl / Geoff Lapiere Darin Goldberg Director: Geoff Lapiere Director: Various Soul Food Showtime TV Series Producer : Sean Ryerson Art Direction - Selected Credits Good Witch Season 5 2018 American Goods Good Witch 5 Productions Inc.
    [Show full text]
  • NASA at 50: Interviews with NASA Senior Leadership / Rebecca Wright, Sandra Johnson, Steven J
    Library of Congress Cataloging-in-Publication Data NASA at 50: interviews with NASA senior leadership / Rebecca Wright, Sandra Johnson, Steven J. Dick, editors. p. cm. 1. Aerospace engineers—United States—Interviews. 2. United States. National Aeronautics and Space Administration—History—Sources. I. Wright, Rebecca II. Johnson, Sandra L. III. Dick, Steven J. IV. Title: NASA at fifty. NASA SP-2012-4114 TL539.N36 2011 629.40973—dc22 2009054448 ISBN 978-0-16-091447-8 F ro as el t yb eh S epu ir tn e edn tn fo D co mu e tn .U s S G , . evo r emn tn P ir tn i O gn eciff I tn re en :t skoob t ro e . opg . vog enohP : lot l f eer ( 668 ) 215 - 0081 ; D C a er ( a 202 ) 215 - 0081 90000 aF :x ( 202 ) 215 - 4012 aM :li S t I po CCD W , ihsa gn t no D , C 20402 - 1000 ISBN 978-0-16-091447-8 9 780160 914478 ISBN 978-0-16-091447-8 F ro leas b y t eh S pu e ri tn e dn e tn D fo co mu e tn s , .U Svo . e G r mn e tn P ri tn i gn fficeO I tn er en t: koob s t ro e. opg . vog : Plot l nohf ree e ( 668 ) 215 - 0081 ; C Da re a ( 202 ) 215 - 0081 90000 Fa :x ( 202 ) 215 - 4012 il:M S a t po DCI C, W a hs i gn t no , D C 20402 - 1000 ISBN 978-0-16-091447-8 9 780160 914478 Rebecca Wright Sandra Johnson Steven J.
    [Show full text]
  • Victoria . Brand New Drama
    Reality check: VR content Primetime crime: Page 18 Serials investigated Page 12 TBIvision.com February/March 2016 “Victoria has it all; a riveting script, brilliant cast ...a nd it’s a true story!” Rebecca Eaton, Executive Producer, MASTERPIECE on PBS VICTORIA . BRAND NEW DRAMA pOFC TBI FebMar16.indd 1 12/02/2016 18:01 ITVSGE_WGSL_TBI_FC_Victoria_AW.indd 1 12/02/2016 16:49 WE LOVE CONTENT, WE LOVE TO SHARE IT. WWW.IMAGINASALES.TV [email protected] pIFC Imagina DecJan16.indd 1 04/01/2016 16:04 contents February/march 2016 18 12 This issue 12 True crime A new wave of true crime series that ape the structure of serialised dramas has emerged on screens across the world. Jesse Whittock looks at the evidence 16 monitor: Gary Davey interview 16 Having worked in the UK, Italy and Germany, Gary Davey is now the content boss for the Europe- wide Sky operation. At NATPE in Miami TBI quizzed him on his plans 24 18 Vr Virtual reality is the talk of the town, but what is the business model? Can VR deliver on the hype? Stewart Clarke dons a headset and finds out 24 8, 9, 10, Telemundo Luis Silberwasser took charge of Telemundo in late 2014 and has set about revolutionising its primetime schedule. The president of the NBCU-owned US Hispanic net talks to Stewart Clarke 28 mIPDoc hot Picks TBI profiles the latest batch of documentary, factual and unscripted projects hitting the Croisette at MIPDoc. The likes of All3Media, Terranoa, Beyond, Scripps and FremantleMedia feature 28 e 34 m Na goes major Increased competition and piracy are among the noteworthy trends in Middle East and North Africa region, according to Ismail Patel, analyst at media and telecoms research house Ovum r egulars 2 Ed Note • 4 People • 6 Monitor: Hayu • 8 Monitor: ratings • 10 Monitor: DHX • 36 Last Word For the latest in TV programming news visit TbIVISION.cOm TBI February/March 2016 1 Untitled-3 3 14/02/2016 21:42 Editor’s NotE stEwart ClarkE elevision trends are informed by all elements of pop culture, by 3D, consumers will embrace VR.
    [Show full text]
  • CHAVA SHAPIRO; a WOMAN BEFORE BER TINE by Naomi Caruso Department of Jewish Studies Mcgill University, Montreal July, 1991
    CHAVA SHAPIRO; A WOMAN BEFORE BER TINE by Naomi Caruso Department of Jewish Studies McGill University, Montreal July, 1991 Thesis submitted to the faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Masters of Arts. (c)l~aomi Caruso, 1991. - CHAVA SHAPIRO - A WOMAN BEFORE BER TIME. An abstract: This is a study of Chava Shapiro, a woman writer, born in 1876 in the Ukraine, who died in 1943 in Nazi Czechos1ovakia. It describes her conventiona1 Hasidic upbringing, her successful rebellion against it and her subsequent studies in Switzerland which led to a career in Hebrew journalisme It fo11ows her return to Russia in 1914, her escape to Czechoslovakia after the pogroms of 1919 and 24 years later her tragic end in Terezin. Oominating the study is the we11-known Hebrew writer, Reuven Brainin, 1862-1939, with whom Chava Shapiro fell in love and who exerted an extraordinary influence on her life. Using original, never before published materials from the Jewish Public Library Archives in Montreal, the study seeks ta define the woman as a feminist and a Hebrew writer. CHAVA SHAPIRO - UNE FEMME A L'AVANT-GARDE Un resumé: Le sujet de notre étude est Chava Shapiro, une femme écrivain, née en 1876 en Ukraine et décédée en 1943, en Tchécoslovaqui nazie. Nous décrivons son éducation traditionnelle hassidique et sa révolte contre ses contraintes, ainsi que ses études ultérieures en Suisse, qui l'ont conduite à une carrière en journalisme hébraïque. Nous suivons son retour en Russie en 1914, sa fuite en Tchécos1ovaqui après les pogromes de 1919,.
    [Show full text]
  • (“Agreement”) Covering FREELANCE WRITERS of THEATRICAL FILMS
    INDEPENDENT PRODUCTION AGREEMENT (“Agreement”) covering FREELANCE WRITERS of THEATRICAL FILMS TELEVISION PROGRAMS and OTHER PRODUCTION between The WRITERS GUILD OF CANADA (the “Guild”) and The CANADIAN MEDIA PRODUCTION ASSOCIATION (“CMPA”) and ASSOCIATION QUÉBÉCOISE DE LA PRODUCTION MÉDIATIQUE (“AQPM”) (the “Associations”) March 16, 2015 to December 31, 2017 © 2015 WRITERS GUILD OF CANADA and CANADIAN MEDIA PRODUCTION ASSOCIATION and the ASSOCIATION QUÉBÉCOISE DE LA PRODUCTION MÉDIATIQUE. TABLE OF CONTENTS Section A: General – All Productions p. 1 Article A1 Recognition, Application and Term p. 1 Article A2 Definitions p. 4 Article A3 General Provisions p. 14 Article A4 No Strike and Unfair Declaration p. 15 Article A5 Grievance Procedures and Resolution p. 16 Article A6 Speculative Writing, Sample Pages and Unsolicited Scripts p. 22 Article A7 Copyright and Contracts; Warranties, Indemnities and Rights p. 23 Article A8 Story Editors and Story Consultants p. 29 Article A9 Credits p. 30 Article A10 Security for Payment p. 41 Article A11 Payments p. 43 Article A12 Administration Fee p. 50 Article A13 Insurance and Retirement Plan, Deductions from Writer’s Fees p. 51 Article A14 Contributions and Deductions from Writer’s Fees in the case of Waivers p. 53 Section B: Conditions Governing Engagement p. 54 Article B1 Conditions Governing Engagement for all Program Types p. 54 Article B2 Optional Bibles, Script/Program Development p. 60 Article B3 Options p. 61 Section C: Additional Conditions and Minimum Compensation by Program Type p. 63 Article C1 Feature Film p. 63 Article C2 Optional Incentive Plan for Feature Films p. 66 Article C3 Television Production (Television Movies) p.
    [Show full text]
  • Sasha Clements
    Sasha Clements Sasha Nicole Clements (born March 13, 1990) is a Canadian actress, and model. She is known for her role as Kiki Kincaid on the Teletoon sitcom Majority Rules!. She was cast in the 2005 fantasy The Snow Queen. and the 2010 television series What's Up Warthogs!. She also starred in the Disney Channel Original movie How to Build a Better Boy, playing the role of Marnie. Her guest-starring roles include appearances on Rookie Blue, Really Me, Lost Girl, Life with Boys, and Mudpit. Sasha Clements was born as Sasha Nicole Clements. She is an actress, known for Majority Rules! (2009), From Straight A's to XXX (2017) and Degrassi: Don't Look Back (2015). Sasha Clements â“ Pia Gladys Perey Fall/Winter 2016 âœBridesmaids and Boudoirâ Fashion Showcase on May 5, 2016 â“ Naked Princess Salon, 653 La Cienega Boulevard â“ Los Angeles, CA, USA â“ Photo Credit: Guillermo Proano / PR Photos. Birth Name: Sasha Nicole Clements. Place of Birth: Toronto, Ontario, Canada. Date of Birth: March 14, 1990. Ethnicity: Russian, other. Sasha Clements is a Canadian actress and model. Her father is actor Christopher Lee Clements. Sasha Clements news, gossip, photos of Sasha Clements, biography, Sasha Clements boyfriend list 2016. Relationship history. Sasha Clements relationship list. Sasha Clements dating history, 2018, 2017, list of Sasha Clements relationships. Sasha Clements is a member of the following lists: Actresses from Toronto , Canadian child actresses and 21st-century Canadian actresses . Contribute. Help us build our profile of Sasha Clements! Sasha Clements Latest News, Photos, and Videos. Sun, 25 February 2018.
    [Show full text]
  • Fragments on the Deathwatch
    Digital Commons @ Touro Law Center Scholarly Works Faculty Scholarship 1998 Fragments on the Deathwatch Louise Harmon Touro Law Center, [email protected] Follow this and additional works at: https://digitalcommons.tourolaw.edu/scholarlyworks Part of the Health Law and Policy Commons Recommended Citation 77 Minn. L. Rev. 1 (1993) This Book is brought to you for free and open access by the Faculty Scholarship at Digital Commons @ Touro Law Center. It has been accepted for inclusion in Scholarly Works by an authorized administrator of Digital Commons @ Touro Law Center. For more information, please contact [email protected]. Fragments on the Deathwatch Louise Harmon* TABLE OF CONTENTS Section I: Deathwatches ................................... 1 Section II: Paintiffs, Procedure, and the Limits of Law W ishes .............................................. 35 Left Hemisphere Interlude ............................ 84 Section III: Moving up the Brainstem ..................... 86 Section IV: Death Thought, Death Talk, and the Eviden- tiary Implications of Taboo .............................. 91 Section V: Law and the Architecture of Ritual Space .... 129 Right Hemisphere Coda ............................... 160 I. DEATHWATCHES The other night I saw a documentary on television about some elephants in Botswana.1 The herd was in trouble. Water was scarce, and the elephants were on the move. They trav- elled north to the Linyanti River, following the ancient paths of their ancestors. An elderly cow staggered behind the others, weakened from starvation, dehydration, and advanced age. Suddenly she slipped in the sand. The wind blew so fiercely across the hot, dry land that when she fell only a muffled cry could be heard over the white howl of air in motion. It was like * Associate Professor of Law, Jacob D.
    [Show full text]
  • Fragments on the Deathwatch Louise Harmon
    University of Minnesota Law School Scholarship Repository Minnesota Law Review 1992 Fragments on the Deathwatch Louise Harmon Follow this and additional works at: https://scholarship.law.umn.edu/mlr Part of the Law Commons Recommended Citation Harmon, Louise, "Fragments on the Deathwatch" (1992). Minnesota Law Review. 1853. https://scholarship.law.umn.edu/mlr/1853 This Article is brought to you for free and open access by the University of Minnesota Law School. It has been accepted for inclusion in Minnesota Law Review collection by an authorized administrator of the Scholarship Repository. For more information, please contact [email protected]. Fragments on the Deathwatch Louise Harmon* TABLE OF CONTENTS Section I: Deathwatches ................................... 1 Section II: Paintiffs, Procedure, and the Limits of Law W ishes .............................................. 35 Left Hemisphere Interlude ............................ 84 Section III: Moving up the Brainstem ..................... 86 Section IV: Death Thought, Death Talk, and the Eviden- tiary Implications of Taboo .............................. 91 Section V: Law and the Architecture of Ritual Space .... 129 Right Hemisphere Coda ............................... 160 I. DEATHWATCHES The other night I saw a documentary on television about some elephants in Botswana.1 The herd was in trouble. Water was scarce, and the elephants were on the move. They trav- elled north to the Linyanti River, following the ancient paths of their ancestors. An elderly cow staggered behind the others, weakened from starvation, dehydration, and advanced age. Suddenly she slipped in the sand. The wind blew so fiercely across the hot, dry land that when she fell only a muffled cry could be heard over the white howl of air in motion. It was like * Associate Professor of Law, Jacob D.
    [Show full text]