Number the Stars / Lois Lowry
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
L'équipe Des Scénaristes De Lost Comme Un Auteur Pluriel Ou Quelques Propositions Méthodologiques Pour Analyser L'auctorialité Des Séries Télévisées
Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées Quentin Fischer To cite this version: Quentin Fischer. Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées. Sciences de l’Homme et Société. 2017. dumas-02368575 HAL Id: dumas-02368575 https://dumas.ccsd.cnrs.fr/dumas-02368575 Submitted on 18 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License UNIVERSITÉ RENNES 2 Master Recherche ELECTRA – CELLAM Lost in serial television authorship : L'équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l'auctorialité des séries télévisées Mémoire de Recherche Discipline : Littératures comparées Présenté et soutenu par Quentin FISCHER en septembre 2017 Directeurs de recherche : Jean Cléder et Charline Pluvinet 1 « Créer une série, c'est d'abord imaginer son histoire, se réunir avec des auteurs, la coucher sur le papier. Puis accepter de lâcher prise, de la laisser vivre une deuxième vie. -
Contemporary Films Related to Content in a Course on Death And
Contemporary Films Related to Content in a Course on Death and Grief Barbara Head, PhD, CHPN, ACSW, FPCN University of Louisville, Kent School of Social Work [email protected] Title Year Leading Actor(s) Brief Synopsis Related Course Content Amour 2012 Jean-Louis Trintignant An elderly, loving couPle struggles to Grief and loss in later life (French) Emmanuelle Riva maintain their indePendence after the Euthanasia wife suffers a Paralyzing stroke. Caregiver stress Anticipatory grief A Single Man 2009 Colin Firth A gay university Professor struggles Disenfranchised grief Julianne Moore with his grief after the sudden death of Suicide risk in bereavement his partner. Story is set in the early Historical/cultural imPacts on grief and 1960’s. loss Beyond Belief 2007 Susan Retik Two women (both Pregnant at the time) Meaning reconstruction (Documentary) Patti Quigley who lost their husbands on 911 find Resiliency meaning in their loss. Sudden, traumatic loss The Descendants 2011 George Clooney A family struggles with the imPending Children and grief Beau Bridges death and infidelity of the mother/wife Disenfranchised grief who is rendered brain dead after a Families and grief boating accident. Discontinuation of life suPPort 50/50 2011 JosePh Gordon-Levitt A young radio journalist faces treatment Counseling the seriously ill Patient Seth Rogan for a serious malignancy with a 50/50 Professional boundaries chance of survival. Grief and loss related to serious illness in a young person Social suPPort during illness Grace is Gone 2007 John Cusack The father of two young daughters Families and grief reacts to the news of the death of his Sudden, traumatic loss wife who was killed during a tour of duty Stages and tasks of grieving in Iraq. -
The Discomfort of Evening
MARIEKE LUCAS RIJNEVELD The Discomfort of Evening Translated by Michele Hutchison Restlessness gives wings to the imagination. MAURICE GILLIAMS It is written, ‘I am making all things new!’ But the chords are a clothesline of grief, Razor-sharp gusts snap the faith Of he who would flee this cruel start. Ice rain beats blossom to a glassy pulp, A cur shakes his pelt bone-dry in the violence. from THE COLLECTED POEMS OF JAN WOLKERS (2008) Contents Title Page Epigraph PART I 1 2 3 4 PART II 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 PART III 1 2 3 4 5 6 7 8 9 10 11 12 13 About the Author Copyright PART I 1 I was ten and stopped taking off my coat. That morning, Mum had covered us one by one in udder ointment to protect us from the cold. It came out of a yellow Bogena tin and was normally used to prevent dairy cows’ teats from getting cracks, calluses and cauliflower-like lumps. The tin’s lid was so greasy you could only screw it off with a tea-towel. It smelled of stewed udder, the thick slices I’d sometimes find cooking in a pan of stock on our stove, sprinkled with salt and pepper. They filled me with horror, just like the reeking ointment on my skin. Mum pressed her fat fingers into our faces like the round cheeses she patted to check whether the rind was ripening. Our pale cheeks shone in the light of the kitchen bulb, which was encrusted with fly shit. -
TABLE of CONTENTS CHAPTER TITLE PAGE DECLARATION Ii DEDICATION Iii ACKNOWLEDGEMENT Iv ABSTRACT V ABSTRAK Vi TABLE of CONTENTS Vi
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Universiti Teknologi Malaysia Institutional Repository vii TABLE OF CONTENTS CHAPTER TITLE PAGE DECLARATION ii DEDICATION iii ACKNOWLEDGEMENT iv ABSTRACT v ABSTRAK vi TABLE OF CONTENTS vii LIST OF TABLES xii LIST OF FIGURES xiv LIST OF APPENDICES xvi 1 INTRODUCTION 1.1 Introduction 1 1.2 Background of Problem 2 1.3 Statement of Problem 4 1.4 Objectives 5 1.5 Scopes 6 1.6 Summary 7 viii 2 LITERATURE REVIEW 2.1 Introduction 8 2.2 E-commerce credit 9 2.2.1 Credit 10 2.2.2 E-commerce 11 2.2.3 E-commerce Credit 15 2.3 E-commerce Credit Risk 17 2.4 Online-trading in E-commerce 18 2.4.1 The Characteristics of Online-trading 18 2.4.2 Online-consuming Model 21 2.5 C2C Credit Risk Analysis 24 2.5.1 C2C System Structure 25 2.5.2 C2C Characteristics 27 2.5.3 The Origin of C2C Credit Risk 29 2.6 The Construction of C2C Credit Evaluation System 32 2.6.1 The Analysis of C2C credit evaluation system 33 2.6.2 Case Study of TaoBao and E-bay 34 2.6.3 The Lacks of Current C2C Credit Evaluation 38 System 2.7 Summary 39 3 RESEARCH METHDOLOGY 3.1 Introduction 40 3.2 Project Methodology 41 3.2.1 Feasibility and Planning Phase 46 3.2.2 Requirement Analysis Phase 48 3.2.3 System Design Phase 49 3.2.4 System Build Phase 50 ix 3.2.5 System Testing and Evaluation Phase 51 3.3 Hardware and Software Requirements 52 3.3.1 Hardware Requirements 52 3.3.2 Software Requirements 53 3.4 Project Plan 55 4 DATA ANALYSIS 4.1 Introduction 56 4.2 Current system of TaoBao Company 57 4.3 Problem -
(Pdf) Download
Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air -
Human Rights Advocates Volume 47 Summer 2006
Human Rights Advocates Volume 47 Summer 2006 The Dedication of the Frank condemning apartheid in South Africa when the U.S. C. Newman International Congress already had imposed sanctions against that gov- ernment. Frank answered that the U.S. Executive Branch Human Rights Law Clinic is free to vote as it wants as long as its vote has no financial implications. This, noted Eya, was what helped him un- n April 17, 2006, USF School of Law hosted a derstand how the U.S. government works. Odedication ceremony to name the Frank C. New- Professor David Weissbrodt, a former student man International Human Rights Law Clinic. The ded- and co- author with Frank of the international law text- ication followed student presentations on their work at book used by numerous law schools, and former mem- the U.N. this Spring. It was made possible by the gener- ber of the U.N. Sub-Commission on Promotion and osity of Frances Newman, his wife, and Holly Newman, Protection of Human Rights wrote: his daughter. Ms. Newman made the following state- “Frank Newman was my teacher, mentor, co-au- ment for the occasion: thor, friend, and skiing partner. He inspired a generation “I know how greatly pleased – and honored – of human rights scholars and activists. Frank Newman Frank would have been by the advent of this new center. taught by word and example not only human rights law With gratitude, our daughter Holly and I look forward and legal analytical skills, but also how to be both a law- to the years ahead, assured that, with the expert guid- yer and a human being. -
Dwight Yoakam This Time Mp3, Flac, Wma
Dwight Yoakam This Time mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: This Time Country: US Released: 1993 Style: Country, Honky Tonk MP3 version RAR size: 1780 mb FLAC version RAR size: 1348 mb WMA version RAR size: 1218 mb Rating: 4.7 Votes: 856 Other Formats: AHX VOC AU AIFF MIDI DXD MMF Tracklist Hide Credits Pocket Of A Clown A1 2:55 Written-By – Dwight Yoakam A Thousand Miles From Nowhere A2 4:27 Written-By – Dwight Yoakam Home For Sale A3 3:35 Written-By – Dwight Yoakam This Time A4 3:58 Written-By – Dwight Yoakam, Kostas Two Doors Down A5 3:52 Written-By – Dwight Yoakam, Kostas Ain't That Lonely Yet B1 3:17 Written-By – James House, Kostas King Of Fools B2 4:05 Written-By – Dwight Yoakam, Kostas Fast As You B3 4:45 Written-By – Dwight Yoakam Try Not To Look So Pretty B4 2:52 Written-By – Dwight Yoakam, Kostas Wild Ride B5 4:42 Written-By – Dwight Yoakam Lonesome Roads B6 3:05 Written-By – Dwight Yoakam Companies, etc. Copyright (c) – Reprise Records Phonographic Copyright (p) – Reprise Records Mastered At – Precision Lacquer Credits Acoustic Guitar – Dean Parks Arranged By [Strings], Conductor [Strings] – Paul Buckmaster Art Direction – Dwight Yoakam, Kim Champagne Backing Vocals – Beth Andersen, Carl Jackson, Jim Haas, Jim Lauderdale, Tommy Funderburk Bass – Taras Prodaniuk Contractor [Strings] – Suzy Katayama* Copyist – James Cowger* Design – Kim Champagne Double Bass [Upright] – Charles Domanico* Drums – Jeff Donavan Electric Guitar – Pete Anderson Engineer [Assistant] – Craig Doubet, David Lopez Fiddle – Don Reed , Scott Joss Guitar, Lead Vocals, Backing Vocals – Dwight Yoakam Keyboards – Skip Edwards Mastered By – Stephen Marcussen Mixed By – David Leonard Photography By, Painting – Kip Lott Producer [Associate], Recorded By – Dusty Wakeman Producer, Arranged By – Pete Anderson Programmed By – Scott Humphrey Recorded By – Peter Doell Resonator Guitar [Dobro], Lap Steel Guitar, Pedal Steel Guitar – Al Perkins Notes One catalog number is on the spine; the other is on the tape shell. -
WRITING YOUR FAMILY HISTORY a Guideline for Your Project
WRITING YOUR FAMILY HISTORY A Guideline for Your Project Old Buncombe County Genealogical Society P.O. Box 2122, Asheville, NC 28802 •828-253-1894 •www.obcgs.com If you are interested in genealogy and have conducted even the shortest of searches for a relative, you might have thought about how to organize the results into a useful format. One could write a report, an article for a journal or even set up a notebook to share with others, but a book might seem daunting. Many genealogists dream about writing a book on their family research, but do not know where to start. In 2012, OBCGS organized a working group to explore the steps needed to write a family history book. The group was able to organize their findings and put them all in one place to share with our members. The result is this guideline, a summary of the steps necessary to get your research ready for printing. I. THE ORGANIZING PROCESS – success is easier when you do some planning up front. a. Choose the Format – cookbook, photo album, genealogy narrative, etc. b. Choose the Scope – one family line descending from a distant ancestor; the grandparent’s story; the military service of a Revolutionary War soldier in the family including his family genealogy; etc. c. Choose a Plot or Theme – one way to make the book more interesting to a broader audience is to use a plot or theme throughout. Suggestions might be their immigration story; life after slavery; survival during the Great Depression; etc. d. Research the Time and Place – this provides more narrative for the reader and rounds out the family members’ experience so the reader understands what they went through to raise their family and survive. -
Scorses by Ebert
Scorsese by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–1993 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999– Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert Your Movie Sucks Roger Ebert’s Four-Star Reviews 1967–2007 With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Scorsese by Ebert foreword by Martin Scorsese the university of chicago press Chicago and London Roger Ebert is the Pulitzer The University of Chicago Press, Chicago 60637 Prize–winning film critic of the Chicago The University of Chicago Press, Ltd., London Sun-Times. Starting in 1975, he cohosted © 2008 by The Ebert Company, Ltd. a long-running weekly movie-review Foreword © 2008 by The University of Chicago Press program on television, first with Gene All rights reserved. Published 2008 Siskel and then with Richard Roeper. He Printed in the United States of America is the author of numerous books on film, including The Great Movies, The Great 17 16 15 14 13 12 11 10 09 08 1 2 3 4 5 Movies II, and Awake in the Dark: The Best of Roger Ebert, the last published by the ISBN-13: 978-0-226-18202-5 (cloth) University of Chicago Press. -
Detki V Kletke: the Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry
Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry. -
ENDER's GAME by Orson Scott Card Chapter 1 -- Third
ENDER'S GAME by Orson Scott Card Chapter 1 -- Third "I've watched through his eyes, I've listened through his ears, and tell you he's the one. Or at least as close as we're going to get." "That's what you said about the brother." "The brother tested out impossible. For other reasons. Nothing to do with his ability." "Same with the sister. And there are doubts about him. He's too malleable. Too willing to submerge himself in someone else's will." "Not if the other person is his enemy." "So what do we do? Surround him with enemies all the time?" "If we have to." "I thought you said you liked this kid." "If the buggers get him, they'll make me look like his favorite uncle." "All right. We're saving the world, after all. Take him." *** The monitor lady smiled very nicely and tousled his hair and said, "Andrew, I suppose by now you're just absolutely sick of having that horrid monitor. Well, I have good news for you. That monitor is going to come out today. We're going to just take it right out, and it won't hurt a bit." Ender nodded. It was a lie, of course, that it wouldn't hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. "So if you'll just come over here, Andrew, just sit right up here on the examining table.