Professor Trina L. Goslin
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
B.D. Lenz - List of Licensed Music
B.D. Lenz - List of Licensed Music Network Program Episode Song AMC Breaking Bad Episode 514 A Higher Law MTV Making the Band II Episode 610 611 Lost and Found MTV 10 on Top Jersey Shore / Bruno Mars Here and Now MTV Monterey 40 Lost and Found MTV True Life I'm Addicted to Caffeine Etude2 Phat Hip Hop MTV True Life I Have a new Step-parent Etude2 Phat Hip Hop MTV Catfish Trina and Scorpio Etude4 Bmin Ost MTV Catfish Mike and Felicia Etude4 Bmin Ost MTV MTV Oshq Deewane July 29, 2006 Along the Way MTV Date My Mom September 5, 2008 Mumbo Jumbo MTV Top 20 Video Countdown Stix-n-Stones MTV Made Colin is Made into a Rapper Noxious Fumes NBC Chicago Fire Episode 711 A Higher Law MTV UK Gonzo Gold Acoustics 201 Perserverance MTV2 Cribs September 5, 2008 As If / Lazy Bones MTV India Semi Girebaal June 18, 2006 Famous Last Words MTV Europe Gonzo Episode 208 Tell the World MTV TR3s Pimpeando Pimped Bikes Grandma Rosocha MTV TR3s Quiero My Boda Halle and Daneil Grandma Rosocha MTV TR3s Quiero My Boda Raquel and Philipe Hot Spot MTV TR3s Quiero Mis Quinces Priscilla Tiffany and Lauren MTV TR3s Quiero Mis Quinces Stephanie Duenas Grandma Rosocha VH1 Behind the Music Fantasia So Far So Good VH1 I Want to Work For Diddy Episode 204 Mumbo Jumbo VH1 Brooke Knows Best Season 2 - Episode 10 Lazy Bones VH1 Driven Janet Jackson As If / Lazy Bones VH1 Classic Hangin' with Neil Peart Part 3 Noxious Fumes VH1 Celebrity Fit Club UK May 10, 2005 As If VH1 Best Week Ever February 3, 2006 Tell the World VH1 Best Week Ever Episode 309 Walt's Waltz VH1 My Big Fat -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Hip Hop Pedagogies of Black Women Rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Schoolin' women: hip hop pedagogies of black women rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Guillory, Nichole Ann, "Schoolin' women: hip hop pedagogies of black women rappers" (2005). LSU Doctoral Dissertations. 173. https://digitalcommons.lsu.edu/gradschool_dissertations/173 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. SCHOOLIN’ WOMEN: HIP HOP PEDAGOGIES OF BLACK WOMEN RAPPERS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Curriculum and Instruction by Nichole Ann Guillory B.S., Louisiana State University, 1993 M.Ed., University of Louisiana at Lafayette, 1998 May 2005 ©Copyright 2005 Nichole Ann Guillory All Rights Reserved ii For my mother Linda Espree and my grandmother Lovenia Espree iii ACKNOWLEDGMENTS I am humbled by the continuous encouragement and support I have received from family, friends, and professors. For their prayers and kindness, I will be forever grateful. I offer my sincere thanks to all who made sure I was well fed—mentally, physically, emotionally, and spiritually. I would not have finished this program without my mother’s constant love and steadfast confidence in me. -
Little Red Cap
Get hundreds more LitCharts at www.litcharts.com Little Red Cap filled with enticing books. She is filled with intense pleasure and SUMMARY excitement upon seeing all these books, her response to reading so many words described in terms resembling an As the speaker leaves behind the metaphorical neighborhood orgasm. of her childhood, there are fewer and fewer houses around, and the landscape eventually gives way to athletic fields, a local Time passes, however, and the speaker reflects on what ten factory, and garden plots, tended to by married men with the years together with the wolf has taught her. She compares the same submissive care they might show a mistress. The speaker oppressive nature of their relationship to a mushroom growing passes an abandoned railroad track and the temporary home of from, and thus figuratively choking, the mouth of a dead body. a recluse, before finally reaching the border between her She has learned that birds—implied to be representative of neighborhood and the woods. This is where she first notices poetry or art in general—and the thoughts spoken aloud by someone she calls "the wolf." trees (meaning, perhaps, that art comes only from experience). And she has also realized that she has become disenchanted He is easy to spot, standing in a clearing in the woods and with the wolf, both sexually and artistically, since he and his art proudly reading his own poetry out loud in a confident oice.v have grown old, repetitious, and uninspiring. The speaker notes the wolf's literary expertise, masculinity, and maturity—suggested by the book he holds in his large hands The speaker picks up an axe and attacks a willow tree and a fish, and by his thick beard stained with red wine. -
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
2016 Hallmark Dreambook
2016 CHRISTMAS. IT’S SO MUCH BIGGER THAN AN EVE, OR A DAY. It’s about the anticipation that builds weeks in advance, the décor that transforms our homes, and the culmination of the sights, sounds and people we love. But more than that, it’s about all the moments that led us to right here—the experiences that inspire every ornament our Keepsake Artists craft and create, and the memories that are shared as each creation is hung on the tree. From commemorating long-awaited firsts to celebrating a milestone to simply decorating in a favorite theme, nothing gets to the heart of the moments that truly matter like Keepsake Ornaments. STAY CONNEC TED Hallmark.com/KeepsakeOrnaments Contents MEMORIES & TRADITIONS FAMILY & FRIEND S 2 Miniatures 30 Home, Family & Loved Ones 6 Premium 40 Celebrations 1 0 Santas, Snowmen & Milestones & Frosty Friends 42 Baby & Toddler 16 Magic & Magic Cord 46 Keepsake Kids 20 Vintage Style 22 Favorite Series 26 Spiritual CHARACTERS & INTERESTS KEEPSAKE O RNAMENT CLUB 50 Storytime, 86 Join the Club Playtime & Barbie 56 Mickey & Minnie, Peanuts & Favorite Characters 68 The Wizard of Oz & On-Screen Classics Indicates month available (after Ornament Premiere). 72 Star Trek™, Star Wars™ Available exclusively at & Super Heroes Hallmark Gold Crown stores. Sports Stars Some ornaments only available at participating 78 stores. Designs may vary from image shown. Milestones and Memories 80 Planes, Trains & Wheels Ornament Storage Box Available beginning Gift of 84 Hobbies & Halloween Memories Weekend MEMORIES & TRADITIONS 1 Celebrate the little things WITH SO MANY NEW MINIATURE O RNAMENTS, THERE’S ALWAYS R OOM FOR ONE MORE. -
Die Flexible Welt Der Simpsons
BACHELORARBEIT Herr Benjamin Lehmann Die flexible Welt der Simpsons 2012 Fakultät: Medien BACHELORARBEIT Die flexible Welt der Simpsons Autor: Herr Benjamin Lehmann Studiengang: Film und Fernsehen Seminargruppe: FF08w2-B Erstprüfer: Professor Peter Gottschalk Zweitprüfer: Christian Maintz (M.A.) Einreichung: Mittweida, 06.01.2012 Faculty of Media BACHELOR THESIS The flexible world of the Simpsons author: Mr. Benjamin Lehmann course of studies: Film und Fernsehen seminar group: FF08w2-B first examiner: Professor Peter Gottschalk second examiner: Christian Maintz (M.A.) submission: Mittweida, 6th January 2012 Bibliografische Angaben Lehmann, Benjamin: Die flexible Welt der Simpsons The flexible world of the Simpsons 103 Seiten, Hochschule Mittweida, University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2012 Abstract Die Simpsons sorgen seit mehr als 20 Jahren für subversive Unterhaltung im Zeichentrickformat. Die Serie verbindet realistische Themen mit dem abnormen Witz von Cartoons. Diese Flexibilität ist ein bestimmendes Element in Springfield und erstreckt sich über verschiedene Bereiche der Serie. Die flexible Welt der Simpsons wird in dieser Arbeit unter Berücksichtigung der Auswirkungen auf den Wiedersehenswert der Serie untersucht. 5 Inhaltsverzeichnis Inhaltsverzeichnis ............................................................................................. 5 Abkürzungsverzeichnis .................................................................................... 7 1 Einleitung ................................................................................................... -
Which Seinfeld Character Are You?
EPISODE 181: THE BUSINESS DEVELOPMENT MEETING WHICHWHICH SEINFELDSEINFELD CHARACTERCHARACTER AREARE YOU?YOU? In our business dealings, we are often guilty of just not listening. We come to the table with an agenda—a new product, a new service—and wait while a prospect or existing client tells us what’s going on with his or her business. At some point, that person will pause—and we pounce with our spiel. This approach rarely works - successful business development requires some level of rapport and relationship building. As in all aspects of life, this can mean dealing with those who may not share your views or approach. In order to adapt quickly and improvise in these instances, it’s helpful to understand people’s communication and personality styles. There are a number of tests that can help us understand the personality and communication styles of others, including the popular DISC model. This model has four quadrants: dominance, influence, steadiness, and conscientiousness. Influence and steadiness are on the right side of the brain, and dominance and conscientiousness are on the left side. Understanding someone’s dominant quadrant can help you find a way to work more effectively with them. UNDERSTANDING WHAT SEINFELD YOUR SITCOM CAST Now that you understand where you fall QUADRANT ARE YOU? within the quadrants, you can begin to think about how to work and respond to any cast of characters you may come I’ll let you in on an interesting tidbit, successful sitcoms often across. Friction will naturally arise include a character from each of the following quadrants, because these are people with opposite because the resulting friction tends to be funny. -
Data Match Quest Couch Potatos
Who’s most like YOU at school? Your answers to the following questions will be matched with everyone else’s. And for way less than the cost of a few slices of pizza, you get two reports showing your best matches and help Make copies support a club or team at your school. for students. Couch Potatoes PLUS: You can even put your reports on AND you can WHITE PAPER Questionnaire created by Heritage High School see ALL your matches at your school at www.Data-Match.com. ONLY! Student Council Association, Leesburg, VA Choose one answer ONLY! 1 2 3 4 5 1. What personality type are you? Hopeless Romantic Heartbreaker Shy and Reserved Adventurous Social Buttery 2. What is your favorite Disney show? That’s So Raven Hannah Montana Suite Life of Zack & Cody Kim Possible Even Stevens 3. What is your future money plan? YOLO, Spend it Freely Rich & Successful Conservative, Save it Money Doesn’t Matter Hit the Lottery 4. What is your least favorite class? Algebra History Economics Biology PE 5. Favorite “style” of potato? Baked Potato French Fries Mashed Potatoes Potato Chips Couch Potato 6. What would you put into a time capsule? My Feelings for Chase Favorite Book Pictures of Family Favorite CD Letter to Myself 7. What is your preferred taste? Sweet Salty Sour Spicy Meat 8. Who would you call for advice? Mom/Dad Sibling Best Friend Coach Oprah 9. Favorite celebrity relationship? Kim/Kanye Taylor Swift/Current Muse Ashton/Mila Beyoncé/Jay-Z Mickey & Minnie 10. What type of person are you? Realistic Idealistic Pessimistic Optimistic Dreamer 11. -
Karaoke Songs by Title
Songs by Title Title Artist Title Artist #9 Dream Lennon, John 1985 Bowling For Soup (Day Oh) The Banana Belefonte, Harry 1994 Aldean, Jason Boat Song 1999 Prince (I Would Do) Anything Meat Loaf 19th Nervous Rolling Stones, The For Love Breakdown (Kissed You) Gloriana 2 Become 1 Jewel Goodnight 2 Become 1 Spice Girls (Meet) The Flintstones B52's, The 2 Become 1 Spice Girls, The (Reach Up For The) Duran Duran 2 Faced Louise Sunrise 2 For The Show Trooper (Sitting On The) Dock Redding, Otis 2 Hearts Minogue, Kylie Of The Bay 2 In The Morning New Kids On The (There's Gotta Be) Orrico, Stacie Block More To Life 2 Step Dj Unk (Your Love Has Lifted Shelton, Ricky Van Me) Higher And 20 Good Reasons Thirsty Merc Higher 2001 Space Odyssey Presley, Elvis 03 Bonnie & Clyde Jay-Z & Beyonce 21 Questions 50 Cent & Nate Dogg 03 Bonnie And Clyde Jay-Z & Beyonce 24 Jem (M-F Mix) 24 7 Edmonds, Kevon 1 Thing Amerie 24 Hours At A Time Tucker, Marshall, 1, 2, 3, 4 (I Love You) Plain White T's Band 1,000 Faces Montana, Randy 24's Richgirl & Bun B 10,000 Promises Backstreet Boys 25 Miles Starr, Edwin 100 Years Five For Fighting 25 Or 6 To 4 Chicago 100% Pure Love Crystal Waters 26 Cents Wilkinsons, The 10th Ave Freeze Out Springsteen, Bruce 26 Miles Four Preps, The 123 Estefan, Gloria 3 Spears, Britney 1-2-3 Berry, Len 3 Dressed Up As A 9 Trooper 1-2-3 Estefan, Gloria 3 Libras Perfect Circle, A 1234 Feist 300 Am Matchbox 20 1251 Strokes, The 37 Stitches Drowning Pool 13 Is Uninvited Morissette, Alanis 4 Minutes Avant 15 Minutes Atkins, Rodney 4 Minutes Madonna & Justin 15 Minutes Of Shame Cook, Kristy Lee Timberlake 16 @ War Karina 4 Minutes Madonna & Justin Timberlake & 16th Avenue Dalton, Lacy J. -
Documentarian
Documentarian Growing up in Birmingham, Alabama, in the 1970s and ’80s, Michele Forman ’93 loved visual art and reading. At Harvard, she chose a double concentration in visual and environmental studies and English, and felt particularly drawn to docu- mentary filmmaking, which “revolves around talk- ing to people and being curious about their lives.” As a senior, she took a screenwriting seminar from Spike Lee, who returned a draft with a “note in the margin that this could be a movie,” and offered her a summer internship. After graduation, she worked in script development for his company in Brook- lyn, looking for new projects to executive produce. In the late ’90s she was back in Birmingham for PHOTOGRAPH KENZIE BY GREER Lee’s documentary 4 Little Girls, about the 16th Street Forman and her Baptist Church bombing in 1963. Doing research and pre-interviews students filmed at the National for the film “changed the trajectory of my career,” she says. “I knew Memorial for Peace that I wanted to come back to Alabama and use film to explore the and Justice in often painful parts of our history so that we can figure out what Montgomery, kind of values and society we want in the present.” Alabama, for a project to raise Serendipitously, an anthropology professor at University of Ala- awareness about bama at Birmingham (UAB) approached her about setting up a the history of lynch- filmmaking program there. Through trial and error, interdepart- ing. At left, she advises during a mental collaboration, and community input, she has devised a cur- class at UAB. -
"Eustace the Monk" and Compositional Techniques
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 An original composition, Symphony No. 1, "Eustace the Monk" and compositional techniques used to elicit musical humor Samuel Howard Stokes Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Stokes, Samuel Howard, "An original composition, Symphony No. 1, "Eustace the Monk" and compositional techniques used to elicit musical humor" (2013). LSU Doctoral Dissertations. 1053. https://digitalcommons.lsu.edu/gradschool_dissertations/1053 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AN ORIGINAL COMPOSITION, SYMPHONY NO. 1, "EUSTACE THE MONK" AND COMPOSITIONAL TECHNIQUES USED TO ELICIT MUSICAL HUMOR A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements of the degree of Doctor of Philosophy in The School of Music by Samuel Stokes B.M., University of Central Missouri, 2002 M.A., University of Central Missouri, 2005 M.M., The Florida State University, 2006 May 2013 ACKNOWLEDGMENTS I would like to thank Dinos Constantinides for his valuable guidance and enthusiasm in my development as a composer. He has expanded my horizons by making me think outside of the box while leaving me enough room to find my own compositional voice.