Share Your Story: a How-To Guide for Digital Storytelling
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Anthropology (Ant) 101 Introduction to Anthropology General Elective S1 902 102 Intro to Cultural Anthropology Anth 220; Society & Culture S1 901N
MORTON COLLEGE CATALOG YEAR: 2019–2020 NIU CATALOG: 2021–2022 DATE: JULY 2021 CALENDAR: SEMESTER AA/AS DEGREES: 62 HRS PAGE 1 of 8 EFFECTIVE FOR COURSES TAKEN FALL 2021, SPRING 2022, AND SUMMER 2022 COMMUNITY COLLEGE COURSE NUMBER/TITLE NIU EQUIVALENT IAI CODE ANTHROPOLOGY (ANT) 101 INTRODUCTION TO ANTHROPOLOGY GENERAL ELECTIVE S1 902 102 INTRO TO CULTURAL ANTHROPOLOGY ANTH 220; SOCIETY & CULTURE S1 901N ART (ART) STUDENTS RECEIVING ART STUDIO (ARTS ELECTIVE) CREDIT FOR COMMUNITY COLLEGE COURSES ARE ENCOURAGED TO SUBMIT A PORTFOLIO OF THEIR WORK FOR POSSIBLE COURSE CREDIT. PLACEMENT IN MAJOR STUDIO CLASSES, EXCEPT FOR CORE COURSES, IS BY PORTFOLIO. CONTACT SCHOOL OF ART FOR INFORMATION ON PPLICATION AND DATES FOR PORTFOLIO SUBMISSION. 101 TWO-DIMENSIONAL FUNDAMENTALS ART 102; CREATIVITY & CRITICAL ANALYSIS 102 THREE-DIMENSIONAL FUNDAMENTALS ART 103; CREATIVITY & CRITICAL ANALYSIS 103 DRAWING I ART 100; CREATIVITY & CRITICAL ANALYSIS 104 DRAWING II ART 101; CREATIVITY & CRITICAL ANALYSIS 105 PAINTING I ARTS ELECTIVE 107 WATERCOLOR ARTS ELECTIVE 111 SCULPTURE I GENERAL ELECTIVE 113 CERAMICS I ARTS ELECTIVE 115 PHOTOGRAPHY I ARTS ELECTIVE 116 PHOTOGRAPHY II GENERAL ELECTIVE 117 DIGITAL PHOTOGRAPHY GENERAL ELECTIVE 120 ART APPRECIATION ARTH 282; CREATIVITY & F2 900 CRITICAL ANALYSIS 125 ART HISTORY SURVEY I ARTH ELECTIVE; CREATIVITY F2 901 & CRITICAL ANALYSIS 126 ART HISTORY SURVEY II ARTH 292; CREATIVITY & F2 902 CRITICAL ANALYSIS 127 ART HISTORY SURVEY III CREATIVITY & CRITICAL F2 902 ANALYSIS ELECTIVE 203 FIGURE DRAWING I ARTS 200 204 FIGURE DRAWING II ARTS ELECTIVE 205 PAINTING II ARTS ELECTIVE 211 SCULPTURE II ARTS 261 213 CERAMICS II ARTS ELECTIVE 217 TRIBAL ART CREATIVITY & CRITICAL F2 903N ANALYSIS ELECTIVE NOTE: ART HISTORY MAJORS W/217 CONTACT SCHOOL OF ART FOR POSSIBLE ART CREDIT. -
Philosophy, Theory, and Literature
STANFORD UNIVERSITY PRESS PHILOSOPHY, THEORY, AND LITERATURE 20% DISCOUNT NEW & FORTHCOMING ON ALL TITLES 2019 TABLE OF CONTENTS Redwood Press .............................2 Square One: First-Order Questions in the Humanities ................... 2-3 Currencies: New Thinking for Financial Times ...............3-4 Post*45 ..........................................5-7 Philosophy and Social Theory ..........................7-10 Meridian: Crossing Aesthetics ............10-12 Cultural Memory in the Present ......................... 12-14 Literature and Literary Studies .................... 14-18 This Atom Bomb in Me Ordinary Unhappiness Shakesplish The Long Public Life of a History in Financial Times Asian and Asian Lindsey A. Freeman The Therapeutic Fiction of How We Read Short Private Poem Amin Samman American Literature .................19 David Foster Wallace Shakespeare’s Language Reading and Remembering This Atom Bomb in Me traces what Critical theorists of economy tend Thomas Wyatt Digital Publishing Initiative ....19 it felt like to grow up suffused with Jon Baskin Paula Blank to understand the history of market American nuclear culture in and In recent years, the American fiction Shakespeare may have written in Peter Murphy society as a succession of distinct around the atomic city of Oak Ridge, writer David Foster Wallace has Elizabethan English, but when Thomas Wyatt didn’t publish “They stages. This vision of history rests on ORDERING Tennessee. As a secret city during been treated as a symbol, an icon, we read him, we can’t help but Flee from Me.” It was written in a a chronological conception of time Use code S19PHIL to receive a the Manhattan Project, Oak Ridge and even a film character. Ordinary understand his words, metaphors, notebook, maybe abroad, maybe whereby each present slips into the 20% discount on all books listed enriched the uranium that powered Unhappiness returns us to the reason and syntax in relation to our own. -
Scouting & Rope
Glossary Harpenden and Wheathampstead Scout District Anchorage Immovable object to which strain bearing rope is attached Bend A joining knot Bight A loop in a rope Flaking Rope laid out in wide folds but no bights touch Frapping Last turns of lashing to tighten all foundation turns Skills for Leadership Guys Ropes supporting vertical structure Halyard Line for raising/ lowering flags, sails, etc. Heel The butt or heavy end of a spar Hitch A knot to tie a rope to an object. Holdfast Another name for anchorage Lashing Knot used to bind two or more spars together Lay The direction that strands of rope are twisted together Make fast To secure a rope to take a strain Picket A pointed stake driven in the ground usually as an anchor Reeve To pass a rope through a block to make a tackle Seizing Binding of light cord to secure a rope end to the standing part Scouting and Rope Sheave A single pulley in a block Sling Rope (or similar) device to suspend or hoist an object Rope without knowledge is passive and becomes troublesome when Splice Join ropes by interweaving the strands. something must be secured. But with even a little knowledge rope Strop A ring of rope. Sometimes a bound coil of thinner rope. comes alive as the enabler of a thousand tasks: structures are Standing part The part of the rope not active in tying a knot. possible; we climb higher; we can build, sail and fish. And our play is suddenly extensive: bridges, towers and aerial runways are all Toggle A wooden pin to hold a rope within a loop. -
Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved. -
Start-To-Finish Literacy Starters Reading Strategies Tools
Start-to-Finish® Literacy Starters Reading Strategies and Tools for Beginning Readers © Don Johnston Incorporated 37 Teacher Guide Start-to-Finish® Literacy Starters 38 Teacher Guide © Don Johnston Incorporated Start-to-Finish® Literacy Starters © Don Johnston Incorporated Intervention Planning Tool 39 Teacher Guide Start-to-Finish® Literacy Starters 40 Teacher Guide Intervention Planning Tool © Don Johnston Incorporated Start-to-Finish® Literacy Starters © Don Johnston Incorporated Intervention Planning Tool 41 Teacher Guide Start-to-Finish® Literacy Starters 42 Teacher Guide Intervention Planning Tool © Don Johnston Incorporated Start-to-Finish® Literacy Starters Building Vocabulary Four word cards are included with each of the books in the Start-to-Finish Literacy Starters series. At the Enrichment and Transitional levels, these word cards are intended to build oral language—particularly vocabulary knowledge. Enrichment and Transitional Vocabulary • The vocabulary words selected for the enrichment stories represent core concepts and ideas that have a particular meaning in the story, but may have other meanings in other settings. • The word cards are NEVER intended to be used in flash card drill and practice. • Use the vocabulary cards to build a vocabulary wall in your room and encourage everyone who enters your room to find a word and relate it to something they know or have experienced. • Categorize, sort, and complete activities that highlight connections among words. • As you begin using new books, don’t abandon old vocabulary – continue to build on and use existing vocabulary as new words are added. • Create webs and graphic organizers that relate the new words to experiences and vocabulary the beginning readers already know. -
What Literature Knows: Forays Into Literary Knowledge Production
Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism. -
Introduction: Ethics of the Narrative
doi: https://doi.org/10.26262/exna.v1i1.5990 Introduction: Ethics of the Narrative Helena Maragou a, Theodora Tsimpouki b aDeree—The American College of Greece. b The National and Kapodistrian University of Athens, Greece. If a man could write a book on Ethics which really was a book on Ethics, this book would, with an explosion, destroy all the other books in the world. 1 The debate on whether literature does or should possess ethical relevance is both old and new. As far back as in the ancient times, Plato and Aristotle addressed the ways in which aesthetic structure produces affective power, as well as the extent to which the affective power of literature may provide direction, or in fact—as in the case of Plato’s famous critique of poetry—misdirection to an audience’s moral consciousness. In more recent years, in the mid-1980s and early 1990s, the intersections of literature and ethics became the focus of work by Wayne C. Booth,2 who theorized on the moral functioning of rhetorical practices, and Martha C. Nussbaum,3 who addressed literature from the perspective of moral philosophy. In an article published in the 2004 special issue of Poetics Today, which focused on Ethics and Literature, Michael Eskin4 draws attention to moral philosophy’s “turn to literature,” a move that aims to embed moral philosophy’s abstract investigations into the concrete domain of human and social relations opened up by literature. At the same time, however, philosophy’s turn toward literature has coincided with a turn of literary studies toward ethics,5 a fact which some attribute to a reaction against formalism and poststructuralism. -
The Child and the Fairy Tale: the Psychological Perspective of Children’S Literature
International Journal of Languages, Literature and Linguistics, Vol. 2, No. 4, December 2016 The Child and the Fairy Tale: The Psychological Perspective of Children’s Literature Koutsompou Violetta-Eirini (Irene) given that their experience is more limited, since children fail Abstract—Once upon a time…Magic slippers, dwarfs, glass to understand some concepts because of their complexity. For coffins, witches who live in the woods, evil stepmothers and this reason, the expressions should be simpler, both in princesses with swan wings, popular stories we’ve all heard and language and format. The stories have an immediacy, much of we have all grown with, repeated time and time again. So, the the digressions are avoided and the relationship governing the main aim of this article is on the theoretical implications of fairy acting persons with the action is quite evident. The tales as well as the meaning and importance of fairy tales on the emotional development of the child. Fairy tales have immense relationships that govern the acting persons, whether these are psychological meaning for children of all ages. They talk to the acting or situational subjects or values are also more children, they guide and assist children in coming to grips with distinct. Children prefer the literal discourse more than adults, issues from real, everyday life. Here, there have been given while they are more receptive and prone to imaginary general information concerning the role and importance of fairy situations. Having found that there are distinctive features in tales in both pedagogical and psychological dimensions. books for children, Peter Hunt [2] concludes that textual Index Terms—Children, development, everyday issues, fairy features are unreliable. -
CHARACTERIZATION in FICTION HONORS THESIS Presented to The
CHARACTERIZATION IN FICTION HONORS THESIS Presented to the Honors Committee of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Jack Reams San Marcos, Texas May 2015 CHARACTERIZATION IN FICTION Thesis Supervisor: ________________________________ John M. Blair, Ph.D. Department of English Second Reader: __________________________________ Twister Marquiss, M.F.A Department of English Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College Table of Contents Abstract ................................................................................................................................1 Introduction ..........................................................................................................................2 P.A.R.T.S of Characterization .............................................................................................4 Direct Characterization ......................................................................................................15 Indirect Characterization ....................................................................................................30 Conclusion .........................................................................................................................43 Abstract The purpose of my thesis is to examine the importance of characterization in fiction, as well as the methods of characterization itself. The scope of the paper will be primarily limited to three works of -
Guidelines for Storytelling Preparation Choosing Your Story
GUIDELINES FOR STORYTELLING PREPARATION CHOOSING YOUR STORY All students in grades 3 through 8 are welcome to participate. The story you tell must be one of the following kinds of stories: Folk Tale, Fairy Tale, Myth, Legend, Fable or Tall Tale. You may find your story by: 1. Talking to your school or public librarian or teacher. 2. Browsing in the folk tale and fairy tale section (call # 398.2) or mythology section (call #292) of your school or public library. 3. Read several stories before you choose. 4. It may take you a few trips to the library to find your story. Choose a story you really enjoy and want to share with others. Choose a story that you feel comfortable telling. Remember the story you tell must be one of these: FOLK TALE: This category includes all forms of narratives, written or oral, which have been handed down generation to generation and belong to a particular culture. Folk tales have no known authors. Examples include Native American, African, Irish, American South, and Chinese stories. FAIRY TALE: A particular type of folk tale taking place in an unreal world. It contains elements of magic and supernatural happenings and is sometimes called a “wonder tale.” Examples: Collections by Grimm, Jacobs, Lang, and Perrault. MYTH: A myth is a narrative describing origin, explaining natural or social phenomena or predicting the destiny of humans through the interaction of people and supernatural beings. Examples of myths come from Norse, Greek, Roman and Egyptian cultures. Many of the constellation stories are myths. LEGEND: A legend is an account of an extraordinary happening believed to have actually occurred. -
Ephemeral but Influential? the Correlation Between Facebook
healthcare Article Ephemeral But Influential? The Correlation between Facebook Stories Usage, Addiction, Narcissism, and Positive Affect Sen-Chi Yu 1,* and Hong-Ren Chen 2 1 Department of Counseling and Applied Psychology, National Taichung University of Education, Taichung City 40306, Taiwan 2 Department of Digital Content and Technology, National Taichung University of Education, Taichung City 40306, Taiwan; [email protected] * Correspondence: [email protected] Received: 8 September 2020; Accepted: 20 October 2020; Published: 26 October 2020 Abstract: Despite the steep increase in Facebook Stories users, there is scant research on this topic. This study compared the associations of frequency of Stories update, frequency of news feed updates, time spent reading Stories, and time spent reading news feeds, with regard to social media addiction, narcissism, and positive affect in college students. We recruited a sample of 316 college students from Taiwan. The analytical results show that Facebook Stories are more addictive and provoke more positive affect than conventional news feeds. Moreover, only usage behaviors associated with Stories predict narcissism. This study also found that the prediction of news feeds with regard to addiction, narcissism, and positive affect also seems to be diminishing and is being replaced by those of Stories. Future studies on the psychological consequences and predictors of social media usage should regard Stories as a crucial variable. Keywords: Facebook Stories; social media addiction; narcissism; positive affect 1. Introduction Facebook Stories are ephemeral, short user-generated photo and video collections that display shared content for a limited period of time [1]. Stories offer a news feed that relies on visual rather than written information. -
A Genre Is a Conventional Response to a Rhetorical Situation That Occurs Fairly Often
What is a genre? A genre is a conventional response to a rhetorical situation that occurs fairly often. Conventional does not necessarily mean boring. Instead, it means a recognizable pattern for providing specific kinds of information for an identifiable audience demanded by circumstances that come up again and again. For example, new movies open almost every week. Movie makers pay for advertising to entice viewers to see their movies. Genres have a purpose. While consumers may learn about a movie from the ads, they know they are getting a sales pitch with that information, so they look for an outside source of information before they spend their money. Movie reviews provide viewers with enough information about the content and quality of a film to help them make a decision, without ruining it for them by giving away the ending. Movie reviews are the conventional response to the rhetorical situation of a new film opening. Genres have a pattern. The movie review is conventional because it follows certain conventions, or recognized and accepted ways of giving readers information. This is called a move pattern. Here are the moves associated with that genre: 1. Name of the movie, director, leading actors, Sometimes, the opening also includes the names of people and companies associated with the film if that information seems important to the reader: screenwriter, animators, special effects, or other important aspects of the film. This information is always included in the opening lines or at the top of the review. 2. Graphic design elements---usually, movie reviews include some kind of art or graphic taken from the film itself to call attention to the review and draw readers into it.