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LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
Want to Have Some Fun with Tech and Pol Cart
Want To Have Some Fun With Technology and Political Cartoons? Dr. Susan A. Lancaster Florida Educational Technology Conference FETC Political and Editorial Cartoons In U.S. History http://dewey.chs.chico.k12.ca.us/edpolcart.html • Political cartoons are for the most part composed of two elements: caricature, which parodies the individual, and allusion, which creates the situation or context into which the individual is placed. • Caricature as a Western discipline goes back to Leonardo da Vinci's artistic explorations of "the ideal type of deformity"-- the grotesque-- which he used to better understand the concept of ideal beauty 2 • Develop Cognitive • Historical and Thinking and Higher Government Events Levels of Evaluation, • Group Work Analysis and Synthesis • Individual Work • Create Student • Current Events Drawings and Interpretations • Sports Events • Express Personal • Editorial Issues Opinions • Foreign Language and • Real World Issues Foreign Events • Visual Literacy and • Authentic Learning Interpretation • Critical Observation and Interpretation • Warm-up Activities • Writing Prompts 3 • Perspective A good editorial cartoonist can produce smiles at the nation's breakfast tables and, at the same time, screams around the White House. That's the point of cartooning: to tickle those who agree with you, torture those who don't, and maybe sway the remainder. 4 http://www.newseum.org/horsey/ Why include Political Cartoons in your curriculum? My goal was to somehow get the students to think in a more advanced way about current events and to make connections to both past and present Tammy Sulsona http://nieonline.com/detroit/cftc.cfm?cftcfeature=tammy 5 Cartoon Analysis Level 1 Visuals Words (not all cartoons include words) List the objects or people you see in the cartoon. -
ACTS BATTLE AFRICA HUNGER Upset Video Wholesalers to Country, Classical, Jazz and Dance
SM 14011 01066048024BB MAR86 ILL IONTY GREENLY 03 10 Foreigner, Bailey & Wham! 3740 ELM L. CV LONG BEACI CA 90807 jump to top 10 z See page 64 Bruce is back on top of Pop Albums See page 68 Fall Arbitron Ratings r See [urge 14 VOLUME 97 NO. 3 THE INTERNATIONAL NEWSWEEKLY OF MUSIC AND HOME ENTERTAINMENT JANUARY 19, 1985/$3.50 (U.S.) Richie Enlists US. Superstars WEA Dealer Discounts ACTS BATTLE AFRICA HUNGER Upset Video Wholesalers to country, classical, jazz and dance. Kenny Rogers. BY PAUL GREIN But the project being coordinated Kragen will produce the event, Under the new pricing structure, LOS ANGELES Lionel Richie and by Richie and Kragen may raise the which will likely include both an al- BY FAYE ZUCKERMAN distributors will still pay WEA his manager Ken Kragen are spear- most money for African relief, be- bum and subsequent singles and a LOS ANGELES Nearly a week af- about $50 for a $79.98 title, while re- heading a multi -media event, to be cause of the magnitude of the talent live show with worldwide transmis- ter Warner Home Video's revamped tailers will start to pay just over $52 held here in the next two weeks, to involved. While no names have yet sion. The details, which were still pricing schedules and stock balanc- for the same title. "We generally continue industry efforts to raise been announced, it's believed that being set at presstime, are expected ing program went into effect, video sell [WEA] $79.98 cassettes to re- money for the starving in Africa. -
2017 ANNUAL REPORT 2017 Annual Report Table of Contents the Michael J
Roadmaps for Progress 2017 ANNUAL REPORT 2017 Annual Report Table of Contents The Michael J. Fox Foundation is dedicated to finding a cure for 2 A Note from Michael Parkinson’s disease through an 4 Annual Letter from the CEO and the Co-Founder aggressively funded research agenda 6 Roadmaps for Progress and to ensuring the development of 8 2017 in Photos improved therapies for those living 10 2017 Donor Listing 16 Legacy Circle with Parkinson’s today. 18 Industry Partners 26 Corporate Gifts 32 Tributees 36 Recurring Gifts 39 Team Fox 40 Team Fox Lifetime MVPs 46 The MJFF Signature Series 47 Team Fox in Photos 48 Financial Highlights 54 Credits 55 Boards and Councils Milestone Markers Throughout the book, look for stories of some of the dedicated Michael J. Fox Foundation community members whose generosity and collaboration are moving us forward. 1 The Michael J. Fox Foundation 2017 Annual Report “What matters most isn’t getting diagnosed with Parkinson’s, it’s A Note from what you do next. Michael J. Fox The choices we make after we’re diagnosed Dear Friend, can open doors to One of the great gifts of my life is that I've been in a position to take my experience with Parkinson's and combine it with the perspectives and expertise of others to accelerate possibilities you’d improved treatments and a cure. never imagine.’’ In 2017, thanks to your generosity and fierce belief in our shared mission, we moved closer to this goal than ever before. For helping us put breakthroughs within reach — thank you. -
Was Ann Coulter Right? Some Realism About “Minimalism”
AMLR.V5I1.PRESSER.POSTPROOFLAYOUT.0511 9/16/2008 3:21:27 PM Copyright © 2007 Ave Maria Law Review WAS ANN COULTER RIGHT? SOME REALISM ABOUT “MINIMALISM” Stephen B. Presser † INTRODUCTION Ever since the Warren Court rewrote much of the Bill of Rights and the Fourteenth Amendment, there has been a debate within legal academia about the legitimacy of this judicial law making.1 Very little popular attention was paid, at least in the last several decades, to this problem. More recently, however, the issue of the legitimacy of judicial law making has begun to enter the realm of partisan popular debate. This is due to the fact that Republicans controlled the White House for six years and a majority in the Senate for almost all of that time, that they have announced, as it were, a program of picking judges committed to adjudication rather than legislation, and finally, that the Democrats have, just as vigorously, resisted Republican efforts. Cass Sunstein, a professor at the University of Chicago Law School,2 and now a visiting professor at Harvard Law School,3 has written a provocative book purporting to be a popular, yet scholarly critique of the sort of judges President George W. Bush has announced that he would like to appoint. Is Sunstein’s effort an objective undertaking, or is it partisan politics with a thin academic veneer? If Sunstein’s work (and that of others on the Left in the † Raoul Berger Professor of Legal History, Northwestern University School of Law; Professor of Business Law, J. L. Kellogg Graduate School of Management, Northwestern University; Legal Affairs Editor, Chronicles: A Magazine of American Culture. -
The Power of Political Cartoons in Teaching History. Occasional Paper. INSTITUTION National Council for History Education, Inc., Westlake, OH
DOCUMENT RESUME ED 425 108 SO 029 595 AUTHOR Heitzmann, William Ray TITLE The Power of Political Cartoons in Teaching History. Occasional Paper. INSTITUTION National Council for History Education, Inc., Westlake, OH. PUB DATE 1998-09-00 NOTE 10p. AVAILABLE FROM National Council for History Education, 26915 Westwood Road, Suite B-2, Westlake, OH 44145-4657; Tel: 440-835-1776. PUB TYPE Reports Descriptive (141) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Cartoons; Elementary Secondary Education; Figurative Language; *History Instruction; *Humor; Illustrations; Instructional Materials; *Literary Devices; *Satire; Social Studies; United States History; Visual Aids; World History IDENTIFIERS *Political Cartoons ABSTRACT This essay focuses on the ability of the political cartoon to enhance history instruction. A trend in recent years is for social studies teachers to use these graphics to enhance instruction. Cartoons have the ability to:(1) empower teachers to demonstrate excellence during lessons; (2) prepare students for standardized tests containing cartoon questions;(3) promote critical thinking as in the Bradley Commission's suggestions for developing "History's Habits of the Mind;"(4) develop students' multiple intelligences, especially those of special needs learners; and (5) build lessons that aid students to master standards of governmental or professional curriculum organizations. The article traces the historical development of the political cartoon and provides examples of some of the earliest ones; the contemporary scene is also represented. Suggestions are given for use of research and critical thinking skills in interpreting editorial cartoons. The caricature and symbolism of political cartoons also are explored. An extensive reference section provides additional information and sources for political cartoons. -
By Emma Stanton - |Directed by Tea Alagic
® ® , 2003 ć NO CANDY "Bosnian Girl" by Šejla Kameri by emma stanton - |Directed by Tea Alagic world Premiere January 16 - February 10, 2019 PORTLAND PLAYHOUSE PRESENTS PRESENTING SEASON SPONSORS NO CANDY Ronni Lacroute Carol Streeter & By Emma Stanton Harold Goldstein Directed by Tea Alagic SHOW SPONSORS Polly Grose CAST Judy and Greg Kafoury Zlata Mia Zara The National Endowment Uma Sharonlee McLean* for the Arts Olena Nikki Weaver* The Oregon Cultural Trust Fazila Val Landrum* Asja Agatha Olson SEASON SPONSORS Maja Jessica Hillenbrand Ellyn Bye Oric Ben Newman* Joyce Hart & Ken Lewis Understudies Abigail St. John+, Paul Harestad+ Philip Terranova CREATIVE TEAM OUR WORK IS MADE Director Tea Alagic POSSIBLE BY Stage Manager David Levine* The Sheri & Les Biller Family Foundation, Mary & Don Blair, Ellyn Bye, Colas Scenic Designer Peter Ksander Construction, JW & HM Goodman Lighting Designer Miranda K. Hardy Family Foundation, Hampton Family Costume Designer Emily Horton Foundation of The Oregon Community Co-Sound Designer Casi Pacilio Foundation, Greg Hinckley & Mary Chomenko, Juan Young Trust, The Jordan Co-Sound Designer/Composer Jena Crenshaw Brand, Marge & Stephen Kafoury, Ronni Projection Designer Rory Breshears Lacroute, B.P. Lester and Regina John Properties Designer Sara Ludeman Foundation, Joyce Hart & Ken Lewis, Assistant Directors Melanie Owen, Reina Solunaya Maybelle Clark Macdonald Fund, ME Fitness, James F. and Marion L. Miller Assistant StageManager Rachel Lee Millena+ Foundation, M. J. Murdock Charitable Technical Director Christian Andrews Trust, National Endowment for the Arts, Master Electrician Jeff Ruggiero OCF Joseph E. Weston Foundation, PGE Scenic Artist David Pritchard Foundation, Raffle Donors, Raymond Production/Design Apprentice Alex Meyer+ Family Foundation, Robert D. -
Post-Truth Politics and Richard Rorty's Postmodernist Bourgeois Liberalism
Ash Center Occasional Papers Tony Saich, Series Editor Something Has Cracked: Post-Truth Politics and Richard Rorty’s Postmodernist Bourgeois Liberalism Joshua Forstenzer University of Sheffield (UK) July 2018 Ash Center for Democratic Governance and Innovation Harvard Kennedy School Ash Center Occasional Papers Series Series Editor Tony Saich Deputy Editor Jessica Engelman The Roy and Lila Ash Center for Democratic Governance and Innovation advances excellence and innovation in governance and public policy through research, education, and public discussion. By training the very best leaders, developing powerful new ideas, and disseminating innovative solutions and institutional reforms, the Center’s goal is to meet the profound challenges facing the world’s citizens. The Ford Foundation is a founding donor of the Center. Additional information about the Ash Center is available at ash.harvard.edu. This research paper is one in a series funded by the Ash Center for Democratic Governance and Innovation at Harvard University’s John F. Kennedy School of Government. The views expressed in the Ash Center Occasional Papers Series are those of the author(s) and do not necessarily reflect those of the John F. Kennedy School of Government or of Harvard University. The papers in this series are intended to elicit feedback and to encourage debate on important public policy challenges. This paper is copyrighted by the author(s). It cannot be reproduced or reused without permission. Ash Center Occasional Papers Tony Saich, Series Editor Something Has Cracked: Post-Truth Politics and Richard Rorty’s Postmodernist Bourgeois Liberalism Joshua Forstenzer University of Sheffield (UK) July 2018 Ash Center for Democratic Governance and Innovation Harvard Kennedy School Letter from the Editor The Roy and Lila Ash Center for Democratic Governance and Innovation advances excellence and innovation in governance and public policy through research, education, and public discussion. -
The Pulitzer Prizes 2020 Winne
WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70 -
What Inflamed the Iraq War?
Reuters Institute for the Study of Journalism Fellowship Paper, University of Oxford What Inflamed The Iraq War? The Perspectives of American Cartoonists By Rania M.R. Saleh Hilary Term 2008 1 ACKNOWLEDGEMENT I would like to express my deepest appreciation to the Heikal Foundation for Arab Journalism, particularly to its founder, Mr. Mohamed Hassanein Heikal. His support and encouragement made this study come true. Also, special thanks go to Hani Shukrallah, executive director, and Nora Koloyan, for their time and patience. I would like also to give my sincere thanks to Reuters Institute for the Study of Journalism, particularly to its director Dr Sarmila Bose. My warm gratitude goes to Trevor Mostyn, senior advisor, for his time and for his generous help and encouragement, and to Reuter's administrators, Kate and Tori. Special acknowledgement goes to my academic supervisor, Dr. Eduardo Posada Carbo for his general guidance and helpful suggestions and to my specialist supervisor, Dr. Walter Armbrust, for his valuable advice and information. I would like also to thank Professor Avi Shlaim, for his articles on the Middle East and for his concern. Special thanks go to the staff members of the Middle East Center for hosting our (Heikal fellows) final presentation and for their fruitful feedback. My sincere appreciation and gratitude go to my mother for her continuous support, understanding and encouragement, and to all my friends, particularly, Amina Zaghloul and Amr Okasha for telling me about this fellowship program and for their support. Many thanks are to John Kelley for sharing with me information and thoughts on American newspapers with more focus on the Washington Post . -
Selecting a Topic
Lesson Comic Design: 1 Selecting a Topic Time Required: One 40-minute class period to share some of their topic ideas Materials: sample comic strips, Student Worksheet 1 with the class. At the end of the Comic Design: Story and Character Creation, blank class discussion, ask each student to paper, pens/pencils have a single topic in mind for their comic strip. LESSON STEPS 6 Download Student Worksheet 1 Comic Design: Story 1 Ask students to name some comic strips that they and Character Creation from www.scholastic.com like or read. Distribute samples of current comics. /prismacolor and distribute to students. Tell You can cut comics out of a newspaper or look for students that their comic should tell a story in three free comics online through websites such as panels that is related to their chosen topic. The www.gocomics.com. story should follow a simple “arc”—which has a 2 Have students read the comic samples. Then ask beginning (the first panel), a middle (the second students to describe what they think makes for a panel), and a conclusion (the final panel). Encourage good comic. Write their responses on the board. students to look at the comic samples and talk with Answers may include: funny, well-drawn, smart, fellow students about their story arcs for inspiration. or suspenseful. Tell students that comic strips are 7 Have students complete Part I of the student a type of cartoon that tells a story. As the students worksheet. This will help them to develop their topic have noted in their descriptions, these stories are and the story that they want to tell. -
Presidential Handwriting File, 1981-1989
PRESIDENTIAL HANDWRITING FILE: PRESIDENTIAL RECORDS: 1981-1989 – REAGAN LIBRARY COLLECTIONS This collection is available in whole for research use. Some folders may still have withdrawn material due to Freedom of Information Act restrictions. Most frequent withdrawn material is national security classified material, personal privacy, protection of the President, etc. PRESIDENTIAL HANDWRITING FILE: PRESIDENTIAL RECORDS: 1981-1989 The Presidential Handwriting File is an artificial collection created by the White House Office of Records Management (WHORM). The Presidential Handwriting File consists of a variety of documents that Ronald Reagan either annotated, edited, or wrote in his own hand. When documents containing the president's handwriting were received at WHORM for filing, the original was placed in the Presidential Handwriting File and arranged by the order received. A photocopy of the document was placed in the appropriate category of the WHORM: Subject File. The first page of the casefile was stamped Handwriting File, indicating the location of the original documents. However, WHORM often failed to indicate on the original documents the original location (i.e. the six digit tracking number, Subject Category Code). The Presidential Handwriting File, as created by the White House, did not contain handwriting found in staff and office files. The Library will be creating a further series of handwriting material from staff and office files. In order to provide better access to the Presidential Handwriting File, the collection has been arranged into six series. Each series is arranged chronologically by the date of the document. Each document has been marked with the appropriate WHORM: Subject File category and a six digit tracking number.