DOCSLIB.ORG

Lesson 1: How Did This Little Girl (Addie) Get So Sick? Teacher Guide​- High School Unit: Why Don’T Antibiotics Work Like They Used To?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Lesson 1: How did this little girl (Addie) get so sick? Teacher Guide​- High School Unit: Why Don’t Antibiotics Work Like They Used To? These materials were developed with funding through a grant from the Gordon and Betty This work is licensed under a Creative Commons Attribution 4.0 License nextgenstorylines.org Moore Foundation to Northwestern University and the University of Colorado Boulder. http://creativecommons.org/licenses/by/4.0/ 1 Teacher Guide ​ Lesson 1: How did this little girl (Addie) get so sick? Why Don’t Antibiotics Work Like They Used To? Getting Ready: Materials Preparation Materials For Partners Preparation of Materials (5 min.) Provide each group of two students with a Bring up the Frontline video on a projector and check the sound ● ​ ● ​ ​ of the video: ​ Transcript through end of Addie’s case; 12:10 min:sec). ● Rememberhttp://www.pbs.org/wgbh/frontline/film/hunting-the-nightmare-bacteria/ that Addie’s case is only in the first 13 min. of the video. The rest ,of the http://www.pbs.org/wgbh/frontline/film/hunting-th video goes on to introduce other cases, that are not the focus of future lessons in the e-nightmare-bacteria/transcript/ ● Class Slides unit. Materials For Each Student Materials shared between classes. Lesson 1: Student Activity Sheets (1) Clip magnets to hold papers to board and to move them around ● ​ ● ● Roll of tape Safety Materials per class ● ● Blank poster papers (4) ● Blank papers (20) None These materials were developed with funding through a grant from the Gordon and Betty This work is licensed under a Creative Commons Attribution 4.0 License nextgenstorylines.org Moore Foundation to Northwestern University and the University of Colorado Boulder. http://creativecommons.org/licenses/by/4.0/ 2 Teacher Guide ​ Lesson 1: How did this little girl (Addie) get so sick? Why Don’t Antibiotics Work Like They Used To? Getting Ready: Teacher Preparation Background Knowledge Alternative Student Linking Our Conceptions Understanding to Scientific Terminology ​ From the FRAMEWORK: Students will come into this lesson with LS4.C: Adaptation by natural selection is ongoing. For example ● Different kinds of bacteria ​ lots of prior experiences about taking (like Staph and it is seen in the emergence of antibiotic-resistant bacteria.​ ​ medicine for a time they were really sick. Stenotrophomonas ​ Many will recall times that the medicine Cause and Effect: Mechanisms and Prediction ● Different types of bacteria ​ they took or someone in their family took infectious diseases are well understood as being transmitted by (ie. variations within) a kind had to be proscribed by a doctor. Some the passing of microscopic organisms (bacteria or viruses)Today like resistant or will recall that their doctor wrote a between an infected person and another. A major activity of prescription for an antibiotic to take in science is to uncover such causal connections, often with the ● some cases. hope that understanding the mechanisms will enable predictions ● Pan-resistantnonresistant) bacteria Antibiotic and, in the case of infectious diseases, the design of preventive Students may not know what an antibiotic measures, treatments, and cures. is or what type of sickness it is or isn’t prescribed for. Other information: MRSA stands for methicillin-resistant staphylococcus aureus. It is a form of bacterial infection that is resistant to numerous antibiotics including methicillin, amoxicillin, penicillin and oxacillin. Methicillin is a type of antibiotic. The scientific name for Staph is Staphylococcus aureus. ​ These materials were developed with funding through a grant from the Gordon and Betty This work is licensed under a Creative Commons Attribution 4.0 License nextgenstorylines.org Moore Foundation to Northwestern University and the University of Colorado Boulder. http://creativecommons.org/licenses/by/4.0/ 3 Teacher Guide ​ Lesson 1: How did this little girl (Addie) get so sick? Why Don’t Antibiotics Work Like They Used To? Learning Plan: How did this little girl ( 45 min ) Teacher Supports & Notes (Addie) get so sick? 1. (5 min) Post a prompt for students to independently answer as they are entering class to elicit experiences with sickness and medicine. Suggested Prompt: ➔ Write down a time when you or a family member got really sick, and you went to the doctor and the doctor wrote you a prescription for a medicine to take for several days. Did the medicine help you get better? Ask students to share some examples. Possible student responses: ​ ​ ➔ I took aspirin for a headache I had for a couple days. Strategies for this ➔ I took advil for a few days for a sprained ankle that I got from a basketball game. Sharing Initial Ideas Discussion ➔ I took cough medicine for an entire week while I was sick. The goal of this discussion is to ➔ I took medicine the doctor gave me for a cut that I had on my hand that got infected. I took a lot ​A ​ ​ of pills for a lot of days. introduce the Frontline documentary. Many ➔ I took an antibiotic for a high fever and rash I got from my little brother. kids might not know what antibiotics do, and the video does not explain what they are. We suggest using student responses to If students don’t bring up examples of taking antibiotics that were prescribed by the doctor, the writing prompt to bring up antibiotics, then ask students a few additional questions. then tell kids that antibiotics kill bacteria Suggested Prompt: before you play the video, rather than asking kids what antibiotics are and correcting ➔ How many times have you or your family had to go to the doctor and get a prescription to take their responses early on in the unit. This special kind of medicine called an antibiotic? type of correction early on could position the teacher as the source of all knowledge, Summarize some differences you heard between the type of medicines taken and the different which undermines the knowledge building - kinds of sicknesses to introduce the role of taking antibiotics to help fight bacterial infections: ​A​ culture the class is working towards. ​ These materials were developed with funding through a grant from the Gordon and Betty This work is licensed under a Creative Commons Attribution 4.0 License nextgenstorylines.org Moore Foundation to Northwestern University and the University of Colorado Boulder. http://creativecommons.org/licenses/by/4.0/ 4 Teacher Guide ​ Lesson 1: How did this little girl (Addie) get so sick? Why Don’t Antibiotics Work Like They Used To? Suggested Summary: ● It sounds like we have experiences taking different kinds of medicines for different kinds of ● Many of you brought up that doctors also prescribe different types of medicine like antibiotics forsicknesses. different kinds of sickness. ● We are going to be introduced to a young girl who had a sickness in the video we are about to ● In the video you will hear that the doctors give her different antibiotics. Antibiotics are a type ofwatch. medicine that is used to kill bacteria. Tell students that they will need to keep track of important ideas on their activity sheet 1.1 as they learn about her case after they watch the video, which will be about 13 minutes long. Tell students that a transcript of the video will be passed out after watching it, if they want to refer to it for specific details they heard mentioned at that point. 2. (13 min) Show the first 12:10 minutes of the Frontline video (stop right before the India case). Pass out transcripts of the video toward the end of the video. 3. (10 min) Have students record the most important events that happened during Addie’s story. Suggested Prompt: ➔ What were some important events that happened to Addie that we discovered from the video? Have students start to share out a few of the important events that they heard in the video. Tell students that you will be the recorder for class ideas and you need a moment to record each event they share on a piece of paper to post on the board. Post each event after you These materials were developed with funding through a grant from the Gordon and Betty This work is licensed under a Creative Commons Attribution 4.0 License nextgenstorylines.org Moore Foundation to Northwestern University and the University of Colorado Boulder. http://creativecommons.org/licenses/by/4.0/ 5 Teacher Guide ​ Lesson 1: How did this little girl (Addie) get so sick? Why Don’t Antibiotics Work Like They Used To? record it on the board. After three events are shared, and you have made three pieces of paper Additional Guidance with one event on each, pause the conversation at this point. This is the start of the timeline of ​B ​ ​ Suggested Prompts: events that happened in Addie’s story and ➔ Are these events in the correct order? will be important for students to be able to ➔ Was the first one we posed the event that happened before the other two, or should they be in a reference and build on throughout the unit. different order in terms of what happened earlier and what happened later? Put it in a place that can be left up throughout the unit, or make it on chart - paper that can be easily removed and ​ Add “earlier” to the left side of the board and “later” to the right side of the board. B​ ​ relocated to a different wall. If you have multiple classes doing this unit. Tell Ask for student suggestions on how to reorder the three pieces of paper so they are in students, “let’s take a photograph of our chronological order. Add a title to this emerging organization that says “Timeline of important timeline.
Recommended publications
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence

    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence

    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
  • Ne-Yo Au Festival Mawazine

    Ne-Yo Au Festival Mawazine

    Communiqué de presse Rabat, 23 avril 2014 La dernière découverte du rap US à Mawazine Ne-Yo se produira en concert à Rabat le 04 juin 2014 L’Association Maroc Cultures a le plaisir de vous annoncer la venue du chanteur américain Ne-Yo à l’occasion de la 13ème édition du Festival - Mawazine Rythmes du Monde. Ne-Yo se produira mercredi 04 juin 2014 sur la scène de l’OLM-Souissi à Rabat. Dernière découverte du prestigieux label Def Jam, dont l’histoire se confond en grande partie avec celle du rap américain, Ne-Yo (né Shaffer Smith) a hérité d’une voix unique en son genre, inspirée de Stevie Wonder et des plus grands noms de la soul. L’artiste a obtenu en 2008 le Grammy Award du meilleur album contemporain R&B et composé des tubes pour Beyoncé, Rihanna et Britney Spears. Né en 1979 à Los Angeles, Ne-Yo est élevé par une famille de musiciens et se passionne très tôt pour la musique. Ses idoles de l'époque s’appellent Whitney Houston et Michael Jackson. Au cours de cette période, le garçon développe une culture musicale importante, s’essaie au chant, à la composition et à l'écriture. Après plusieurs prestations réussies, Ne-Yo retient l'attention de Def Jam, le label le plus actif de la scène R&B. Avec lui, le chanteur enregistre les singles So Sick , Sexy Love et When You're Mad , qui reçoivent un accueil très favorable dans les clubs de la côte ouest. Ne-Yo sort en 2006 son premier album, In My Own Words , qui se vend à 1 million d’exemplaires.
  • The Robust Beauty of Improper Linear Models in Decision Making

    The Robust Beauty of Improper Linear Models in Decision Making

    The Robust Beauty of Improper Linear Models in Decision Making ROBYN M. DAWES University of Oregon ABSTRACT: Proper linear models are those in which A proper linear model is one in which the predictor variables are given weights in such a way weights given to the predictor variables are chosen that the resulting linear composite optimally predicts in such a way as to optimize the relationship be- some criterion of interest; examples of proper linear tween the prediction and the criterion. Simple models are standard regression analysis, discriminant regression analysis is the most common example function analysis, and ridge regression analysis. Re- of a proper linear model; the predictor variables search summarized in Paul Meehl's book on clinical are weighted in such a way as to maximize the versus statistical prediction—and a plethora of re- search stimulated in part by that book—all indicates correlation between the subsequent weighted com- that when a numerical criterion variable (e.g., graduate posite and the actual criterion. Discriminant grade point average) is to be predicted from numerical function analysis is another example of a proper predictor variables, proper linear models outperform linear model; weights are given to the predictor clinical intuition. Improper linear models are those in variables in such a way that the resulting linear which the weights of the predictor variables are ob- composites maximize the discrepancy between two tained by some nonoptimal method; for example, they or more groups. Ridge regression analysis, an- may be obtained on the basis of intuition, derived other example (Darlington, 1978; Marquardt & from simulating a clinical judge's predictions, or set to Snee, 1975), attempts to assign weights in such be equal.
  • Keane, for Allowing Us to Come and Visit with You Today

    Keane, for Allowing Us to Come and Visit with You Today

    BIL KEANE June 28, 1999 Joan Horne and myself, Ann Townsend, interviewers for the Town of Paradise Valley Historical Committee are privileged to interview Bil Keane. Mr. Keane has been a long time resident of the Town of Paradise Valley, but is best known and loved for his cartoon, The Family Circus. Thank you, Mr. Keane, for allowing us to come and visit with you today. May we have your permission to quote you in part or all of our conversation today? Bil Keane: Absolutely, anything you want to quote from it, if it's worthwhile quoting of course, I'm happy to do it. Ann Townsend: Thank you very much. Tell us a little bit about yourself and what brought you to hot Arizona? Bil Keane: Well, it was a TWA plane. I worked on the Philadelphia Bulletin for 15 years after I got out of the army in 1945. It was just before then end of 1958 that I had been bothered each year with allergies. I would sneeze in the summertime and mainly in the spring. Then it got in to be in the fall, then spring, summer and fall. The doctor would always prescribe at that time something that would alleviate it. At the Bulletin I was doing a regular comic and I was editor of their Fun Book. I had a nine to five job there and we lived in Roslyn which was outside Philadelphia and it was one hour and a half commute on the train and subway. I was selling a feature to the newspapers called Channel Chuckles, which was the little cartoon about television which I enjoyed doing.
  • Representations of Education in HBO's the Wire, Season 4

    Representations of Education in HBO's the Wire, Season 4

    Teacher EducationJames Quarterly, Trier Spring 2010 Representations of Education in HBO’s The Wire, Season 4 By James Trier The Wire is a crime drama that aired for five seasons on the Home Box Of- fice (HBO) cable channel from 2002-2008. The entire series is set in Baltimore, Maryland, and as Kinder (2008) points out, “Each season The Wire shifts focus to a different segment of society: the drug wars, the docks, city politics, education, and the media” (p. 52). The series explores, in Lanahan’s (2008) words, an increasingly brutal and coarse society through the prism of Baltimore, whose postindustrial capitalism has decimated the working-class wage and sharply divided the haves and have-nots. The city’s bloated bureaucracies sustain the inequality. The absence of a decent public-school education or meaningful political reform leaves an unskilled underclass trapped between a rampant illegal drug economy and a vicious “war on drugs.” (p. 24) My main purpose in this article is to introduce season four of The Wire—the “education” season—to readers who have either never seen any of the series, or who have seen some of it but James Trier is an not season four. Specifically, I will attempt to show associate professor in the that season four holds great pedagogical potential for School of Education at academics in education.1 First, though, I will present the University of North examples of the critical acclaim that The Wire received Carolina at Chapel throughout its run, and I will introduce the backgrounds Hill, Chapel Hill, North of the creators and main writers of the series, David Carolina.
  • The Mockingbird's Nest

    The Mockingbird's Nest

    The Mockingbird’s Nest A Play in One Act by Craig Bailey Craig Bailey 350 Woodbine Rd Shelburne VT 05482-6777 ©2020 Craig Bailey (802) 655-1197 All rights reserved [email protected] CHARACTERS DAISY In her 80s. ROBYN In her 50s. SETTING/TIME Scene 1 A home. Sometime in the future. Scene 2 The same. Decades later. SYNOPSIS Elderly shut-in DAISY begins to suspect her daughter and live-in caregiver, ROBYN, isn't what she seems to be. 1. SCENE 1 (In the darkness, MUSIC plays. It's a music box-like rendition of "Daisy Bell [Bicycle Built for Two].") (AT RISE: The living room of a modest home. ROBYN sits in an easy chair R. DAISY sits in a wheelchair L.) DAISY (Holding a music box and singing.) Daisy, Daisy, give me your answer do. I'm half crazy, all for the love of you. It won't be a stylish marriage, I can't afford a carriage. But you'll look sweet, Upon the seat, Of a bicycle built for two. ROBYN (Clapping.) Bravo! DAISY The girls would sing it to me incessantly. Every day they would sing it to me. Walking to school. Walking home from school. During recess. Under their breath during class. They thought they were tormenting me, but of course they weren't. As a matter of fact, I liked it! They were meant to be teasing me, but I liked the song! Though I never let those girls know. ROBYN It's a beautiful melody. A beautiful name. DAISY Old fashioned, I'm sure.
  • The Body and Posttraumatic Healing: a Teresian Approach

    The Body and Posttraumatic Healing: a Teresian Approach

    Journal of Moral Theology, Vol. 9, No. 1 (2020): 75-97 The Body and Posttraumatic Healing: A Teresian Approach Julia Feder HEN MANY PEOPLE THINK “mysticism” or “mystical prayer,” they imagine a dreamy kind of out-of-body ex- perience in which one encounters the Ultimate. For W those who have suffered from sexual violence, this ver- sion of prayer is, at best, not helpful and, at worst, dangerous. Because the threat of dissociation of the mind and the body is both debilitating and ever-present for trauma survivors, imagining prayer as a “mystical flight” away from the realm of bodies (both personal and social-polit- ical) is a terrible idea—both theologically and psychologically. The idea that mystical prayer might push one beyond or away from the body is psychologically dangerous because dissociation from one’s body is a costly mode of coping with trauma and bodily reintegration is extremely difficult once this breach has been rendered.1 For Chris- tian survivors of sexual violence, a conception of prayer as mystical flight is also poor theology because the Christian tradition is an incar- national tradition—one that centers revelation on the disclosure of God in flesh. According to the Christian tradition, prayer orients us more profoundly to God incarnate—God disclosed sacramentally in our lives, in history, in the world. Therefore, Christian prayer is always and everywhere an embodied practice. Teresa of Avila, the sixteenth-century Spanish saint and mystic, is one of the most celebrated authors describing the deep and enduring connection between the life of prayer and the body.
  • So Sick Or So Cool? the Language of Youth on the Internet SALI A

    So Sick Or So Cool? the Language of Youth on the Internet SALI A

    Language in Society 45,1–32. doi:10.1017/S0047404515000780 So sick or so cool? The language of youth on the internet SALI A. TAGLIAMONTE IN COLLABORATION WITH DYLAN USCHER, LAWRENCE KWOK, AND STUDENTS FROM HUM199Y 2009 AND 2010 Department of Linguistics, University of Toronto 100 St. George Street, Toronto, Ontario, Canada [email protected] ABSTRACT This article presents the results of a two-year study of North American youth which produced a 179,000 word corpus of internet language from the same writers across three registers: email, instant messaging, and phone texting. Analysis of three linguistic phenomena—(i) acronyms, short forms, and ini- tialisms; (ii) intensifiers; and (iii) future temporal reference—reveals that despite variation in form and contrasting frequencies across registers, the pat- terns of variant use are stable. This offers linguistic evidence that there is no degeneration of grammar in internet language use. Instead, the young people are fluidly navigating a complex set of new written registers, and they command them all. (Internet, language change, youth)* INTRODUCTION Research on language use on the internet is by now an industry complete with themes, factions, and fields of study (e.g. Androutsopolous 2014). Virtually all of this research, however, is based on what is publically available on the internet. What remains hidden is how people are interacting within each other INSIDE the in- ternet where one-on-one discourses are transpiring in a worldwide beehive of com- munication. What type of language do people use when they communicate with each other using device-based mediation, a phenomena referred to as CMC (com- puter-mediated communication) (Kiesler, Siegel, & McGuire 1984)? This is a ques- tion that seems simple enough, but when it comes to finding out, it soon becomes apparent that neither scientists, nor journalists, nor teachers are actually privy to the day-to-day interactions between people, as they tap away at their computers and phones.
  • Learn the BEST HOPPER FEATURES

    Learn the BEST HOPPER FEATURES

    FEATURES GUIDE Learn The 15 BEST HOPPER TIPS YOU’LL FEATURES LOVE! In Just Minutes! Find A Channel Number Fast Watch DISH Anywhere! (And You Don’t Even Have To Be Home) Record Your Entire Primetime Lineup We’ll Show You How Brought to you by 1 YOUR REMOTE CONTENTS 15 TIPS YOU’LL LOVE — Pg. 4 From fi nding a lost remote, binge watching and The Hopper remote control makes it easy for you to watch, search and record more, learn all about Hopper’s best features. programming. Here’s a quick overview of the basics to get you started. Welcome HOME — Pg. 6 You’ve Made A Smart Decision MENU — Pg. 8 With Hopper. Now We’re Here SETTINGS — Pg. 10 DVR TV Power Parental Controls, Guide Settings, Closed Displays your Turns the TV To Make Sure You Understand Captioning, Screen Adjustments, Bluetooth recorded programs. on/off. All That You Can Do With It. and more. Power Guide Turns the receiver Displays the Guide. APPS — Pg. 12 on/off. Netfl ix, Game Finder, Pandora, The Weather CEO and cofounder Charlie Ergen remembers Channel and more. the beginnings of DISH as if it were yesterday. DVR — Pg. 14 The Tennessee native was hauling one of those Operating your DVR, recording series and Home Search enormous C-band TV dish antennas in a pickup managing recordings. Access the Home menu. Searches for programs. truck, along with his fellow cofounders Candy Ergen and Jim DeFranco. It was one of only two PRIMETIME ANYTIME & Apps Info/Help antennas they owned in the early 1980s.
  • Year-End Edition 2006 Mediabase Overall Label Share 2006

    Year-End Edition 2006 Mediabase Overall Label Share 2006

    MEDIABASE YEAR-END EDITION 2006 MEDIABASE OVERALL LABEL SHARE 2006 ISLAND DEF JAM TOP LABEL IN 2006 Atlantic, Interscope, Zomba, and RCA Round Out The Top Five Island Def Jam Music Group is this year’s #1 label, according to Mediabase’s annual year-end airplay recap. Led by such acts as Nickelback, Ludacris, Ne-Yo, and Rihanna, IDJMG topped all labels with a 14.1% share of the total airplay pie. Island Def Jam is the #1 label at Top 40 and Hot AC, coming in second at Rhythmic, Urban, Urban AC, Mainstream Rock, and Active Rock, and ranking at #3 at Alternative. Atlantic was second with a 12.0% share. Atlantic had huge hits from the likes of James Blunt, Sean Paul, Yung Joc, Cassie, and Rob Thomas -- who all scored huge airplay at multiple formats. Atlantic ranks #1 at Rhythmic and Urban, second at Top 40 and AC, and third at Hot AC and Mainstream Rock. Atlantic did all of this separately from sister label Lava, who actually broke the top 15 labels thanks to Gnarls Barkley and Buckcherry. Always powerful Interscope was third with 8.4%. Interscope was #1 at Alternative, second at Top 40 and Triple A, and fifth at Rhythmic. Interscope was led byAll-American Rejects, Black Eyed Peas, Fergie, and Nine Inch Nails. Zomba posted a very strong fourth place showing. The label group garnered an 8.0% market share, with massive hits from Justin Timberlake, Three Days Grace, Tool and Chris Brown, along with the year’s #1 Urban AC hit from Anthony Hamilton.
  • Pacing in Children's Television Programming

    Pacing in Children's Television Programming

    DOCUMENT RESUME ED 434 364 CS 510 117 AUTHOR McCollum, James F., Jr.; Bryant, Jennings TITLE Pacing in Children's Television Programming. PUB DATE 1999-03-00 NOTE 42p.; Paper presented at the Annual Meeting of the Association for Education in Journalism and Mass Communication (82nd, New Orleans, LA, August 4-7, 1999). PUB TYPE Reports Research (143) Speeches/Meeting Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Childrens Television; Content Analysis; Preschool Education; *Programming (Broadcast); Television Research IDENTIFIERS Sesame Street ABSTRACT Following a content analysis, 85 children's programs were assigned a pacing index derived from the following criteria:(1) frequency of camera cuts;(2) frequency of related scene changes;(3) frequency of unrelated scene changes;(4) frequency of auditory changes;(5) percentage of active motion;(6) percentage of active talking; and (7) percentage of active music. Results indicated significant differences in networks' pacing overall and in the individual criteria: the commercial networks present the bulk of the very rapidly paced programming (much of it in the form of cartoons), and those networks devoted primarily to educational programming--PBS and The Learning Channel--present very slow-paced programs. (Contains 26 references, and 12 tables and a figure of data.) (RS) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ******************************************************************************** Pacing in Children's Television Programming James F. McCollum Jr. Assistant Professor Department of Communication Lipscomb University Nashville, TN 37204-3951 (615) 279-5788 [email protected] Jennings Bryant Professor Department of Telecommunication and Film Director Institute for Communication Research College of Communication Box 870172 University of Alabama Tuscaloosa, AL 35487-0172 (205) 348-1235 PERMISSION TO REPRODUCE AND OF EDUCATION [email protected] U.S.
  • The Ghosts of War by Ryan Smithson

    The Ghosts of War by Ryan Smithson

    THE GHOSTS OF WAR BY RYAN SMITHSON RED PHASE I. STUCK IN THE FENCE II. RECEPTION III. BASIC TRAINING PART I IV. MAYBE A RING? V. EQ PLATOON VI. GI JOE SCHMO VII. COLD LIGHTNING VIII. THE EIGHT HOUR DELAY IX. THE TOWN THAT ACHMED BUILT X. A TASTE OF DEATH WHITE PHASE XI. BASIC TRAINING PART II XII. RELIEF XIII. WAR MIRACLES XIV. A TASTE OF HOME XV. SATAN’S CLOTHES DRYER XVI. HARD CANVAS XVII. PETS XVIII. BAZOONA CAT XIX. TEARS BLUE PHASE XX. BASIC TRAINING PART III XXI. BEST DAY SO FAR XXII. IRONY XXIII. THE END XXIV. SILENCE AND SILHOUETTES XXV. WORDS ON PAPER XXVI. THE INNOCENT XXVII. THE GHOSTS OF WAR Ghosts of War/R. Smithson/2 PART I RED PHASE I. STUCK IN THE FENCE East Greenbush, NY is a suburb of Albany. Middle class and about as average as it gets. The work was steady, the incomes were suitable, and the kids at Columbia High School were wannabes. They wanted to be rich. They wanted to be hot. They wanted to be tough. They wanted to be too cool for the kids who wanted to be rich, hot, and tough. Picture me, the average teenage boy. Blond hair and blue eyes, smaller than average build, and, I’ll admit, a little dorky. I sat in third period lunch with friends wearing my brand new Aeropostale t-shirt abd backwards hat, wanting to be self-confident. The smell of greasy school lunches filled e air. We were at one of the identical, fold out tables.