Elementary Secondary Education Act Title This Seventh Grade Math

Total Page:16

File Type:pdf, Size:1020Kb

Elementary Secondary Education Act Title This Seventh Grade Math DOCUMENT RESUME ED 100 668 88 SE 018 359 PITTS Mathematics 7, Environmental Education Guide. INSTITUTION Project I-C-E, Green Bay, Wis. SPONS AGENCY Bureau of Elementary and Secondary Education (DHPW/OP), Washington, D.C.; Wisconsin State Dept. of Education, Madison. PUB DATE (74] NOT! 44p. EPRS PR/CE MF-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS Conservation Education; *Environmental Education; Grade 7; Instructional Materials; Interdisciplinary Approach; Learning Activities; *Mathematical Applications; Mathematics Education; Natural Resources; Outdoor Education; Science Education; Secondary Education; *Secondary School Mathematics; *Teaching Guides IDENTIFII2RS Computtion; Elementary Secondary Education Act Title III; ESEA Title III; *Project I C E; Proportion ABSTRACT This seventh grade mathematics guide ,s one of a series of guides, K-12, that were developed by teachers to help introduce environmental education into the total curriculum. The guides are supplementary in design, containing a series of episodes (minilessons) that reinforce the relationships between ecology and mathematics. It is the teacher's decision when the episodes may best be integrated into the existing classroom curriculum. The episodes are built around 12 major environmental concepts that form a framework for each grade or subject area, as well as for the entire K-12 program. Although the same concepts are used throughout the K-12 program, emphasis is placed on different aspects of each concept at different grade levels or subject levels. This guide focuses on aspects such as proportion, computation, and percent. The 12 concepts are covered in one of the episodes contained in the guide. Further, each episode offers subject area integration, subject area activities, interdisciplinary activities, cognitive and affective behavioral objectives, and suggested references and resource materials useful to teachers and students. (Author/TK) 5E 019 35/NNEZE@OM Elg- SMEMMENEEMZEN crg OCEENSMEOM KATNIIKEton RONMENT Tggg (Instrudtion-Curriculum-Environment)GreenPROJECT 1927Bay,(414) MainWisconsin 468-7464 I-C-Street 54301E Robert PROJECTWarpinski STAFF - Director Robert GeorgeKellnerNancy Howlett,TimmTerrenceLynn Jr. Kuehn Hess- E. -- E. AssistantSecretaries Specialist Directors Theseto a material-grantALL unuer RIGHTS were Title producedRESERVED III, E.S.E.A. pursuant Serving AllThe Schools WisconsinWisconsin in CooperativeProject Department Area No. "B" Educational 59-70-0135-4 ofRegional Public ProjectInstructionService Agencies 3-8-9 Coordinator,Ludwig PetersenC.E.S.A. #3Coordinator,ProjectJohn Administrator F. C.E.S.A. David #9Coordinator,Kenneth C.E.S.A. Poppy #8 FORWARD TO PROJECT I-C-E ENVIRONMENTAL EDUCATION GUIDES Qualitythatthein Inthe timelegislation,1969, UnitedEducation of thethe States Firstintroduction IAct stated: Congress. Environmentalwas proposed ofAt sourcesjustclearlyastions affected use to of indicatesincentivesindustry pollution. by the andthat environmentand other weThatprescrip- cannot is Nation'sthe"There ominousunderstanding environmentis deteriorationa dire by need andAmericans tothe of improve in-the of intioncatastropheThenecessary, a racesystematicif we between marshall butcan manner notbe education wonsufficient."our and byresources squ;-.,relv educa- and alldeficientservationecologicalcreasing become threat planet."ofcatastrophe.stewards life of on irreversiblefor our the resource-We pre-must nature,processsavingconfrontAs the ourofwe incessantthe education.mustenvironment long-term reexamine conqueror throughapproach our of the to happenedpassedEnvironmentalfectivereinforceIn the by environmentalin threethe the Congress,Education great yearsUnited needsince educationStates muchAct for the was hasef-to effortsconstantlyplacefromlonger manyand anto role. endlessofachieveare our feeling ill-conceivedOurfrontier. progress. world the backlashis Weno andquatecontinuingThefor water,intensivethe energy Nation's anddegradation resources, concernthe young discussion over people.ofthe our ade- airover muchstanceless"reverenceRachel refmystical as the Carson'sour for havoc eyesand life" of themeweare moreishave opened ofbecoming sub-wrou2ht to broughtagainsttoronmentalthe aeconomic concern thepollution quality question ccnot ;ts merelyhaveof of ofthis the alltheof nationwar aesthe-envi- thateducationembracingstrongunder new the commitment k,orkinF' willprogramguise help of definitionof to progress.'IS environmentalan toall- find ofA publichumanticsThe butrace. intensein ofthe the qualityinterest survival of by our ofthe thelives onprogressto this-the Senator continuedplanet. that Cavlord is apresence prc-requisitc Nci=zon of life to science.Many peopleThey believeseldom associatethat any andenvironmental everyMATH facet PREFACE problems of environmental as their problems.education relatesIt is hoped only directlyvironmentalenvironmentalwritersthat this triedor misconception indirectly.awareness problemsto implement is involve willthat environmental beman any rectified influences and all education withsubject and the is areas.exercisesininfluenced all areasAnother provided by of the reasonthe environment,in curriculum this for booklet.developing becauseeither Theen- the Althoughrevisionplace Theit. thebysupplementary The theexercises guideinstructor should listedguide can make isin result designedthisthe studentsbookletin theto be material areand an designedteachersaddition being for awaretoused thejunior atof curriculum aour highhigher environmental school orand lower notmathematics, toinstruc-problems. re- waterandamountecologytional its that ofandavailability,level. freshis mathematics. available. waterIt is andthatalso if TheFor isintended man neededexample,lesson continues thatindraws inthe the one to theUnited userswasteof student's the Stateswillit, exercises, whatunderstand attentionas willcompared the the thetostudent outcometo therelationship the importance can amountbe? determine ofbetween of fresh water the ProjectThe interest L -C -Eand Environmental dedicated effort Education of the K-12 following series: teachersACKNOWLEDGEMENT from Wisconsin Area "B" has led to the development of the EugeneMaryJoanD. C. Anders, Alioto, Aderhold,Anderson, WinneconneDenmark BonduelPeshtigo NicholasSaraJamesJohn Curtis, Cowling,Curran, Dal Santo,Green GreenNiagara BayPembineBay LeeDonaldRaymondRobert Hallberg, Hale, Haen,Hammond, WinneconneLuxemburg-CascoAppleton Hortonville AngelaWalterJohnPeggyJames Anderson, Anderson,Anthony,Anderson, Peshtigo Gibraltar GreenWausaukee BayBay JohnEllenDuaneCarolJudy DeWan%DeGrave,DePuydt,beLorme,DeGroot, Green W.GillettGreenAshwaubenon DePereBay Bay BethBillHerbertEmmajeanRuss Hawkins,Harper,Hanseter, Hardt, Harmann, LenaXavier, GibraltarSeymour Sevastopol Appleton WilliamDavidLowellAnthonyDr. Harold Bartz, Baitz,Baggs,Balistreri, Baeten, Sturgeon WeyauwegaShiocton St.Howard-Suamico Bay Norbert, DePereDarwinDennisRobertRobertaR. A. Dirks,Eastman,Dobrzenski,H. Dix, Dickinson, St.Gillett Appleton Joe's white Oconto Acad., Lake G.B. GaryTerryMikeRobertJerome Heil, Hawkins, Heckel,Hennes.Herz, Denmark St. MarinetteXavier.Little James CI-lute AppletonLlith.. Shawano WilliamDavidRobertBonnie Bell, Becker,Reamer,Behring, Neenah FoxColeman Lourdes, Valley Luth.,Oshkosh Appl. RaymondPhyllisJanetLinda Elinger,Eiting, Emerich,Ellefson, AppletonAshwaubenon Hortonville Wash. Island WendellCatherineNannetteJoe Hueek, Hi7,1sk:,tter, Hoppe.,Ruppert, Pulaski Howard-Suamice 7,:srere Weyauwcga LauraLouseneMariePeterLillian Berke::,Below,Biolo, Benter,verges, ClintonvilleW. Oconto GillettDePereSeymour Falls BillieKeithRev.GeryMike BrunoFarrell,Ercegovac, Fawcett,Feichtinger, Frigo, MenashaW. Winneconne DePereAbbot Green Pennings, Bay DePere BarbaraSueJohnJamesGene Husting, Hussey, Hurrish,Huss, Ruth, Freedom Green MenashaGreen BavBay Bay GallenwiiliamBarbaraMerlynCarmeila Braun, Blonde,Bohne,jean Blecha, Bobrowitz,Lena KimberlyShawano Green BayGreen Bay LeroyDonaArminRaymondAnn Fuhrmann, Geeding,Geri,Gerhardt, Gantenbein, Oconto MenashaMarinette Appleton Green Bay KathleenDeAnnaDarrellSr. Claudette Johnson. Johnson,Joncn, Jeanquart, KaukaunaDenmark Hortonvilic St.Lena Charles. KathrynLeeBobCliffordJoan Clasen,Church, Charnetski, Colburn, Christensen, Luxemburg-CascoLittle AlgomaSevastopol Chute Winneconne CharlesLillianMikeRev.Jack Gleffe,GordonGiachino, Goddard,Gostas, Cilsdorf,Sc. Seymour FreedomColemanMatthews, Sacred Green Heart, Bay OneidaKrisKenraulEsterSr. Kappell,Lois Karpinen,Kane.Kaatz. .Tenet. Ashwaubenon WausalikeeSt. W. Holy Alousius,DePere Angels, Kaukauna Appleton KenRonaldWillardMerleBill Couillard, Cole, Colburn,Conradt, Collins, Gillett HortonvilleAlgomaShiocton Crivitz RobertJanelleSr.MichaelKaren Barbara Grunwald, J.Hagerty,Haasch, Haglund, Haase, PulaskiSt.Resurrection, St.Green James Bernard, Bay Luth., G.B. G.B. Shawano GeorgeMikeMaryKenMel. Keliher,Kasen,Kersten,Christ, Kreiling, Gibraltar HortonvilleAppletonSuring Marinette James Krenek, Coleman DavidRichard Miskulin, Minten, GoodmanW. DePere GregArthur Schmitt, Schelk, Cathedral, Suring G.B. LynnDouglasEverettBernadyneFrank Koehn, Koehn, Koch,Klinzing, King, Pulaski Resurrection,Cath. Neenah New Cent., London G.B.Marinette WendellLyleSharonGloria Nahley, Moore,Morgan,Mitchell, Green Pulaski Linsmeier, Green Bay Bay G.B. LarryJanetAllanRon Schreier, Schneider,Serrahn,Schuh, Pulaski OmroSevastopol DePere JackJimFritzFred Krueger, Koivisto, Krueger,Krueger, "Arinneconne OshkoshGreenOshkosh Bay MildredArnoldDorothyJim Nuthals, Neuzil,O'Connell,O'Brien,
Recommended publications
  • Boo-Hooray Catalog #10: Flyers
    Catalog 10 Flyers + Boo-hooray May 2021 22 eldridge boo-hooray.com New york ny Boo-Hooray Catalog #10: Flyers Boo-Hooray is proud to present our tenth antiquarian catalog, exploring the ephemeral nature of the flyer. We love marginal scraps of paper that become important artifacts of historical import decades later. In this catalog of flyers, we celebrate phenomenal throwaway pieces of paper in music, art, poetry, film, and activism. Readers will find rare flyers for underground films by Kenneth Anger, Jack Smith, and Andy Warhol; incredible early hip-hop flyers designed by Buddy Esquire and others; and punk artifacts of Crass, the Sex Pistols, the Clash, and the underground Austin scene. Also included are scarce protest flyers and examples of mutual aid in the 20th Century, such as a flyer from Angela Davis speaking in Harlem only months after being found not guilty for the kidnapping and murder of a judge, and a remarkably illustrated flyer from a free nursery in the Lower East Side. For over a decade, Boo-Hooray has been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Evan, Beth and Daylon.
    [Show full text]
  • Masculinism, Resistance, and Recognition in Vietnam
    NORMA International Journal for Masculinity Studies ISSN: 1890-2138 (Print) 1890-2146 (Online) Journal homepage: https://www.tandfonline.com/loi/rnor20 Recognising shadows: masculinism, resistance, and recognition in Vietnam Paul Horton To cite this article: Paul Horton (2019): Recognising shadows: masculinism, resistance, and recognition in Vietnam, NORMA, DOI: 10.1080/18902138.2019.1565166 To link to this article: https://doi.org/10.1080/18902138.2019.1565166 © 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 11 Jan 2019. Submit your article to this journal Article views: 110 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rnor20 NORMA: INTERNATIONAL JOURNAL FOR MASCULINITY STUDIES https://doi.org/10.1080/18902138.2019.1565166 Recognising shadows: masculinism, resistance, and recognition in Vietnam Paul Horton Department of Behavioural Sciences and Learning, Linköping University, Linköping, Sweden ABSTRACT ARTICLE HISTORY Pride parades, LGBT rights demonstrations, and revisions to the Received 9 July 2017 Marriage and Family Law highlight the extent to which norms and Accepted 12 November 2018 values related to gender, sexuality, marriage, and the family have KEYWORDS recently been challenged in Vietnam. They also illuminate the Vietnam; LGBT; masculinism; gendered power relations being played out in the socio-cultural recognition; power; context of Vietnam, and thus open up for a more in-depth resistance consideration of the ways in which LGBT people have experienced and resisted these relations in everyday life. Drawing on ethnographic fieldwork conducted in Vietnam’s two largest cities, Hanoi and Ho Chi Minh City, in 2012, this article discusses the relations between these power relations, the dominant Vietnamese discourse of masculinity, or masculinism, and the politics of recognition.
    [Show full text]
  • Andy Warhol Shadows Exhibition Brochure.Pdf
    Andy Warhol Shadows On Tuesday I hung my painting(s) at the Heiner Friedrich gallery in SoHo. Really it’s presentation. Since the number of panels shown varies according to the available and altered through the abstraction of the silkscreen stencil and the appli- one painting with 83 parts. Each part is 52 inches by 76 inches and they are all sort size of the exhibition space, as does the order of their arrangement, the work in cation of color to reconfigure context and meaning. The repetition of each of the same except for the colors. I called them “Shadows” because they are based total contracts, expands, and recalibrates with each installation. For the work’s famous face drains the image of individuality, so that each becomes a on a photo of a shadow in my office. It’s a silk screen that I mop over with paint. first display, the gallery accommodated 83 panels that were selected and arranged stand-in for non-individuated and depersonalized notions of celebrity.5 The I started working on them a few years ago. I work seven days a week. But I get by Warhol’s assistants in two rooms: the main gallery and an adjacent office. replication of a seemingly abstract gesture (a jagged peak and horizontal the most done on weekends because during the week people keep coming by extension) across the panels of Shadows further minimizes the potential to talk. The all-encompassing (if modular) scale of Shadows simultaneously recalls to ascribe any narrative logic to Warhol’s work. Rather, as he dryly explained, The painting(s) can’t be bought.
    [Show full text]
  • NO RAMBLING ON: the LISTLESS COWBOYS of HORSE Jon Davies
    WARHOL pages_BFI 25/06/2013 10:57 Page 108 If Andy Warhol’s queer cinema of the 1960s allowed for a flourishing of newly articulated sexual and gender possibilities, it also fostered a performative dichotomy: those who command the voice and those who do not. Many of his sound films stage a dynamic of stoicism and loquaciousness that produces a complex and compelling web of power and desire. The artist has summed the binary up succinctly: ‘Talk ers are doing something. Beaut ies are being something’ 1 and, as Viva explained about this tendency in reference to Warhol’s 1968 Lonesome Cowboys : ‘Men seem to have trouble doing these nonscript things. It’s a natural 5_ 10 2 for women and fags – they ramble on. But straight men can’t.’ The brilliant writer and progenitor of the Theatre of the Ridiculous Ronald Tavel’s first two films as scenarist for Warhol are paradigmatic in this regard: Screen Test #1 and Screen Test #2 (both 1965). In Screen Test #1 , the performer, Warhol’s then lover Philip Fagan, is completely closed off to Tavel’s attempts at spurring him to act out and to reveal himself. 3 According to Tavel, he was so up-tight. He just crawled into himself, and the more I asked him, the more up-tight he became and less was recorded on film, and, so, I got more personal about touchy things, which became the principle for me for the next six months. 4 When Tavel turned his self-described ‘sadism’ on a true cinematic superstar, however, in Screen Test #2 , the results were extraordinary.
    [Show full text]
  • Press Release (PDF)
    G A G O S I A N G A L L E R Y 14 December 2015 My camera and I, together we have the power to confer or to take away. —Richard Avedon They always say that time changes things, but you actually have to change them yourself. —Andy Warhol Gagosian London is pleased to present the first major exhibition to pair works by Richard Avedon and Andy Warhol. Both artists rose to prominence in postwar America with parallel artistic output that occasionally overlapped. Their most memorable images, produced in response to changing cultural mores, are icons of the twentieth century. Portraiture was a shared focus of both artists, and they made use of repetition and serialization: Avedon through the reproducible medium of photography, and in his group photographs, for which he meticulously positioned, collaged, and reordered images; Warhol in his method of stacked screenprinting, which enabled the consistent reproduction of an image. Avedon’s distinctive gelatin-silver prints and Warhol's boldly colored silkscreens variously depict many of the same recognizable faces, including Marella Agnelli, Bianca Jagger, Jacqueline Kennedy, Marilyn Monroe, and Rudolf Nureyev. Both Avedon and Warhol originated from modest beginnings and had tremendous commercial success working for major magazines in New York, beginning in the 1940s. The 1960s marked artistic turning points for both artists as they moved away increasingly from strictly commercial work towards their mature independent styles. The works in the exhibition, which date from the 1950s through the 1990s, emphasize such common themes as social and political power; the evolving acceptance of cultural differences; the inevitability of mortality; and the glamour and despair of celebrity.
    [Show full text]
  • Field Trip to the Moon INFORMAL EDUCATOR’S GUIDE TABLE of CONTENTS
    LRO/LCROSS Edition Informal Educator’s Guide Educational Product Educators Grades 3–8 EG-2008-09-48-MSFC Field Trip to the Moon INFORMAL EDUCATOR’S GUIDE TABLE OF CONTENTS 3 PROGRAM OVERVIEW 4 Program Overview 5 National Science Education Standards Correlation 6 FIELD TRIP TO THE MOON DVD 7 DVD Overview 8 LRO/LCROSS ACTIVITIES 9 Activities Overview 10 Background: About the LRO/LCROSS Mission 11 Lava Layers 13 Build the Orbiter 15 The Moon Tune 18 Impact Craters 23 Moon Landforms 36 LUNAR BASE ACTIVITIES 37 Activities Overview 38 Procedure 41 Materials List 43 Questions to Help Guide Investigations 46 Ecosystem Investigation 51 Geology Investigation 63 Habitat Investigation 66 Engineering Investigation 72 Navigation Investigation 87 Medical Investigation 102 Name Tags PROGRAM OVERVIEW Field Trip to the Moon PROGRAM OVERVIEW What is Field Trip to the Moon? Field Trip to the Moon uses an inquiry-based learning approach that fosters team building and introduces participants to careers in science and engineering. The program components include the Field Trip to the Moon DVD, LRO/LCROSS Activities, and Lunar Base Activities. Together these materials can be used to create your own workshop that introduces important concepts about the Earth and the Moon, and motivates participants to use their cooperative learning skills. Working as a full group or in teams, the participants can develop critical thinking skills, problem-solving techniques, and an understanding of complex systems as they discuss solutions to the essential questions in this program. FIELD TRIP TO THE MOON DVD The DVD presents a wide range of media to use in your workshop: an introduction; the Field Trip to the Moon feature presentation; LRO/LCROSS animations and interviews; and additional media including a visualization about the formation of the Moon, and Moon trivia questions.
    [Show full text]
  • Andy Warhol¬タルs Deaths and the Assembly-Line Autobiography
    OCAD University Open Research Repository Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies 2011 Andy Warhol’s Deaths and the Assembly-Line Autobiography Charles Reeve OCAD University [email protected] © University of Hawai'i Press | Available at DOI: 10.1353/bio.2011.0066 Suggested citation: Reeve, Charles. “Andy Warhol’s Deaths and the Assembly-Line Autobiography.” Biography 34.4 (2011): 657–675. Web. ANDY WARHOL’S DEATHS AND THE ASSEMBLY-LINE AUTOBIOGRAPHY CHARLES REEVE Test-driving the artworld cliché that dying young is the perfect career move, Andy Warhol starts his 1980 autobiography POPism: The Warhol Sixties by refl ecting, “If I’d gone ahead and died ten years ago, I’d probably be a cult fi gure today” (3). It’s vintage Warhol: off-hand, image-obsessed, and clever. It’s also, given Warhol’s preoccupation with fame, a lament. Sustaining one’s celebrity takes effort and nerves, and Warhol often felt incapable of either. “Oh, Archie, if you would only talk, I wouldn’t have to work another day in my life,” Bob Colacello, a key Warhol business functionary, recalls the art- ist whispering to one of his dachshunds: “Talk, Archie, talk” (144). Absent a talking dog, maybe cult status could relieve the pressure of fame, since it shoots celebrities into a timeless realm where their notoriety never fades. But cults only reach diehard fans, whereas Warhol’s posthumously pub- lished diaries emphasize that he coveted the stratospheric stardom of Eliza- beth Taylor and Michael Jackson—the fame that guaranteed mobs wherever they went. (Reviewing POPism in the New Yorker, Calvin Tomkins wrote that Warhol “pursued fame with the single-mindedness of a spawning salmon” [114].) Even more awkwardly, cult status entails dying—which means either you’re not around to enjoy your notoriety or, Warhol once nihilistically pro- posed, you’re not not around to enjoy it.
    [Show full text]
  • What the Shadows Know 99
    What the Shadows Know 99 What the Shadows Know: The Crime- Fighting Hero the Shadow and His Haunting of Late-1950s Literature Erik Mortenson During the Depression era of the 1930s and the war years of the 1940s, mil- lions of Americans sought escape from the tumultuous times in pulp magazines, comic books, and radio programs. In the face of mob violence, joblessness, war, and social upheaval, masked crusaders provided a much needed source of secu- rity where good triumphed over evil and wrongs were made right. Heroes such as Doc Savage, the Flash, Wonder Woman, Green Lantern, Captain America, and Superman were always there to save the day, making the world seem fair and in order. This imaginative world not only was an escape from less cheery realities but also ended up providing nostalgic memories of childhood for many writers of the early Cold War years. But not all crime fighters presented such an optimistic outlook. The Shad- ow, who began life in a 1931 pulp magazine but eventually crossed over into radio, was an ambiguous sort of crime fighter. Called “the Shadow” because he moved undetected in these dark spaces, his name provided a hint to his divided character. Although he clearly defended the interests of the average citizen, the Shadow also satisfied the demand for a vigilante justice. His diabolical laughter is perhaps the best sign of his ambiguity. One assumes that it is directed at his adversaries, but its vengeful and spiteful nature strikes fear into victims, as well as victimizers. He was a tour guide to the underworld, providing his fans with a taste of the shady, clandestine lives of the criminals he pursued.
    [Show full text]
  • Decolonizing the Body of the Chosen One: the Bodily Performance of Anakin Skywalker, Buffy Summers, and T'challa
    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2019 Decolonizing the Body of the Chosen One: The Bodily Performance of Anakin Skywalker, Buffy Summers, and T'Challa Alise M. Wisniewski University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Wisniewski, Alise M., "Decolonizing the Body of the Chosen One: The Bodily Performance of Anakin Skywalker, Buffy Summers, and T'Challa" (2019). Electronic Theses and Dissertations. 1632. https://digitalcommons.du.edu/etd/1632 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Decolonizing the Body of the Chosen One: The Bodily Performance of Anakin Skywalker, Buffy Summers, and T’Challa ________ A Thesis Presented to the Faculty of Arts and Humanities University of Denver _______ In Partial Fulfillment of the Requirements for the Degree Master of Arts _______ by Alise M. Wisniewski June 2019 Advisor: Dr. Donna Beth Ellard ©Copyright by Alise M. Wisniewski 2019 All Rights Reserved Author: Alise M. Wisniewski Title: Decolonizing the Body of the Chosen One: The Bodily Performance of Anakin Skywalker, Buffy Summers, and T’Challa Advisor: Dr. Donna Beth Ellard Degree Date: June 2019 Abstract This thesis engages the figure of the Chosen One in fantasy literature.
    [Show full text]
  • Warhol's Aesthetics Jonathan Flatley Wayne State University, [email protected]
    Criticism Volume 56 Article 1 Issue 3 Andy Warhol 2014 Warhol's Aesthetics Jonathan Flatley Wayne State University, [email protected] Anthony E. Grudin University of Vermont, [email protected] Follow this and additional works at: http://digitalcommons.wayne.edu/criticism Recommended Citation Flatley, Jonathan and Grudin, Anthony E. (2014) "Warhol's Aesthetics," Criticism: Vol. 56: Iss. 3, Article 1. Available at: http://digitalcommons.wayne.edu/criticism/vol56/iss3/1 INTRODUCTION: WARHOL’S AESTHETICS Jonathan Flatley and Anthony E. Grudin often we can glimpse the worlds proposed and prom- ised by queerness in the realm of the aesthetic. —José Muñoz, Cruising utopia (2009)1 The essays in this volume show an Andy Warhol who was deeply engaged in the aesthetic, if we understand that word in its ancient Greek sense to refer to “the whole region of human perception and sensation,” as Terry Eagleton put it.2 Warhol, these essays propose, was fascinated by the ways in which the human sensorium was interfacing with new technologies of reproduction and mediation—indeed, with the vast set of processes that characterize mid-twentieth-century modernity in the United States (commodification, urbanization, the expansion of mass cul- ture and its audiences, and the mass production of everything from food to cars and music) and the new object and image world created by these processes: “comics, picnic tables, men’s trousers, celebrities, shower cur- tains, refrigerators, Coke bottles—all the great modern things that the Abstract Expressionists
    [Show full text]
  • St. Joseph, the Man in the Shadows
    SAINT JOSEPH THE MAN IN THE SHADOWS 0 SAINT JOSEPH THE MAN IN THE SHADOWS Melecio Picazo G. Missionary of the Holy Spirit 1 Translated by Alma Ibarrola de Rinasz Acknowledgments Fr. Domenico Di Raimondo, M.Sp.S Carmen Martínez On the Feast of St. Joseph March 19, 2016 2 FOREWORD Early in 2012 I discovered “SAINT JOSEPH, The Man in the Shadows” by Father Melecio Picazo, M.Sp.S. in the store at the Convent of the Sisters of the Cross, as we familiarly call our local Sisters of the Cross of the Sacred Heart of Jesus. Having always felt a strong attraction to Saint Joseph I bought the booklet and put it in my handbag. Some days went by and suddenly my mother, at the best of health in her 91st year, had to be hospitalized. I stayed with her that night and remembering the booklet, decided to share it with her. Discovering St. Joseph in the midst of a hospital hall waiting for her admission was a unique and blessed experience. It brought us closer and gave us peace. After her death a few days later on Holy Saturday, at her home where she chose to die surrounded by her sisters, children, grandchildren and great grandchildren, the memory of those hours in the corridor at the hospital brought me peace as I realized Saint Joseph had become more real to me. Wanting to share this peace with others, I decided to make this book better known to my sisters of Covenant of Love and to my family and friends.
    [Show full text]
  • Marcel Duchamp / Andy Warhol.’ the Andy Warhol Museum, Pittsburgh, Pennsylvania
    CULTURE MACHINE REVIEWS • SEPTEMBER 2010 ‘TWISTED PAIR: MARCEL DUCHAMP / ANDY WARHOL.’ THE ANDY WARHOL MUSEUM, PITTSBURGH, PENNSYLVANIA. 23 MAY-12 SEPTEMBER 2010. Victor P. Corona Had he survived a routine surgical procedure, Andy Warhol would have turned eighty-two years old on August 6, 2010. To commemorate his birthday, the playwright Robert Heide and the artists Neke Carson and Hoop organized a party at the Gershwin Hotel in Manhattan’s Flatiron District. Guests in attendance included Superstars Taylor Mead and Ivy Nicholson and other Warhol associates. The event was also intended to celebrate the ‘Andy Warhol: The Last Decade’ exhibition at the Brooklyn Museum and the re-release of The Autobiography and Sex Life of Andy Warhol (Wilcock, 2010). Speaking with some of the Pop artist’s collaborators at the ‘Summer of Andy’ party served as an excellent prelude to my visit to an exhibition that traced Warhol’s aesthetic links to one of his greatest sources of inspiration, Marcel Duchamp. The resonances evident at the Warhol Museum’s fantastic ‘Twisted Pair’ show are not trivial: Warhol himself owned over thirty works by Duchamp. Among his collection is a copy of the Fountain urinal, which Warhol acquired by trading away three of his portraits (Wrbican, 2010: 3). The party at the Gershwin and the ‘Twisted Pair’ show also provided a fresh opportunity to explore the ongoing fascination with Warhol’s art as well as contemporary works that deal with the central themes that preoccupied him for much of his career. Since the relationship between the Dada movement and Pop artists has been intensely debated by others (e.g., Kelly, 1964; Madoff, 1997), this essay will instead focus on how Warhol’s art continues to nurture experimentation in the work of artists active today.
    [Show full text]