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Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 112 CONGRESS, FIRST SESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 112 CONGRESS, FIRST SESSION Vol. 157 WASHINGTON, FRIDAY, NOVEMBER 18, 2011 No. 177 House of Representatives The House met at 9 a.m. and was PLEDGE OF ALLEGIANCE And that’s just the way it is. called to order by the Speaker. The SPEAKER. Will the gentleman f from Texas (Mr. POE) come forward and f lead the House in the Pledge of Alle- PRAYER giance. FOREIGN AID The Chaplain, the Reverend Patrick Mr. POE of Texas led the Pledge of (Mr. PRICE of North Carolina asked J. Conroy, offered the following prayer: Allegiance as follows: and was given permission to address Eternal God, we give You thanks for I pledge allegiance to the Flag of the the House for 1 minute and to revise giving us another day. United States of America, and to the Repub- lic for which it stands, one nation under God, and extend his remarks.) We come to the end of a week where indivisible, with liberty and justice for all. we have given thanks for the heroism Mr. PRICE of North Carolina. Mr. of our astronauts. They answered the f Speaker, of all the extreme statements call to service of their Nation, and of ANNOUNCEMENT BY THE SPEAKER we’ve heard coming out of the Repub- their race, to leave the comfort of The SPEAKER. The Chair will enter- lican Presidential debates in recent home to expand the horizons of us all. tain up to five requests for 1-minute weeks, perhaps none is more alarming We have honored as well the elders of speeches on each side of the aisle. -
How Campaign Songs Sold the Image of Presidential Candidates
University of Central Florida STARS Honors Undergraduate Theses UCF Theses and Dissertations 2019 Music and the Presidency: How Campaign Songs Sold the Image of Presidential Candidates Gary M. Bogers University of Central Florida Part of the Music Commons, and the United States History Commons Find similar works at: https://stars.library.ucf.edu/honorstheses University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by the UCF Theses and Dissertations at STARS. It has been accepted for inclusion in Honors Undergraduate Theses by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Bogers, Gary M., "Music and the Presidency: How Campaign Songs Sold the Image of Presidential Candidates" (2019). Honors Undergraduate Theses. 511. https://stars.library.ucf.edu/honorstheses/511 MUSIC AND THE PRESIDENCY: HOW CAMPAIGN SONGS SOLD THE IMAGE OF PRESIDENTIAL CANDIDATES by GARY MICHAEL BOGERS JR. A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Music Performance in the College of Arts and Humanities and in The Burnett Honors College at the University of Central Florida Orlando, Florida Spring Term, 2019 Thesis Chair: Dr. Scott Warfield Co-chairs: Dr. Alexander Burtzos & Dr. Joe Gennaro ©2019 Gary Michael Bogers Jr. ii ABSTRACT In this thesis, I will discuss the importance of campaign songs and how they were used throughout three distinctly different U.S. presidential elections: the 1960 campaign of Senator John Fitzgerald Kennedy against Vice President Richard Milhouse Nixon, the 1984 reelection campaign of President Ronald Wilson Reagan against Vice President Walter Frederick Mondale, and the 2008 campaign of Senator Barack Hussein Obama against Senator John Sidney McCain. -
Crocodile Tears”
CHAPTER THREE QUEER KINSHIP IN NEW QUEER INDIA: FROM WADIA’S BOMGAY TO R. RAJA RAO’S “CROCODILE TEARS” ROHIT K DASGUPTA Established academic debates surrounding representation of queer identities in India have time and again illuminated the relationship between sexual (and gendered) subjectivities and the state. More often than not queer individuals themselves have fixated on heteronormativising their queerness. For many, such articulations of “fitting in” with the rest evidence a social/cultural and even political progress, but for radical queer activists and scholars this signifies a backward trend of servicing the neo- liberal agenda. Lisa Duggan (2002, 179) has called this homonormativity and has argued that it is “a politics that does not contest dominant heteronormative assumptions and institutions but upholds and sustains them while promising the possibility of a demobilized gay constituency and a privatized, depoliticized gay culture anchored in domesticity and consumption”. This essay therefore is a mediation of and an argument against this neo-liberal progress which assumes a universal queer identity (see Massad 2007 and Altman 1997) structured around normative family structures (through same sex marriages and adoption) and a de-essentialising of the queer body through hyper masculinity/femininity (Dasgupta and Gokulsing 2014). As recent research has suggested,there are newer ways to understand queerness beyond the state sponsored homonormativities (Puar 2006). Scholar and activist Judith Halberstam’s recent work on Gaga feminism (2012) sifts through popular cultural artefacts to uncover how these media artefacts contain within them a blueprint of dominant (heteronormative/mainstream) culture with its emphasis on stasis, norms and conventions. -
The Prayer of Jabez by Bruce Wilkingson Lesson V
1 The Prayer of Jabez By Bruce Wilkingson Lesson V “Keeping The Legacy Safe” “O That You Would Keep Me From Evil” 1 Chronicles 4:9-10 9) And Jabez was more honourable than his brethren: and his mother called his name Jabez, saying, Because I bare him with sorrow. 10) And Jabez called on the God of Israel, saying, Oh that thou wouldest bless me indeed, and enlarge my coast, and that thine hand might be with me, and that thou wouldest keep me from evil, that it may not grieve me! And God granted him that which he requested. Introduction: 1. A caption read “Sometimes you can afford to come in second. Sometimes you cannot.” a. This was placed under a Roman Gladiator who was in trouble. b. Here is the picture i. The Gladiator has dropped his sword ii. The enraged lion is in mid lunge with his jaws wide iii. The crowd is on their feet watching in horror as the panic-stricken gladiator tries to flee. Note: This is a horrible time to come in second. 2. Jabez had asked for supernatural blessing, influence, and power. a. Many people think that they can jump into any arena with any lion, “and win.” b. Some people with the hand of God upon them might pray “Lord, Keep me through evil,” but not Jabez. i. Jabez prayed “Keep me from evil.” ii. The best way to defeat a roaring lion is to stay out of the arena. 2 iii. Therefore Jabez prayed “Keep me from evil” which was a prayer that is saying: “God, keep me out of the fight.” 3. -
Representations of Female Adolescence in the Teen Makeover Film
Representations of Female Adolescence in the Teen Makeover Film By Kendra Marston A Thesis Submitted to the Victoria University of Wellington in Fulfilment of the Requirements for a Degree of Master of Arts in Film Victoria University of Wellington 2010 Abstract This thesis proposes to analyse the representation of female adolescence in the contemporary teen makeover film. The study will situate this body of films within the context of the current postfeminist age, which I will argue has bred specific fears both of and for the female adolescent. This thesis will examine the construction of the initial wayward makeover protagonist, paying attention to why she needs to be trained in an idealised gender performance that has as its urgent goal the assurance of heteronormativity and ‘healthy’ sex role power relations. I will also analyse the representation of deviant adolescent female characters in terms of how their particular brand of postfeminist female masquerade masks a power and status-oriented agenda. The behaviour of these characters is shown to impact negatively on the peer group within the film, and is particularly dangerous as it threatens to negate the need for romance. 1 Contents Abstract 1 Acknowledgements 3 Introduction 4 Chapter One 23 Chapter Two 62 Chapter Three 86 Chapter Four 112 Conclusion 132 Bibliography 143 Filmography 153 Television Sources 155 Internet Sources 157 2 Acknowledgements I would like to acknowledge my supervisor Sean Redmond for the time he put in to helping me with this thesis, as well as for the encouragement, support and advice offered. 3 Introduction My Moment of Awakening in the Makeover Moment While watching The Princess Diaries (Garry Marshall, 2001) for the purpose of this research, I became fascinated by the particular tone of its makeover scene. -
White, Rachel. 2020. All This Is for You and Contemporary Uses of Omniscient Narration: Theories and Case Studies
White, Rachel. 2020. All this is for you and contemporary uses of omniscient narration: theories and case studies. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28377/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] All this is for you and Contemporary Uses of Omniscient Narration: Theories and Case Studies Submitted by Rachel White Goldsmiths College, University of London Thesis submitted for the PhD in Creative and Life Writing 1 Declaration of Authorship I, Rachel White, declare that this thesis and the work presented in it is entirely my own. I have clearly stated where I have consulted the work of others. Signed: Date: 2 Acknowledgements I would like to offer my sincere thanks to my creative supervisor, Ardashir Vakil, and my critical supervisor, Jane Desmarais, for their unflagging support and encouragement, and their much-appreciated advice in the writing of this thesis. 3 Abstract This thesis consists of two parts. Part One is the creative writing component, a 62,000 word novel, All this is for you, about Hemu Daswani, immigrant turned wealthy entrepreneur, and his daughter-in-law, Joanna, who between them debate the question, once a person has become rich, what else is there to strive for. -
One Survivor Remembers Teacher’S Guide 0 Grades 8 Through 12 Contents a Summary of Gerda’S Story 3 How to Use This Kit 4 a Note About the Primary Documents 5
ONE SURVIVOR REMEMBERS Teacher’s Guide 0 Grades 8 ThrouGh 12 Contents A Summary of Gerda’s Story 3 How to Use This Kit 4 A Note About the Primary Documents 5 LESSON PLANS Providing Context for the Film Tapping Students’ Prior Knowledge 7 Holocaust Timeline Activity 10 Viewing the Film Discussing the Film 11 Connecting with Gerda 34 Empathizing with Loss 37 Humanizing the Dehumanized 39 Building on the Film’s Themes Antisemitism 42 Bullies & Bystanders 49 Holding Onto Hope 54 Applying the Film’s Themes A Call to Action: Service Learning 58 Intolerance Today 61 EXTRAS Recommended Resources 69 Content Standards 70 Acknowledgements 71 A Note from Gerda 73 one survivor remembers PREFACE A Summary of Gerda’s Story by Michael Berenbaum This is a story about the strength of the human spirit, the story of a woman who survived the Holocaust and emerged with her humanity intact. Stripped of family, friends, pos- sessions and freedom, she lived to tell her story, a story she tells eloquently and power- fully in One Survivor Remembers. A Polish Jew, Gerda Weissmann lived six years under German rule. It was a time when Jews were stigmatized, discriminated against, harassed and beaten. Their houses of worship were burned; their places of business, looted. They were driven from their homes, imprisoned in ghettos and forced to work in slave-labor camps. And they were murdered — some where they lived, town by town, person by person; others in death camps, where millions were gassed in an assembly-line process that mimicked the great factories of industrialized Europe. -
Syllabus for Classics 140 (#20821) Introduction to Classics
SYLLABUS FOR CLASSICS 140 (#20821) INTRODUCTION TO CLASSICS Fall 2014 Semester, San Diego State University Brett Robbins, PhD., Department of Classics & Humanities Class Hours: M/W 2-3:15 PM, Classroom: PSFA-310 Office Hours (AL-672): MW 12:30-1:45 PM (or by appointment) Phone: 805-444-2393, E-Mail: [email protected] 1) COURSE DESCRIPTION If you’re curious about your own society, you should also be curious about the ancient Greeks and Romans, because they were the inventors of western culture and you should be curious about where so much of what you take for granted comes from. It’s inherently pleasurable to trace so much of what we think and do today to their roots in ancient Greece and Rome, to make sense of their world and our own world through their world and of both worlds through their interrelationships with each other. That is, I believe, what is most special about the study of antiquity: we find, if we look closely, so many firsts in western culture: the first epic and lyric poems, the first plays, the first theaters, the first histories, even the first cinema (huh?). And through the literature of ancient Greece and Rome we encounter the first expression of certain ideas like community, democracy, and imperialism and of certain emotions like courage, curiosity, and love. If tracing things back to their roots, their origins in the past, excites you, you are in the right place, because that is what I am primarily interested in: getting back to the roots. There is more. -
Best Best Best
GO ORBIG GO HOMELESS The Best of the Best. CCDʼs Journalism THE BESTOF Excellence THEBEST Award PHOTO PHOTO OF MISCHIEVOUS GRANDMA’S BOOK SAVES EIGHTIES TEEN THE THE NOT GONE, BUT BEST BEST SOMEHOW FORGOTTEN OF OF THE PURSUIT OF PHOTO PHOTO ACCOMPLISHMENT A VOICE FOR THE VOICELESS Pg. 27THE BEST CCD’S HIDDEN GEM OF I BELIEVE IN VINYL PHOTO 1 Fall 2014 The Star, Community College of Denver’s student run Journal of Excellence, incorporates visual and written media to provide a platform of expression available to all CCD students. We adhere to Associated Collegiate Press guidelines. SENIOR EDITORS: Troy Elenga Aaron D. Graff SENIOR PHOTO EDITOR: Chanel Ward GENERAL EDITORS: Tanaka Machisa Theresa Cole Elijah Basore ART DIRECTOR: Lysander Romero DESIGNERS: Jordan Chavez Sam Doran Lynette Fry Michael Hynoski Kristel Irvine Joe Rollman Derek Washington FACULTY ADVISORS: K. Strother, Professor, English/ Journalism Lisa Erickson, Adjunct Faculty English John Kjos, Chair Graphic Design Program The Star is a student run publication and does not represent the official opinions or views of the Community College of Denver. 2014 © 2 Fall 2014 I believe in “digging”. Digging I believe good vinyl can bring is the hunt for good vinyl. It’s people together. Creating a CONTENTSmore often reserved for DJs playlist on an mp3 player is as searching for that perfect simple as click and drag, but sample but can be enjoyed sitting down with someone by anyone with access to a and pulling out a stack of vinyl turntable. Everyone who col- to listen11 to is a much more lects vinyl has a list of albums rewarding experience. -
The Crocodile
The Crocodile An Extraordinary Incident Fyodor Dostoyevsky Translated by Constance Garnett Downloaded from www.holybooks.com THE CROCODILE A TRUE STORY OF HOW A GENTLEMAN OF A CERTAIN AGE AND OF RESPECTABLE APPEARANCE WAS SWALLOWED ALIVE BY THE CROCODILE IN THE ARCADE, AND OF THE CONSEQUENCES THAT FOLLOWED. Ohe Lambert! Ou est Lambert? As-tu vu Lambert? I ON the thirteenth of January of this present year, 1865, at half-past twelve in the day, Elena Ivanovna, the wife of my cultured friend Ivan Matveitch, who is a colleague in the same department, and may be said to be a distant relation of mine, too, expressed the desire to see the crocodile now on view at a fixed charge in the Arcade. As Ivan Matveitch had already in his pocket his ticket for a tour abroad (not so much for the sake of his health as for the improvement of his mind), and was consequently free from his official duties and had nothing whatever to do that morning, he offered no objection to his wife’s irresistible fancy, but was positively aflame with curiosity himself. “A capital idea!” he said, with the utmost satisfaction. “We’ll have a look at the crocodile! On the eve of visiting Europe it is as well to acquaint ourselves on the spot with its indigenous inhabitants.” And with these words, taking his wife’s arm, he set off with her at once for the Arcade. I joined them, as I usually do, being an intimate friend of the family. I have never seen Ivan Matveitch in a more agreeable frame of mind than he was on that memorable morning-how true it is that we know not beforehand the fate that awaits us! On entering the Arcade he was at once full of admiration for the splendours of the building and, when we reached the shop in which the monster lately arrived in Petersburg was being exhibited, he volunteered to pay the quarter-rouble for me to the crocodile owner — a thing which had never happened before. -
"So Very," "So Fetch": Constructing Girls on Film in the Era of Girl Power and Girls in Crisis
Georgia State University ScholarWorks @ Georgia State University Institute for Women's, Gender, and Sexuality Women's, Gender, and Sexuality Studies Theses Studies 11-19-2008 "So Very," "So Fetch": Constructing Girls on Film in the Era of Girl Power and Girls in Crisis Mary Larken McCord Follow this and additional works at: https://scholarworks.gsu.edu/wsi_theses Recommended Citation McCord, Mary Larken, ""So Very," "So Fetch": Constructing Girls on Film in the Era of Girl Power and Girls in Crisis." Thesis, Georgia State University, 2008. https://scholarworks.gsu.edu/wsi_theses/13 This Thesis is brought to you for free and open access by the Institute for Women's, Gender, and Sexuality Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Women's, Gender, and Sexuality Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. “SO VERY,” “SO FETCH”: CONSTRUCTING GIRLS ON FILM IN THE ERA OF GIRL POWER AND GIRLS IN CRISIS by MARY LARKEN MCCORD Under the Direction of Amira Jarmakani ABSTRACT In the mid-1990s, two discourses of girlhood emerged in both the popular and academic spheres. Consolidated as the girl power discourse and girls in crisis discourse, the tension between these two intertwined discourses created a space for new narratives of female adolescence in the decade between 1995 and 2005. As sites of cultural construction and representation, teen films reveal the narratives of girlhood. The films under consideration serve as useful exemplars for an examination of how such discourses become mainstreamed, pervading society’s image of female adolescence. -
An Extraordinary Incident
The Crocodile: An Extraordinary Incident Fyodor Dostoevsky The Crocodile: An Extraordinary Incident Table of Contents The Crocodile: An Extraordinary Incident............................................................................................................1 Fyodor Dostoevsky........................................................................................................................................2 I.....................................................................................................................................................................3 II....................................................................................................................................................................8 III.................................................................................................................................................................12 IV................................................................................................................................................................17 i The Crocodile: An Extraordinary Incident The Crocodile: An Extraordinary Incident 1 The Crocodile: An Extraordinary Incident Fyodor Dostoevsky Translated by Constance Garnett A true story of how a gentleman of a certain age and of respectable appearance was swallowed alive by the crocodile in the Arcade, and of the consequences that followed. Ohe Lambert! Ou est Lambert? As−tu vu Lambert? Fyodor Dostoevsky 2 The Crocodile: An Extraordinary Incident I ON the thirteenth