Taking, Possessing, Mounting and Sale of Wildlife by Taxidermists
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Organisms and Human Bodies As Contagions in the Post-Apocalyptic State
CHAPTER 1 Organisms and Human Bodies as Contagions in the Post-Apocalyptic State Robert A. Booth n this chapter, I show how discourses of contagion and pollution not only imbue many post-apocalyptic cinema and television narratives but also mirror public discourse about immigration. Further, I examine the often- I 1 racialized immigrant in post-apocalyptic film and television that is, in essence, a discourse on insider–outsider social divisions and relationships of power. Finally, I elucidate the argument that post-apocalyptic film and television rein- force the primacy of centralized political authority, namely the State, and post- 9/11 post-apocalyptic film in particular reinforces the hegemony of the State. The post-apocalyptic subgenre of science fiction and/or horror has become popular fodder for cinema and television. As Susan Sontag notes, “the science fiction film . is concerned with the aesthetics of destruction, with the pecu- liar beauties to be found in wreaking havoc, making a mess. And it is in the imagery of destruction that the core of a good science fiction film lies.”2 Portrayals of the post-apocalypse often index or echo visual memories of terrible societal traumatic events of the past.3 With the experience of the social, political, economic, and emotional trauma of the 9/11 attacks, one might reasonably assume that Americans would acquire a distaste for graphic destructive violence. Certainly, after the attacks, filmmakers occasionally felt pressured to remove images of the Twin Towers or to change content that might evoke the tragedy, such as planes crashing into skyscrapers. However, post-apocalyptic genres remain ever popular in American television and cinema. -
See White Deer Story, Page 2 PAGE 2THE C.A.S.H
Nonprofit Org. C.A.S.H. COMMITTEE TO ABOLISH SPORT HUNTING U.S. Postage WILDLIFE WATCH, INC. Paid Newburgh, NY THE C.A.S.H. COURIER PO Box 562 Permit No. 450 New Paltz, NY 12561 THE COMMITTEE TO ABOLISH SPORT HUNTING Phone: (845) 256-1400 Fax: (845) 818-3622 DIVISION OF ILDLIFE ATCH NC www.wildwatch.org A W W , I . www.all-creatures.org/cash © 2008 BY WILDLIFE WATCH, INC. ALL RIGHTS RESERVED. www.canadageese.org WINTER 2008 TO OUR WONDERFUL MEMBER: MISSION STATEMENT: The mission of C.A.S.H. - Committee to What Will Happen to the White Abolish Sport Hunting - is to accomplish what its name says in the shortest possible time. Understanding that Deer at the Seneca Army Depot? abolishing hunting entails a process, a series of steps taken and not a single BY PETER MULLER action that would effect our goal over- th night, a time frame cannot be estab- On Thursday, December 13 2007 in close to white-out snow-storm-conditions, lished. We hope for building a succes- about 100 Seneca (NY) County residents braved the elements and crowded into sion of wins, and if not wins immedi- the small Varick Town Hall. They were joined there by Rita and Joe Sarnicola ately then at least a succession of from nearby Auburn, NY, Anne and Peter Muller from Wildlife Watch, as well as stirrings of consciousness. We hope to encourage those who are still silent to several other animal protection groups. speak out, awakening community after What brought this large group to a small town in New York State on that day? community about the heavy hand of The answer to that question started about 65 years ago. -
A Case Study of Samuel Adams and Thomas Hutchinson
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 5-2007 Reputation in Revolutionary America: A Case Study of Samuel Adams and Thomas Hutchinson Elizabeth Claire Anderson University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Anderson, Elizabeth Claire, "Reputation in Revolutionary America: A Case Study of Samuel Adams and Thomas Hutchinson" (2007). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1040 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Elizabeth Claire Anderson Bachelor of Arts 9lepu.tation in ~ Unwtica: a ~e studq- oj Samuel a.dartt;., and g fuun.a:, !JtulcIiUu,on 9JetIi~on !lWWuj ~ g~i6, Sp~ 2007 In July 1774, having left British America after serving terms as Lieutenant- Governor and Governor of Massachusetts, Thomas Hutchinson met with King George III. During the conversation they discussed the treatment Hutchinson received in America: K. In such abuse, Mf H., as you met with, I suppose there must have been personal malevolence as well as party rage? H. It has been my good fortune, Sir, to escape any charge against me in my private character. The attacks have been upon my publick conduct, and for such things as my duty to your Majesty required me to do, and which you have been pleased to approve of. -
The Myth of Closure
PROCESS The Myth of Closure PAULINE BOSS* DONNA CARNES† To read this article in Spanish, please see the article’s Supporting Information on Wiley Online Library (wileyonlinelibrary.com/journal/famp). Therapies for grief and loss have traditionally focused on the work of grieving. The goal was to reach an endpoint, now popularly called closure. There are, however, many people who, through no fault of their own, find a loss so unclear that there can be no end to grief. They have not failed in the work of grieving, but rather have suffered ambiguous loss, a type of loss that is inherently open ended. Instead of closure, the therapeutic goal is to help people find meaning despite the lack of definitive information and finality. Hope lies in increasing a family’s tolerance for ambiguity, but first, professionals must increase their own comfort with unanswered questions. In this article, the authors, one a poet, the other a family therapist and theorist, offer a unique blending of theory, reflection, and poetry to experientially deepen the process of self-reflection about a kind of loss that defies closure. Keywords: Ambiguous Loss; No Closure; Unresolved Loss; Unresolved Grief; Meaning Making; Sadness Versus Depression; Self-Reflection; Complex Grief Fam Proc 51:456–469, 2012 n the world of grief and mourning, there is a type of loss that defies closure even with Ihealthy families. It is called ambiguous loss, a term coined in the 1970s to illustrate a unique kind of loss when a loved one disappears in body or mind.1 A family member van- ishes physically with no verification of whereabouts or fate as dead or alive or fades away psychologically from dementia and other cognitive or emotional impairments. -
Educator's Guide
Educator’s Guide the jill and lewis bernard family Hall of north american mammals inside: • Suggestions to Help You come prepared • essential questions for Student Inquiry • Strategies for teaching in the exhibition • map of the Exhibition • online resources for the Classroom • Correlations to science framework • glossary amnh.org/namammals Essential QUESTIONS Who are — and who were — the North as tundra, winters are cold, long, and dark, the growing season American Mammals? is extremely short, and precipitation is low. In contrast, the abundant precipitation and year-round warmth of tropical All mammals on Earth share a common ancestor and and subtropical forests provide optimal growing conditions represent many millions of years of evolution. Most of those that support the greatest diversity of species worldwide. in this hall arose as distinct species in the relatively recent Florida and Mexico contain some subtropical forest. In the past. Their ancestors reached North America at different boreal forest that covers a huge expanse of the continent’s times. Some entered from the north along the Bering land northern latitudes, winters are dry and severe, summers moist bridge, which was intermittently exposed by low sea levels and short, and temperatures between the two range widely. during the Pleistocene (2,588,000 to 11,700 years ago). Desert and scrublands are dry and generally warm through- These migrants included relatives of New World cats (e.g. out the year, with temperatures that may exceed 100°F and dip sabertooth, jaguar), certain rodents, musk ox, at least two by 30 degrees at night. kinds of elephants (e.g. -
Bob's Wildlife Taxidermy Celebrating 30Th Anniversary Orefield Landmark Ready for Another Hunting Season
Bob's Wildlife Taxidermy Celebrating 30th Anniversary Orefield Landmark Ready for another Hunting Season Fall hunting seasons are just around the corner, and thousands of Lehigh Valley sportsmen will soon head afield in search of a trophy. For those hunters lucky enough to bag the buck, bear or bird of a lifetime, Orefield taxidermist Bob V. Danenhower Sr. is ready to preserve your memories. Danenhower said it's hard to believe it's been a quarter century since Bob's Wildlife Taxidermy opened its doors. His passion for wildlife dates to his childhood, and he began studying taxidermy at the age of 13, taking mail order courses from the Northwest School of Taxidermy. “I would have to work in my dad's business, Humphrey’s Hydraulics, to earn enough money to order my next lesson,” Danenhower recalled. “It seemed to take forever, because Dad didn’t pay so well.” In the 70s, Danenhower worked for Laros Taxidermy in Allentown, where he learned the finer points of wildlife art from veteran taxidermist Dick Laros. “I had to wait until I was 18 to take my taxidermy test,” he said. “Eighteen was state law at that time, and I was the first 18-year-old ever to be licensed in Pennsylvania.” Becoming a full-time taxidermist is no easy task, especially when you start with nothing but some cheap hand tools, knowledge and a strong work ethic. “There were several lean years when we really looked forward to the local game warden dropping off a fresh, road-killed deer so we could fill the freezer with venison,” Danenhower said. -
The Barbara Johnson Reader a John Hope Franklin Center Book the Barbara Johnson Reader the Surprise of Otherness
The Barbara Johnson Reader A John Hope Franklin Center Book The Barbara Johnson Reader The Surprise of Otherness Barbara Johnson edited by melissa feuerstein bill johnson gonzález lili porten keja valens With an Introduction by judith butler and an Afterword by shoshana felman Duke University Press Durham and London 2014 © 2014 Duke University Press Afterword © 2014 Shoshana Felman All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by April Leidig Typeset in Minion Pro by Westchester Publishing Services Library of Congress Cataloging-in-Publication Data The Barbara Johnson reader : the surprise of otherness / edited by Melissa Feuerstein, Bill Johnson Gonzalez, Lili Porten, and Keja Valens, with an introduction by Judith Butler and an afterword by Shoshana Felman. pages cm “A John Hope Franklin Center Book.” Includes bibliographical references and index. isbn 978-0-8223-5419-2 (pbk : alk. paper) isbn 978-0-8223-5403-1 (cloth : alk. paper) 1. Johnson, Barbara, 1947–2009. 2. Feminist literary criticism. I. Feuerstein, Melissa. II. Johnson Gonzalez, Bill, 1970– iii. Porten, Lili. IV. Valens, Keja, 1972– pn98.w64b37 2014 801.'95092—dc23 2013045003 Contents Ac know ledg ments vii Editors’ Preface xi Personhood and Other Objects: The Figural Dispute with Philosophy by Judith Butler xvii Barbara Johnson by Barbara Johnson xxvii part i | Reading Theory as Literature, Literature as Theory 1 The Critical Diff erence: BartheS/BalZac 3 2 Translator’s Introduction to Dissemination (abridged) 14 3 Poetry and Syntax: -
Grade 5 Instructional Packet 2
Grade 5 Instructional Packet 2 Dear Parents & Guardians, We hope this instructional packet finds you and your family healthy! In this packet, you will find grade level materials to complete over the next two weeks. The packet covers concepts in ELA, Math, Science, Social Studies, PE, Art, and Music. To keep your child engaged in learning, we hope that you take advantage of this resource. We encourage your child to do their very best and acknowledge their progress by signing the “Student Evidence of Involvement Statement” at the bottom of this page. Overview of assignments (check off as completed) - Week 3 Assignments ✔ Week 4 Assignments ✔ Reading Log Reading Log ELA- Read “Black Blizzard” + Comprehension ELA- Read “The Amazing History of Dogs” + Questions Comprehension Questions Grammar- Conjunction, Preposition, Grammar- Perfect Verbs Interjections (3 worksheets ) Writing- Facebook prompt Writing- Animal writing prompt Math - Subtracting Decimals 2-7 Math - Dividing a Decimal by a Decimal 7-6 Math - Making Line Plots 14-3 Math - Order of Operations 8-2 Math - Measurement Data 14-4 Math - Evaluating Expressions 8-4 SS- “American Revolution” SS- “Conceived of Compromises: Creating Article and quiz the U.S. Constitution” Article and quiz SS- “Colonization and Revolutionary War: SS- “Our System of Checks and Balances” Introduction to the Revolutionary War” Article Article and quiz and quiz Completed Three Items from the Science Completed Three Items from the Science Choice Board Choice Board When your child has completed and signed the assignment sheet, please use your phone to take a picture and then email it to your child’s teacher or have your child sign into their Google Classroom account to respond to the post entitled ”Weekly Evidence of Involvement”. -
Dance, Music, Art, and Religion Edited by Tore Ahlback SCRIPTA INSTITUTI DONNERIANI ABOENSIS
Dance, Music, Art, and Religion Edited by Tore Ahlback SCRIPTA INSTITUTI DONNERIANI ABOENSIS XVI DANCE, MUSIC, ART, AND RELIGION Based on Papers Read at the Symposium on Dance, Music, and Art in Religions Held at Åbo, Finland, on the 16th-18th of August 1994 Edited by Tore Ahlbäck, Distributed by ALMQUIST & WIKSELL INTERNATIONAL STOCKHOLM, SWEDEN Dance, Music, Art, and Religion Dance, Music, Art, and Religion Based on Papers Read at the Symposium on Dance, Music, and Art in Religions Held at Åbo, Finland, on the 16th-18th August 1994 Edited by Tore Ahlbäck Published by The Donner Institute for Research in Religious and Cultural History Åbo Finland Distributed by Almqvist & Wiksell International Stockholm, Sweden ISSN 0582-3226 ISBN 951-650-834-0 Printed in Finland by Åbo Akademi University Printing Press Turku 1996 Contents Editorial Note 7 DESMOND AYIM-ABOAGYE Art, Music and Religious Experience in Libation Pouring of Akan Religion 9 UMAR HABILA DADEM DANFULANI Rituals as Dance and Dance as Rituals. The Drama of Kok Nji and Other Festivals in the Religious Experience of the Ngas, Mupun and Mwaghavul in Nigeria 27 VALERIE DEMARINIS With Dance and Drum. A Psychocultural Investigation of the Ritual Meaning-Making System of an Afro-Brazilian, Macumba Community in Salvador, Brazil 59 MONICA ENGELHART The Dancing Picture — The Ritual Dance of Native Australians 75 RAGNHILD BJERRE FINNESTAD Images as Messengers of Coptic Identity. An Example from Con- temporary Egypt 91 MARIANNE GÖRMAN The Necklace as a Divine Symbol and as a Sign of Dignity -
What You Should Know About a Federal Migratory Bird Taxidermy Permit
WHAT YOU SHOULD KNOW ABOUT A FEDERAL MIGRATORY BIRD TAXIDERMY PERMIT A Federal Migratory Bird Taxidermy Permit will authorize you to mount or otherwise perform taxidermy work on migratory birds, their parts, nests or eggs, belonging to someone else. The conditions of a Federal Taxidermy Permit are very specific. You should review Title 50 Parts 10, 13, 20 (subparts A-B, D-J) and 21.24 of the Code of Federal Regulations (CFR). You are responsible for reviewing and understanding these regulations before you request and accept a permit. These regulations can be found on our website at: https://www.fws.gov/birds/policies-and- regulations/permits/permit-policies-and-regulations.php. Refer to Taxidermists and Federal Law for more information. Below is a review of several sections pertinent to a Federal Migratory Bird Taxidermy Permit. 1. Can I mount migratory game birds with a Federal Taxidermy permit? Yes. You can receive and mount migratory game birds taken and possessed in accordance with applicable Federal and State hunting regulations. All such birds must be properly tagged as required by 50 CFR 20.36. The tag may be removed during taxidermy operations but must be retained and reattached after mounting, and must remain attached until the specimen is delivered to the owner. (See 50 CFR 21.24(d)(2)) 2. Can I mount and sell captive-reared migratory waterfowl? Yes. You can sell properly marked, captive-reared migratory waterfowl that you have acquired from a propagator who has a Federal Migratory Bird Waterfowl Sale and Disposal permit. The propagator must give you a completed Notice of Transfer or Sale of Migratory Waterfowl form (Form 3-186) at the time of the transfer and you must maintain this form in your files. -
Banners in Heraldic Art
Banners in heraldic art Magnus Backrnark Abstract The banner is very useful to heraldic art. It is a carrier of charges and colours, just like its coun terpart the shield. But where the shield can be seen as crude, heavy, flat and robust - its purpose being taking hits- the banner is brilliant, swift, full of I ife and motion. Its purpose is spiritual. It is lifted above anyone's head, above dust and confusion, for inspiration and guiding. Something of this character, I will with this article try to show by examples that the heraldic artist, if lucky, can translate in his or her work. First, we could though take a quick glance at the historical development of banners. The term banner approves, as we shall see, to a specific kind of flag, but in a wide sense of the word a banner is any ensign made of a peace of cloth, carried on a staff and with symbolic value to its owner(s). The profound nature of this innovation, which seem to be of oriental origin, makes it the mother of all kinds of flags. The etymologi cal root of the word banner is the French word banniere, derived from latin bandaria, bandum, which has German extraction, related to gothic bandwa, bandw6, 'sign'. 1 The birth of heraldry in the l2 h century Western world was preceded by centuries of use of early forms of banners, called gonfanons. From Bysantium to Normandy, everywhere in the Christian world, these ensigns usually were small rectangular lance flags with tai Is (Fig. -
Why Look at Dead Animals? Taxidermy in Contemporary Art by Vanessa Mae Bateman Submitted to OCAD University in Partial Fulfillme
Why Look at Dead Animals? Taxidermy in Contemporary Art by Vanessa Mae Bateman Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design, and New Media Art Histories Vanessa Mae Bateman, May 2013 This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. ! Copyright Notice This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. You are free to: Share – To copy, distribute and transmit the written work. You are not free to: Share any images used in this work under copyright unless noted as belonging to the public domain. Under the following conditions: Attribution – You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Noncommercial – You may not use those work for commercial purposes. Non-Derivative Works – You may not alter, transform, or build upon this work. With the understanding that: Waiver — Any of the above conditions can be waived if you get permission from the copyright holder. Public Domain — Where the work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.