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Plusinside Senti18 Cmufilmfest15
Pittsburgh Opera stages one of the great war horses 12 PLUSINSIDE SENTI 18 CMU FILM FEST 15 ‘BLOODLINE’ 23 WE-2 +=??B/<C(@ +,B?*(2.)??) & THURSDAY, MARCH 19, 2015 & WWW.POST-GAZETTE.COM Weekend Editor: Scott Mervis How to get listed in the Weekend Guide: Information should be sent to us two weeks prior to publication. [email protected] Send a press release, letter or flier that includes the type of event, date, address, time and phone num- Associate Editor: Karen Carlin ber of venue to: Weekend Guide, Pittsburgh Post-Gazette, 34 Blvd. of the Allies, Pittsburgh 15222. Or fax THE HOT LIST [email protected] to: 412-263-1313. Sorry, we can’t take listings by phone. Email: [email protected] If you cannot send your event two weeks before publication or have late material to submit, you can post Cover design by Dan Marsula your information directly to the Post-Gazette website at http://events.post-gazette.com. » 10 Music » 14 On the Stage » 15 On Film » 18 On the Table » 23 On the Tube Jeff Mattson of Dark Star City Theatre presents the Review of “Master Review of Senti; Munch Rob Owen reviews the new Orchestra gets on board for comedy “Oblivion” by Carly Builder,”opening CMU’s film goes to Circolo. Netflix drama “Bloodline.” the annual D-Jam show. Mensch. festival; festival schedule. ALL WEEKEND SUNDAY Baroque Coffee House Big Trace Johann Sebastian Bach used to spend his Friday evenings Trace Adkins, who has done many a gig opening for Toby at Zimmermann’s Coffee House in Leipzig, Germany, where he Keith, headlines the Palace Theatre in Greensburg Sunday. -
The Ann Arbor Register. Vol
THE ANN ARBOR REGISTER. VOL. xv. NO. 35. ANN ARBOR, MICHIGAN, THURSDAY, AUGUST 29, 1889. WHOLE NO. 766. and then a long, loud roll of thunder, then tion of corn is lower, showing only 68 pei Shall Women be Allowed to Vote. A DEMOCRATIC ROW. a shower of cinders and molten stone cent, of an average crop. Potatoes show The question of femal« suffrage has ag- REMNANTS ! REMNANTS! thrown into the air far above our heads. 95 per nent. of a crop, meadow and pas itated the tongues and pens of reformers J. CAVANAUSH'S EVEC- We had to watch closely that none of tures, 97 per cent., clover 98 per cent, for many years and good arguments have TIOJT. these cinders struck us. A period of hay 91 per cent., and apples 73 per cent been adduced for and against it. Many silence for about a quarter of a minute In Washtenaw county the estimate o of the softer sex would vote intelligibly A Big Fight in the Democratic Ranks and then another belching forth of molten crops is as follows : Wheat 13,45 bushels and maDy of them would vote as their hus- Over the Division of the Spoils.— matter. It now got too hot for us and we per acre; corn 70 per cent.; oals 38 bush- bands did, and give no thought to the A Strong Effort to Defeat Car- Mack & Schmid. were obliged to descend a short way els per acre; potatoes 94 percent; hay 8i merits of a political issue. They would anansli but he Secured per cent.; apples 83 per cent. -
The History of the Beano: the Story So Far Free
FREE THE HISTORY OF THE BEANO: THE STORY SO FAR PDF D C Thomson | 352 pages | 01 Jan 2009 | Waverley Books | 9781902407739 | English | Lanark, United Kingdom The Entire Destiny 2 Story Explained, Including the Lore in Shadowkeep | Digital Trends The comic first appeared on 30 July[1] and was published weekly. In SeptemberThe Beano' s 3,th issue was published. Each issue is published on a Wednesday, The History of the Beano: The Story So Far the issue date being that of the following Saturday. The Beano reached its 4,th issue on 28 August The style of Beano humour has shifted noticeably over the years, [4] though the longstanding tradition of anarchic humour has remained. Historically, many protagonists were characterised by their immoral behaviour, e. Although the readers' sympathies are assumed The History of the Beano: The Story So Far be with the miscreants, the latter are very often shown punished for their actions. Recent years have seen a rise in humour involving gross bodily functions, especially flatulence which would have been taboo in children's comics prior to the The History of the Beano: The Story So Farwhile depictions The History of the Beano: The Story So Far corporal punishment have declined. For example, the literal slipper — the most common form of chastisement for characters such as Dennis, Minnie the Minx and Roger the Dodger — has become the name of the local chief of police Sergeant Slipper. InD. Thomson had first entered the field of boys' story The History of the Beano: The Story So Far with Adventure. -
Gypsum in California
TN 2.4 C3 A3 i<o3 HK STATE OP CAlIFOa!lTA DEPARTMENT OF NATURAL RESOURCES msmtBmmmmmmmmmaam GYPSUM IN CALIFORNIA BULLETIN 163 1952 aou DIVl^ON OF MNES fZBar SDODSia sxh lasncisco ^"^^^^^nBM^^MMa^HBi«iaMa«NnMaMHBaaHB^HaHaa^^HHMi«nfl^HaMHiBHHHMauuHJin««aHiav^aMaHHaHHB«auKaiaMi^^M«ni^Maai^iMMWi^iM^ THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA DAVIS STATE OF CALIFORNIA EARL WARREN, Governor DEPARTMENT OF NATURAL RESOURCES WARREN T. HANNUM, Director DIVISION OF MINES FERRY BUILDING, SAN FRANCISCO 11 OLAF P. JENKINS, Chief San Francisco BULLETIN 163 September 1952 GYPSUM IN CALIFORNIA By WILLIAM E. VER PLANCK LIBRARY UNTXERollY OF CAUFC^NIA DAVIS LETTER OF TRANSMITTAL To IIlS EXCELLKNCY, TlIK IIONORAHLE EauL AVaRREN Governor of the State of California Dear Sir: I have the lionor to transmit herewitli liuUetiii 163, Gyj)- sinn in California, prepared under tlie direetion of Ohif P. Jenkins, Chief of the Division of ]\Iines. Gypsum represents one of the important non- metallic mineral commodities of California. It serves particularly two of California's most important industries, aprieulture and construction. In Bulletin 163 the author, W. p]. Xev Phinek, a member of the staff of the Division of Mines, has prepared a comprehensive treatise cover- ing all phases of the subject : history of the industry, geologic occurrence and origin of tlie minoi-al, mining, i)rocessing and marketing of the com- modity. Specific g3'psum i)roperties Avere examined and mapped. The report is profusely illustrated by maps, charts and photographs. In the preparation of the report it was necessary for the author to make field investigations, laboratory and library studies, and to determine how the mineral is used in industry as Avell as how it occurs in nature and how it is mined. -
LCSH Section J
J (Computer program language) J. I. Case tractors Thurmond Dam (S.C.) BT Object-oriented programming languages USE Case tractors BT Dams—South Carolina J (Locomotive) (Not Subd Geog) J.J. Glessner House (Chicago, Ill.) J. Strom Thurmond Lake (Ga. and S.C.) BT Locomotives USE Glessner House (Chicago, Ill.) UF Clark Hill Lake (Ga. and S.C.) [Former J & R Landfill (Ill.) J.J. "Jake" Pickle Federal Building (Austin, Tex.) heading] UF J and R Landfill (Ill.) UF "Jake" Pickle Federal Building (Austin, Tex.) Clark Hill Reservoir (Ga. and S.C.) J&R Landfill (Ill.) Pickle Federal Building (Austin, Tex.) Clarks Hill Reservoir (Ga. and S.C.) BT Sanitary landfills—Illinois BT Public buildings—Texas Strom Thurmond Lake (Ga. and S.C.) J. & W. Seligman and Company Building (New York, J. James Exon Federal Bureau of Investigation Building Thurmond Lake (Ga. and S.C.) N.Y.) (Omaha, Neb.) BT Lakes—Georgia USE Banca Commerciale Italiana Building (New UF Exon Federal Bureau of Investigation Building Lakes—South Carolina York, N.Y.) (Omaha, Neb.) Reservoirs—Georgia J 29 (Jet fighter plane) BT Public buildings—Nebraska Reservoirs—South Carolina USE Saab 29 (Jet fighter plane) J. Kenneth Robinson Postal Building (Winchester, Va.) J.T. Berry Site (Mass.) J.A. Ranch (Tex.) UF Robinson Postal Building (Winchester, Va.) UF Berry Site (Mass.) BT Ranches—Texas BT Post office buildings—Virginia BT Massachusetts—Antiquities J. Alfred Prufrock (Fictitious character) J.L. Dawkins Post Office Building (Fayetteville, N.C.) J.T. Nickel Family Nature and Wildlife Preserve (Okla.) USE Prufrock, J. Alfred (Fictitious character) UF Dawkins Post Office Building (Fayetteville, UF J.T. -
Description, Narrative, and Reflection
EmpoWord: A Student-Centered Anthology & Handbook for College Writers Part One: Description, Narrative, and Reflection Author: Shane Abrams, Portland State University This chapter is licensed with a Creative Commons Attribution-NonCommercial 4.0 International License Download this book free at: https://pdxscholar.library.pdx.edu/pdxopen/20/ Part One: Description, Narration, and Reflection 55 Section Introduction: Description, Narration, and Reflection Chapter Vocabulary Vocabulary Definition a rhetorical mode that emphasizes eye-catching, specific, and vivid description portrayal of a subject. Often integrates imagery and thick description to this end. a rhetorical mode involving the construction and relation of stories. narration Typically integrates description as a technique. a rhetorical gesture by which an author looks back, through the diegetic gap, to demonstrate knowledge or understanding gained from the subject on which they are reflecting. May also include consideration of reflection the impact of that past subject on the author’s future—“Looking back in order to look forward.” the circumstances in which rhetoric is produced, understood using the constituent elements of subject, occasion, audience, and purpose. Each element of the rhetorical situation carries assumptions and imperatives rhetorical situation about the kind of rhetoric that will be well received. Rhetorical situation will also influence mode and medium. Storytelling is one of few rituals that permeates all cultures. Indeed, there’s nothing quite as satisfying as a well-told story. But what exactly makes for a well-told story? Of course, the answer to that question depends on your rhetorical situation: your audience, your sociohistorical position, and your purpose will determine how you tell your story. -
Naturalism, the New Journalism, and the Tradition of the Modern American Fact-Based Homicide Novel
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml48106-1346 USA 3131761-4700 800!521-0600 Order Number 9406702 Naturalism, the new journalism, and the tradition of the modern American fact-based homicide novel Whited, Lana Ann, Ph.D. -
In 193X, Constance Rourke's Book American Humor Was Reviewed In
OUR LIVELY ARTS: AMERICAN CULTURE AS THEATRICAL CULTURE, 1922-1931 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Schlueter, M.A. ***** The Ohio State University 2007 Dissertation Committee: Approved by Professor Thomas Postlewait, Adviser Professor Lesley Ferris Adviser Associate Professor Alan Woods Graduate Program in Theatre Copyright by Jennifer Schlueter c. 2007 ABSTRACT In the first decades of the twentieth century, critics like H.L. Mencken and Van Wyck Brooks vociferously expounded a deep and profound disenchantment with American art and culture. At a time when American popular entertainments were expanding exponentially, and at a time when European high modernism was in full flower, American culture appeared to these critics to be at best a quagmire of philistinism and at worst an oxymoron. Today there is still general agreement that American arts “came of age” or “arrived” in the 1920s, thanks in part to this flogging criticism, but also because of the powerful influence of European modernism. Yet, this assessment was not, at the time, unanimous, and its conclusions should not, I argue, be taken as foregone. In this dissertation, I present crucial case studies of Constance Rourke (1885-1941) and Gilbert Seldes (1893-1970), two astute but understudied cultural critics who saw the same popular culture denigrated by Brooks or Mencken as vibrant evidence of exactly the modern American culture they were seeking. In their writings of the 1920s and 1930s, Rourke and Seldes argued that our “lively arts” (Seldes’ formulation) of performance—vaudeville, minstrelsy, burlesque, jazz, radio, and film—contained both the roots of our own unique culture as well as the seeds of a burgeoning modernism. -
Stacia Yearwood Yearwood 2
Yearwood 1 Like Salt Water¼ A Memoir Stacia Yearwood Yearwood 2 For my Family- Those who have gone before me, Those who Live now, And those who will come to cherish these words in the future¼. Yearwood 3 Proem Not, in the saying of you, are you said. Baffled and like a root stopped by a stone you turn back questioning the tree you feed. But what the leaves hear is not what the roots ask. Inexhaustibly, being at one time what was to be said and at another time what has been said the saying of you remains the living of you never to be said. But, enduring, you change with change that changes and yet are not of the changing of any of you. Ever yourself, you are always about to be yourself in something else ever with me. Yearwood 4 Martin Carter (1927-1997) CONTENTS_______________________________________________________ FOREWORD page 5 HOPE FLOATS- A JOURNAL ENTRY page 8 SOJOURNING page 10 A LONG TIME AGO- THE ANCESTORS page 12 DIANA page 25 EYE WASH page 27 PARALYSIS page 32 NERVES page 35 TO REMOVE SEA WATER FROM THE EARS page 41 SHINGLES page 46 HIGH BLOOD PRESSURE page 50 RASHES AND ITCHES page 55 MALARIA FEVER page 58 STROKE page 61 HEART TROUBLES page 68 INDIFFERENT FEELINGS page 72 Yearwood 5 SUNBURN page 79 SCARS AND BITES page 83 LAST JOURNAL ENTRY page 87 Foreword Four rainy seasons ago I wrote in my journal: “I hope this place doesn’t change me.” But I have come to understand that just as culture is fluid, so are the personality and identity malleable. -
Class-12-English.Pdf
❈❖ ✁ ✂ ✁✄ ❋ ☎ ✆ ✝ ✞☎ ✆ ✟ ✐ ✐ ✐ ❆ ✠ ☎✡✝ ☛☎✆ ✡☞✝ ✌✝ ✍ ✎☞✝✆ ✈ ❙ ❍✏✑✒ ❙✒✏✑❚✓✔ ✥ ✕◆ ✒✑✏✖✗✘✒❚ ✏◆ ✶✙✚✛ ✜✳ ■ ✢✣✤✤ ✦✧ ★✩✣✪✦✫ ●✬✭✮✯✰✱ ●✬✮✲✯✬ ✴✬✮✵✷✰✸ ✹ ✹✳ ✣ ✤ ✣ ✬ ✰ ✲✰ ✜ ✹ ❊✺ ✻✼ ❏ ✽ ✾ ❏✿❀ ✳ ✣ ✩ ✫ ✤✤✣ ✬✬✲ ✬ ✰ ✯ ✯ ✰ ✮ ✹ ✜ ❁ ❂ ❃ ❡❡✻ ✼❄ ✻ ✼ ❅ ❇ ❉✼ ✺✻ ❑✾ ▲ ✾ ▼ P ✾ ◗ ❘❯ ❱✳ ❲ ✦ ✩✩ ✰ ❳ ❨ ✮ ✬❩ ❬ ❇ ❇ ❇ ❉ ❏✿✾ ▼ ✿ ❘ ❁ ❭✳ ❪ ✣ ❫✣ ❴ ✦✣❴✩✣ ✯ ✷❵ ✯ ❛ ❜ ✼ ✼ ✻ ▲ ◗ ▼ ✽ ❘ ❝ ✏✓✒✑❞ ✥ ✕◆✒✑✏✖✗✘✒❚✏◆ ✛❢✙✶✶❣ ✜✳ ✣ ❴ ✩✣ ❴ ✣ ✢ ✪ ✰ ❬ ✜ ❂ ❤ ❥ ❦ ❧♠❇✼ ♥ ♥ ❡❇❉ ❏✿▼ ❘ ♦✿ ❘❘ ✹✳ ♣ ✣✦ ✫ q✧ r ✤❴ ✴✯ ✱ s ❬❱ ❇ ✻ ❇ ✼ ❏✿▼ ❘ ✿ ❘ ✳ ♣ ✣✦ ✫ q✧ ✤ ✪t✣ ✉ ✯ ✱ ✱✯✬ ✱ ✬✇✰ ❬ ① ❁ ❇ ❅ ✽ ▲ ❱✳ q ✤✪ ✪ ✌ ❨ ✱✰ ✮✯ ❩ ✰ ✜ ② ❦ ② ♥ ✼ ◗ ③ ③ ✿ ❯ ④ ❁ ❭✳ ❲ ✩✣✣ ✫ ✯ ✱ ✯✲✇✯ ✜ ① ⑤✽ ❀ ♦ ❘✾✿ ❘ ④ ⑥✳ ❲ ✣ ✤ ✢ ✪ ✫ ⑦ ❫ ✤✣ ✉ ⑧✰ ✬s ✜ ❬ ♥ ❃✻ ❡ ❉ ✼ ❇ ❇❇ ③▲③ ✾ ④ ①✳ ❲ ✦✣ ✪ ❲ ✦ ✣ ✪ ❆ ⑨ ⑩ ✬ ✬ ✷❶ ✬ ✜ ✜ ✜ ✻ ✼❡ ✻ ❂❄ ✻ ✼ ③ ③ ✽ ❘ ❘ ✳ ✤ ⑨ ✬ ✬ ✱✬ ✬ ✜ ✜ ❷ ❅ ❇❇❡ ✽ ♦ ✾ ❁ ◆ ❖ ✲❋✁✂✄✁ ❖ ✥ ☎✄ ✆❖✝✞✂✄✁❖ ✶✶✟✠✡☛✡ ☞✌ ✍✎✏✏✑✒✓ ● ✔ ✕ ✔✖❍✗❲ ☞ ☞ ✘ ✷ ❚✙ ✚✛ ✜ ✢ ✣✙ ✤✛❛❛ ❱■✦✧ ■★■ ✩✪✪✫✬ ✭ ✮ ✌ ✏ ✎ ✒ ✏ ✗ ☞ ✭ ✯❛ ✰ ✛✜✯✢ ✱ ✳★✧ ✴ ✦ ❊✦✧ ✴ ★ ✵ ✌ ✍ ✓ ✓ ✗ ✕ ✗ ☞ ✘ ✵ ✤ ✙ ✣✙ ❛ ✚✛✣✣ ✦ ❊★ ❊ ✮ ✌ ✸ ✏ ✹✒✺ ✏ ✏ ✎✻ ❉ ✔✼✔ ✽✗❲ ✾ ☞ ✿ ❚✙ ✱ ✢✣ ✛✣✯ ✢ ✯ ✛✢ ✴ ✦ ❊★ ✮ ✿✌ ✏ ❀ ✎ ❁✓ ✏ ✺ ✏ ❂ ✑ ❆ ✗ ❃ ❄✗ ✖ ☞ ❅ ✮ ❇✢ ❈❏✯ ✢❏ ✯❏✣✯ ✢ ✳❙ ❙ ■✴✪❑ ✌ ✏ ✏ ✍ ✒ ✗✗ ✾ ❆ ☞ ✘ ☞ ▲✆❘▼❘ ✲ ☎ ✄ ✆❖✝✞✂✄✁ ❖ ✡☛P✠✡P✟ ◗✙ ✛✢ ✛❛✯✜ ✛ ❯ ❳■ ★❨✦ ★ ❩ ✧✪✦ ❊ ✷ ❬ ✵ ☞✌ ✑ ✗ ✗ ✗❃❍ ✗ ✷ ❭ ✜ ✢ ✛✱ ■✦ ■❙ ❪ ✦ ★ ❨ ✷ ✷ ✵ ✌ ✎✒ ✏ ❂✓ ✏✻ ● ❍ ✗ ✗ ❫❴❵ ❙ ✁✂✄s✄✁✂☎✆s INTRODUCTION A short story is a prose narrative of limited length. It organises the action and thoughts of its characters into the pattern of a plot. The plot form may be comic, tragic, romantic or satiric. The central incident is selected to manifest, as much as possible, the protagonist’s life and -
Food: Just Grow It!
Food: Just Grow It! Developed with funding support from the Healthy Hawai`i Initiative State of Hawai`i Department of Health __________________________________________________ PROJECT LEADERS: University of Hawaii College of Tropical Agriculture and Human Resources Cooperative Extension Hawaii State Department of Education Food: Just Grow It! … a supplementary compendium of teaching-learning activities designed to enhance secondary students’ thinking and reasoning skills … __________________________________________________ University of Hawaii College of Tropical Agriculture and Human Resources Cooperative Extension Hawaii State Department of Education February 2004 FFoooodd:: JJuusstt GGrrooww IItt!! TABLE OF CONTENTS OVERVIEW: 1-6 ACTIVITIES: “Rot for Your Plot” Introduction to Theme Units 7 Creating Soil (Weathering Effects) 9 Hot Spots (Warming and Cooling) 16 Porous or Poor-Us (Soil Characteristics) 25 Taste of Dirt? (pH) 36 Dirt Rich (Soil in the Food Cycle) 45 Under-Cover Critters & Creatures (Composting) 54 Compost Cook-Off (Making Compost) 63 “Why Organic Growing?” Introduction to Theme Units 71 Malama i ka `Aina (Hawaiian Culture) 73 Victory Gardens (WW II Oral History) 83 What Goes Down Stays Around (Water Cycle) 92 OG-What? (Organic Farming Certification) 105 People’s Perceptions (Organic Farming Survey) 114 The Great Debate (Organic vs. High-Intensity) 125 WOG It! (Growing Organically) 133 “Know Your Pests” Introduction to Theme Units 141 Pest-iness (Informal Classification) 143 Least “Wanted” (Local Pest / Disease Problem) -
Ready Player One by Ernest Cline
Ready Player One by Ernest Cline Chapter 1 Everyone my age remembers where they were and what they were doing when they first heard about the contest. I was sitting in my hideout watching cartoons when the news bulletin broke in on my video feed, announcing that James Halliday had died during the night. I’d heard of Halliday, of course. Everyone had. He was the videogame designer responsible for creating the OASIS, a massively multiplayer online game that had gradually evolved into the globally networked virtual reality most of humanity now used on a daily basis. The unprecedented success of the OASIS had made Halliday one of the wealthiest people in the world. At first, I couldn’t understand why the media was making such a big deal of the billionaire’s death. After all, the people of Planet Earth had other concerns. The ongoing energy crisis. Catastrophic climate change. Widespread famine, poverty, and disease. Half a dozen wars. You know: “dogs and cats living together … mass hysteria!” Normally, the newsfeeds didn’t interrupt everyone’s interactive sitcoms and soap operas unless something really major had happened. Like the outbreak of some new killer virus, or another major city vanishing in a mushroom cloud. Big stuff like that. As famous as he was, Halliday’s death should have warranted only a brief segment on the evening news, so the unwashed masses could shake their heads in envy when the newscasters announced the obscenely large amount of money that would be doled out to the rich man’s heirs. 2 But that was the rub.