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Yearbooks Are Going on Sale Who Consistently Lives Life to the Fullest
October 15, 2014 Volume XXI Hawk Issue 2 Happenings A Publication of Hamburg Area High School, Windsor Street, Hamburg, PA 19526 HAHS adopts Root Word of the Week Brooke Buckley Julian Warner - 12 is Hamburg’s Thorough consideration, the fall of the Hamburg Area High School Latin program, and untapped standardized testing potential has coalesced into an initiative to permeate the ancient Greek and Latin lexicons throughout the entire student body. It is known as the Outstanding Young “Root Word[s] of the Week”. The ostensible arbitrariness of the initiative has left students curious, indifferent, or sometimes dubious. Nevertheless, approbating administrative figures offer research-backed certitude that there is, indeed, method to the madness. Woman Since the 2012-2013 school year, elementary schools in the Hamburg Area School Sarah Hanlon – 12 District have embraced the Root Word of the Week System. Since doing so, the idea has spread throughout all of the levels of primary education in Hamburg, eventually arriving at On Saturday, October 4, Brooke Buckley HAHS. Teachers of varying subjects review the root words, along with their applications represented Hamburg Area High School in the Berks to modern English, with the students throughout the week. Typically, the words are County Outstanding Young Woman program. Brooke selected thematically from a larger list of pre-selected root words. During the Labor Day was one of 19 female high school seniors in Berks holiday, for example, oper- and erg- (both meaning “work”) were taught as root words. County who participated in the scholarship event. The The root word initiative is not exclusive to the Hamburg education system, contestants participated in a yearly competition that and it can be found in numerous schools throughout the United States, both focuses on academic and community service excellence, as well as performing arts and nearby and afar. -
Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South. -
Creative Consultant Teller and Composer Sir John Tavener Help Make the Exorcist a Sensory Feast
CREATIVE CONSULTANT TELLER AND COMPOSER SIR JOHN TAVENER HELP MAKE THE EXORCIST A SENSORY FEAST Director John Doyle’s Creative Team Also Includes Tony Award Winning Scenic/Costume Designer Scott Pask, Lighting Designer Jane Cox and Sound Designer Dan Moses Schreier LOS ANGELES, May 29, 2012 — In addition to an accomplished cast, the Geffen Playhouse’s world premiere stage adaptation of The Exorcist showcases an award-winning design team – including world-renowned creative consultant Teller and internationally acclaimed spiritual composer Sir John Tavener – to bring playwright John Pielmeier’s script and Tony Award winning director John Doyle’s vision to life on stage. The team also includes Tony Award winning scenic/costume designer Scott Pask, lighting designer Jane Cox and sound designer Dan Moses Schreier. Working with Doyle, the design team will be tasked with creating a theatrical experience that engages the senses in a way that is unique to live performance. As the designers create ambiance and atmosphere, the actors taking center stage include Brooke Shields and Richard Chamberlain in the iconic roles of Chris MacNeil and Father Merrin, respectively, as well as Broadway actor David Wilson Barnes as the troubled young priest Father Damien Karras, Tony Award nominee Harry Groener takes on the role of Chris’ charismatic director Burke Dennings and UCLA School of Theater, Film and Television graduate Emily Yetter plays the young Regan MacNeil. The world premiere cast also includes Stephen Bogardus, Manoel Felciano, Tom Nelis and Roslyn Ruff. The Exorcist opens in the Gil Cates Theater at the Geffen Playhouse on July 11, 2012 and runs through August, 12, 2012. -
The Exorcist" - - Textual --Topical Scripture Reading'------Devotional
SATAN SUBJECT CLASSIFICATION: TEXT Deuteronomy 18:9-13 --EXPOSITORY --BIOGRAPHICAL _____________________"THE EXORCIST" - - TEXTUAL --TOPICAL SCRIPTURE READING'---------------- ---DEVOTIONAL DELIVERIES: Date Hour Place Results and Comments: F.B.C. 8-8-82 p.m. San Angelo, TX (XXX+++) F.B.C. p.m. San Angelo, TX (XXXX++++) 5L; lB; 1 Sp. Ser. BIBLIOGRAPHY------------ E.F. CLASSIFICATION: TEXT ---EXPOSITORY "THE EXORCIST" - - BIOGRAPHICAL --- TEXTUAL --TOPICAL SCRIPTURE READING·- ---------- ----- --DEVOTIONAL DELIVERIES: Date Hour Place Results and Comments: FBC 4-21-74 a.m. San Angelo, Texas XXX++++ FBC 8-8-82 p.m. San Angelo, Texas XXX+++ BIBLIOGRAPHY _ I Scripture: Deut.1 8:9-13 '17 · ntro: f the The Exorcist, continues at its present level of success it has every chance of becoming the most widely viewed movie in the world as well as the first billion dollar producer. During its week it grossed $2,000,000. Newsweek, average 9 a day faint ... The movie is based on William Peter Blatty' s book, The Exorcist, which relates a reported experience in 1949 of a demon-possessed 14 year old boy living in Mt. Ranier, Maryland, adjacent to Washington, D. C. Blatty was a student at Georgetown University at that time and attended a series of lectures by a Jesuit R.C . priest, Franci s Galiger, who centered his lectures on a case s tudy of this 14 year old boy. Phillip Hannon, now in Orleans, was in the Washington diocese when the exorcism of the boy was originally performed. The archbishop contends that Blatty has committed a real travisty with the historical facts of the case of the exorcism. -
FINAL REPORT of Special Committee on Marvin Center Name
Report of the Special Committee on the Marvin Center Name March 30, 2021 I. INTRODUCTION Renaming Framework The George Washington University Board of Trustees approved, in June of 2020, a “Renaming Framework,” designed to govern and direct the process of evaluating proposals for the renaming of buildings and memorials on campus.1 The Renaming Framework was drafted by a Board of Trustees- appointed Naming Task Force, chaired by Trustee Mark Chichester, B.B.A. ’90, J.D. ’93. The Task Force arrived at its Renaming Framework after extensive engagement with the GW community.2 Under the Renaming Framework, the university President is to acknowledge and review requests or petitions related to the renaming of buildings or spaces on campus. If the President finds a request for renaming “to be reasonably compelling when the guiding principles are applied to the particular facts,” the President is to: (1) “consult with the appropriate constituencies, such as the Faculty Senate Executive Committee, leadership of the Student Association, and the Executive Committee of the GW Alumni Association, on the merits of the request for consideration”; and (2) “appoint a special committee to research and evaluate the merits of the request for reconsideration.”3 Appointment of the Special Committee President LeBlanc established the Special Committee on the Marvin Center Name in July of 2020, and appointed Roger A. Fairfax, Jr., Patricia Roberts Harris Research Professor at the Law School as Chair. The Special Committee consists of ten members, representing students, staff, faculty, and alumni of the university, and two advisers, both of whom greatly assisted the Special Committee in its work.4 The Special Committee’s Charge Under the Renaming Framework, the charge of the Special Committee is quite narrow. -
SPRING 1966 GEORGETOWN Is Published in the Fall, Winter, and Spring by the Georgetown University Alumni Association, 3604 0 Street, Northwest, Washington, D
SPRING 1966 GEORGETOWN is published in the Fall, Winter, and Spring by the Georgetown University Alumni Association, 3604 0 Street, Northwest, Washington, D. C. 20007 Officers of the Georgetown University Alumni Association President Eugene L. Stewart, '48, '51 Vice-Presidents CoUege, David G. Burton, '56 Graduate School, Dr. Hartley W. Howard, '40 School of Medicine, Dr. Charles Keegan, '47 School of Law, Robert A. Marmet, '51 School of Dentistry, Dr. Anthony Tylenda, '55 School of Nursing, Miss Mary Virginia Ruth, '53 School of Foreign Service, Harry J. Smith, Jr., '51 School of Business Administration, Richard P. Houlihan, '54 Institute of Languages and Linguistics, Mrs. Diana Hopkins Baxter, '54 Recording Secretary Miss Rosalia Louise Dumm, '48 Treasurer Louis B. Fine, '25 The Faculty Representative to the Alumni Association Reverend Anthony J . Zeits, S.J., '43 The Vice-President of the University for Alumni Affairs and Executive Secretary of the Association Bernard A. Carter, '49 Acting Editor contents Dr. Riley Hughes Designer Robert L. Kocher, Sr. Photography Bob Young " Keep This University A Bright Light' ' Page 1 A Year of Tradition, Tribute, Transition Page 6 GEORGETOWN Georgetown's Medical School: A Center For Service Page 18 The cover for this issue shows the Honorable Hubert H. Humphrey, Vice On Our Campus Page 23 President of the United States, being Letter to the Alumni Page 26 greeted by students in the Yard before 1966 Official Alumni historic Old North preceding his ad Association Ballot Page 27 dress at the Founder's Day Luncheon. Book Review Page 28 Our Alumni Correspondents Page 29 "Keep This University A Bright Light" The hard facts of future needs provided a con the great documents of our history," Vice President text of urgency and promise for the pleasant recol Humphrey told the over six hundred guests at the lection of past achievements during the Founder's Founder's Day Luncheon in New South Cafeteria. -
Georgetown University Frequently Asked Questions
GEORGETOWN UNIVERSITY FREQUENTLY ASKED QUESTIONS GEORGETOWN UNIVERSITY ADDRESS Georgetown University 37th and O Streets, NW Washington, DC 20057 DIRECTIONS TO GEORGETOWN UNIVERSITY From Reagan National Airport (20 minutes) This airport is the closest airport to Georgetown University. A taxicab ride from Reagan National costs approximately $15-$20 one way. Take the George Washington Parkway North. Follow signs for Key Bridge/Route 50. Follow until Key Bridge exit. You will want to be in the left lane as you cross over Key Bridge. At the end of Key Bridge take a left at the light. This is Canal Road. Enter campus at the Hoya Saxa sign, to the right. This road will take you to main campus parking. See attached campus map for further directions. From Washington/Dulles Airport (40 minutes) Taxicabs from Dulles International cost approximately $50-$55 one way. Follow Dulles airport Access road to I-66. Follow I-66 to the Key Bridge Exit. Exit and stay in left lane. At the third light take a left and stay in one of the middle lanes. You will want to be in the left lane as you cross over Key Bridge. At the end of Key Bridge take a left at the light. This is Canal Road. Enter campus at the Hoya Saxa sign, to the right. This road will take you to main campus parking. See attached campus map for further directions. From New York to Washington D.C. By car, approximately 230 miles (4.5 hours) www.mapquest.com By train (approx 3 hours) approx. $120 each way www.amtrak.com By plane (approx 1.5 hours) approx $280 www.travelocity.com ACCOMMODATION The following hotels are closest to the University, for other hotel and discounted rates, you may like to try: www.cheaptickets.com www.cheaphotels.com Note: You can often get better rates through the above site than going through the hotel directly. -
Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South. -
Music 5364 Songs, 12.6 Days, 21.90 GB
Music 5364 songs, 12.6 days, 21.90 GB Name Album Artist Miseria Cantare- The Beginning Sing The Sorrow A.F.I. The Leaving Song Pt. 2 Sing The Sorrow A.F.I. Bleed Black Sing The Sorrow A.F.I. Silver and Cold Sing The Sorrow A.F.I. Dancing Through Sunday Sing The Sorrow A.F.I. Girl's Not Grey Sing The Sorrow A.F.I. Death of Seasons Sing The Sorrow A.F.I. The Great Disappointment Sing The Sorrow A.F.I. Paper Airplanes (Makeshift Wings) Sing The Sorrow A.F.I. This Celluloid Dream Sing The Sorrow A.F.I. The Leaving Song Sing The Sorrow A.F.I. But Home is Nowhere Sing The Sorrow A.F.I. Hurricane Of Pain Unknown A.L.F. The Weakness Of The Inn Unknown A.L.F. I In The Shadow Of A Thousa… Abigail Williams The World Beyond In The Shadow Of A Thousa… Abigail Williams Acolytes In The Shadow Of A Thousa… Abigail Williams A Thousand Suns In The Shadow Of A Thousa… Abigail Williams Into The Ashes In The Shadow Of A Thousa… Abigail Williams Smoke and Mirrors In The Shadow Of A Thousa… Abigail Williams A Semblance Of Life In The Shadow Of A Thousa… Abigail Williams Empyrean:Into The Cold Wastes In The Shadow Of A Thousa… Abigail Williams Floods In The Shadow Of A Thousa… Abigail Williams The Departure In The Shadow Of A Thousa… Abigail Williams From A Buried Heart Legend Abigail Williams Like Carrion Birds Legend Abigail Williams The Conqueror Wyrm Legend Abigail Williams Watchtower Legend Abigail Williams Procession Of The Aeons Legend Abigail Williams Evolution Of The Elohim Unknown Abigail Williams Forced Ingestion Of Binding Chemicals Unknown Abigail -
Semester in Washington, D.C. Program
Semester in Washington, D.C. Program Offered Fall, Spring, and Summer Explore a Learning New Kind of Semester Through a Expand your intellectual and cultural horizons in the heart of the nation’s capital through Georgetown University’s Semester in Washington, D.C. Program (SWP). Offered during Different Lens the Fall, Spring, and Summer semesters, this program features a combination of challenging academics and hands-on practice. Immerse yourself in the vibrant Internship political and cultural landscape of D.C. as you engage with key policymakers, build Georgetown takes pride in providing you with an your professional skills, and take your college experience to the next level. unparalleled real-world experience. After enrolling in the program, you will be paired with As a student in SWP, you will spend part of your time in a classroom setting, Choose Your an internship advisor, who will offer guidance on engaging in stimulating group discussions, listening to guest lectures from everything from developing a strong resume to preparing international experts and business leaders, and examining the complex Semester for your initial interview. issues facing nations, organizations, and decision makers today. Throughout the semester, you will also complete a guided independent Fall (15 credit hours) research project, working closely with a Georgetown research advisor As a full-time student enrolled at Georgetown Academic Seminar as you explore a topic of interest and apply the concepts you University for the semester, you will engage in In these small, interactive sessions, you will learn from have learned. academic and research pursuits while interning distinguished Georgetown faculty while exploring key issues on Tuesdays, Wednesdays, and Thursdays. -
Birth and Ruin: Ttte Devil Versus Social Codes in Rosemary's Baby, the Exorcist and Ttie Omen
BIRTH AND RUIN: TTTE DEVIL VERSUS SOCIAL CODES IN ROSEMARY'S BABY, THE EXORCIST AND TTIE OMEN BY NATASHA LOPUSINA A Thesis submitted to the Faculty of Graduate Studies In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department ofEnglish University of Manitoba Winnipeg, Manitoba @ Natasha Lopusina, March 2005 THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES COPYRIGHT PERMISSION BIRTH AND RUIN: THE DEVIL VERSUS SOCIAL CODES IN ROSEMARY'S BABY, THE EXORCIST AND THE OMEN BY NATASHA LOPUSINA A ThesisÆracticum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirement of the degree MÄSTER Of ARTS NATASHA LOPUSINA O 2OO5 Permission has been granted to the Library of the University of Manitoba to lend or sell copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis and to lend or sell copies of the film, and to University Microfilms Inc. to publish an abstract of this thesis/practicum. This reproduction or copy of this thesis has been made available by authority of the copyright owner solely for the purpose of private study and research, and may only be reproduced and copied as permitted by copyright laws or with express written authorization from the copyright owner. Table of contents Abstract 2 Introduction J CHAPTER I. Rosemary's Baby - A Woman's Realþ Within a Lie t3 CHAPTER II. The Visual Terror of The Exorcist's Daughter 39 CHAPTER III. The Devil as The Omen of the American Family 66 Conclusion 94 Bibliography 103 Abstract In mv thesis Birth and Ruin: The Devil versus Social Codes in Rosemaryt's Bab\t. -
American Monsters: Tabloid Media and the Satanic Panic, 1970-2000
AMERICAN MONSTERS: TABLOID MEDIA AND THE SATANIC PANIC, 1970-2000 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Sarah A. Hughes May 2015 Examining Committee Members: Kenneth L. Kusmer, Advisory Chair, History Carolyn Kitch, Journalism Susan E. Klepp, History Elaine Tyler May, External Member, University of Minnesota, American Studies © Copyright 2015 by Sarah A. Hughes All Rights Reserved iii ABSTRACT “American Monsters: Tabloid Media and the Satanic Panic, 1970-2000,” analyzes an episode of national hysteria that dominated the media throughout most of the 1980s. Its origins, however, go back much farther and its consequences for the media would extend into subsequent decades. Rooted in the decade’s increasingly influential conservative political ideology, the satanic panic involved hundreds of accusations that devil-worshipping pedophiles were operating America’s white middle-class suburban daycare centers. Communities around the country became embroiled in criminal trials against center owners, the most publicized of which was the McMartin Preschool trial in Manhattan Beach, California. The longest and most expensive trial in the nation’s history, the McMartin case is an important focal point of this project. In the 1990s, judges overturned the life sentences of defendants in most major cases, and several prominent journalists and lawyers condemned the phenomenon as a witch-hunt. They accurately understood it to be a powerful delusion, or what contemporary cultural theorist Jean Baudrillard termed a “hyperreality,” in which audiences confuse the media universe for real life. Presented mainly through tabloid television, or “infotainment,” and integral to its development, influence, and success, the panic was a manifestation of the hyperreal.