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L'italia E L'eurovision Song Contest Un Rinnovato
La musica unisce l'Europa… e non solo C'è chi la definisce "La Champions League" della musica e in fondo non sbaglia. L'Eurovision è una grande festa, ma soprattutto è un concorso in cui i Paesi d'Europa si sfidano a colpi di note. Tecnicamente, è un concorso fra televisioni, visto che ad organizzarlo è l'EBU (European Broadcasting Union), l'ente che riunisce le tv pubbliche d'Europa e del bacino del Mediterraneo. Noi italiani l'abbiamo a lungo chiamato Eurofestival, i francesi sciovinisti lo chiamano Concours Eurovision de la Chanson, l'abbreviazione per tutti è Eurovision. Oggi più che mai una rassegna globale, che vede protagonisti nel 2016 43 paesi: 42 aderenti all'ente organizzatore più l'Australia, che dell'EBU è solo membro associato, essendo fuori dall'area (l’anno scorso fu invitata dall’EBU per festeggiare i 60 anni del concorso per via dei grandi ascolti che la rassegna fa in quel paese e che quest’anno è stata nuovamente invitata dall’organizzazione). L'ideatore della rassegna fu un italiano: Sergio Pugliese, nel 1956 direttore della RAI, che ispirandosi a Sanremo volle creare una rassegna musicale europea. La propose a Marcel Bezençon, il franco-svizzero allora direttore generale del neonato consorzio eurovisione, che mise il sigillo sull'idea: ecco così nascere un concorso di musica con lo scopo nobile di promuovere la collaborazione e l'amicizia tra i popoli europei, la ricostituzione di un continente dilaniato dalla guerra attraverso lo spettacolo e la tv. E oltre a questo, molto più prosaicamente, anche sperimentare una diretta in simultanea in più Paesi e promuovere il mezzo televisivo nel vecchio continente. -
1Q12 IPG Cable Nets.Xlsm
Independent Programming means a telecast on a Comcast or Total Hours of Independent Programming NBCUniversal network that was produced by an entity Aired During the First Quarter 2012 unaffiliated with Comcast and/or NBCUniversal. Each independent program or series listed has been classified as new or continuing. 2061:30:00 Continuing Independent Series and Programming means series (HH:MM:SS) and programming that began prior to January 18, 2011 but ends on or after January 18, 2011. New Independent Series and Programming means series and programming renewed or picked up on or after January 18, 2011 or that were not on the network prior to January 18, INDEPENDENT PROGRAMMING Independent Programming Report Chiller First Quarter 2012 Network Program Name Episode Name Initial (I) or New (N) or Primary (P) or Program Description Air Date Start Time* End Time* Length Repeat (R)? Continuing (C)? Multicast (M)? (MM/DD/YYYY) (HH:MM:SS) (HH:MM:SS) (HH:MM:SS) CHILLER ORIGINAL CHILLER 13: THE DECADE'S SCARIEST MOVIE MOMENTS R C P Reality: Other 01/01/2012 01:00:00 02:30:00 01:30:00 CHILLER ORIGINAL CHILLER 13: HORROR’S CREEPIEST KIDS R C P Reality: Other 01/01/2012 02:30:00 04:00:00 01:30:00 CHILLER ORIGINAL CHILLER 13: THE DECADE'S SCARIEST MOVIE MOMENTS R C P Reality: Other 01/01/2012 08:00:00 09:30:00 01:30:00 CHILLER ORIGINAL CHILLER 13: HORROR’S CREEPIEST KIDS R C P Reality: Other 01/01/2012 09:30:00 11:00:00 01:30:00 CHILLER ORIGINAL CHILLER 13: THE DECADE'S SCARIEST MOVIE MOMENTS R C P Reality: Other 01/01/2012 11:00:00 12:30:00 01:30:00 CHILLER -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
Mother of Three Drowns Children and Other Stories Laura L
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2012-01-01 Mother of Three Drowns Children and Other Stories Laura L. Stubbins University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the American Literature Commons, Literature in English, North America Commons, and the Women's Studies Commons Recommended Citation Stubbins, Laura L., "Mother of Three Drowns Children and Other Stories" (2012). Open Access Theses & Dissertations. 2393. https://digitalcommons.utep.edu/open_etd/2393 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. MOTHER OF THREE DROWNS CHILDREN AND OTHER STORIES LAURA L. STUBBINS Department of Creative Writing APPROVED: Lex Williford, MFA, Chair Dan Chacón, MFA Benjamin C. Flores, Ph.D. Interim Dean of the Graduate School Copyright © by Laura L. Stubbins 2012 Dedication For Polly, Geoffrey, Lisa, Robin, and of course, Mother and Dad. MOTHER OF THREE DROWNS CHILDREN AND OTHER STORIES by LAURA L. STUBBINS, B.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Department of Creative Writing THE UNIVERSITY OF TEXAS AT EL PASO May 2012 Acknowledgements I offer my sincerest appreciation and thanks to my thesis director, Professor Lex Williford, whose tremendous knowledge and guidance made this thesis possible. -
Feminist Revision of Canonical Narratives by Contemporary Women Writers
ANGLIA RUSKIN UNIVERSITY RE-CHARTING THE PRESENT: FEMINIST REVISION OF CANONICAL NARRATIVES BY CONTEMPORARY WOMEN WRITERS AMY SUZANNE CRAWFORD A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of Doctor of Philosophy Submitted: 14 February 2015 ACKNOWLEDGEMENTS I would like to thank my supervisors, Professor Sarah Annes Brown and Dr. Tory Young, for their guidance during my research and thoughtful, thorough critique of my writing. Thanks also to Dr. Leah Tether for her helpful comments regarding translation and adaptation, Dr. Jeannette Baxter for her guidance and support, and Zoë Bennett for taking an interest in my project and providing me with invaluable resources. I would also like to thank my fellow PhD candidates who were dialogue partners and peer reviewers at different stages of the writing process, specifically Dr. Ellie Crouch, Dr. Claire Nicholson, Stev White, Kirsty Harris, Tiffani Angus and Louise Ells. I wish to thank Anglia Ruskin University for financial assistance which enabled me to attend conferences as well as the staff of Anglia Ruskin University Library, Cambridge University Library, and the British Library. I am also grateful to student advisor Edna Johnson without whom I would not have been able to remain in the UK as an international student. Most importantly, I thank my parents Ray and Margena Crawford for their unwavering encouragement and my partner Paul Grant for his practical support. Thanks to my dear friends Gabby Carpenter Leavitt and Ali Watson Girgis for their words of reassurance and inspiration. ANGLIA RUSKIN UNIVERSITY ABRSTRACT FACULTY OF ARTS, LAW AND SOCIAL SCIENCES RE-CHARTING THE PRESENT: FEMINIST REVISION OF CANONICAL NARRATIVES BY CONTEMPORARY WOMEN WRITERS AMY SUZANNE CRAWFORD 14 February 2015 In this thesis, I explore the textual strategy of feminist revision employed by contemporary women writers. -
Read and Analyse Book I
Rusudan Beridze Nino Kemertelidze READ AND ANALYSE BOOK I Grigol Robakidze University Tbilisi, 2010 1 Semdgenlebi: asocirebuli profesori rusudan beriZe da sruli profesori nino qemertel- iZe winamdebare wigni gankuTvnilia inglisuri enis SemswavlelTaTvis, romelic daexmareba stu- dentebs gaiRrmavon codna analizur kiTxvasa da teqstis stilistikur analizSi. wignis mizania ganuviTaros studentebs weriTi da sametyve-lo unari, gauRrmavos maT litera- turuli codna da xeli Seuwyos teqstis ukeT aRqmaSi. es wigni miscems TiToeul students saSualebas indivindualobis gamosamJRavnelad, rac Camouyalibebs maT gansxvavebul azrovne- bas. Compilers of the book Associate Professor Rusudan Beridze and Full Professor Nino Kemertelidze This book is intended for English programme students. It will help students improve their education and gain the knowl- edge in analytical reading and stylistic analysis. The aim of the book is to develop spoken and written skills in students, to enlarge their knowledge in literature and further understanding as well as in perceiving any literary work in a proper way, to enable them to hold a dialogue. It will moti- vate each member of the group to be competitive and different from others. redaqtori: istoriis mecnierebaTa doqtori, profesori dali qadagiSvili recenzenti: filologiis mecnirerebaTa doqtori, profesori viqtoria kupraSvili koreqtori: filologi liana koroSinaZe Editor: Doctor of History, Professor Dali Kadagishvili Reviewer: Doctor of Linguistic Science, Professor Victoria Kuprashvili Proof-reader: Linguist Liana Koroshinadze © rusudan beriZe, nino qemerteliZe 2010 © Rusudan Beridze, Nino Kemertelidze 2010 © grigol robaqiZis saxelobis universitetis gamomcemloba © Grigol Robakidze University Press ISBN 978-9941-9017-9-9 2 INTRODUCTION The book is intended for English programme students. It will help students improve their education and gain their knowledge in analytical reading and stylistic analysis. -
Mercurian Vol. 3, No
The Mercurian A Theatrical Translation Review Volume 3, Number 1 Editor: Adam Versényi The Mercurian is named for Mercury who, if he had known it, was/is the patron god of theatrical translators, those intrepid souls possessed of eloquence, feats of skill, messengers not between the gods but between cultures, traders in images, nimble and dexterous linguistic thieves. Like the metal mercury, theatrical translators are capable of absorbing other metals, forming amalgams. As in ancient chemistry, the mercurian is one of the five elementary “principles” of which all material substances are compounded, otherwise known as “spirit”. The theatrical translator is sprightly, lively, potentially volatile, sometimes inconstant, witty, an ideal guide or conductor on the road. The Mercurian publishes translations of plays and performance pieces from any language into English. The Mercurian also welcomes theoretical pieces about theatrical translation, rants, manifestos, and position papers pertaining to translation for the theatre, as well as production histories of theatrical translations. Submissions should be sent to: Adam Versényi at [email protected] or by snail mail: Adam Versényi, Department of Dramatic Art, CB# 3230, The University of North Carolina at Chapel Hill, Chapel Hill, NC 27599-3230. For translations of plays or performance pieces, unless the material is in the public domain, please send proof of permission to translate from the playwright or original creator of the piece. Since one of the primary objects of The Mercurian is to move translated pieces into production, no translations of plays or performance pieces will be published unless the translator can certify that he/she has had an opportunity to hear the translation performed in either a reading or another production-oriented venue. -
Grieve If You Want Travis Scott Ray University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2016 Grieve If You Want Travis Scott Ray University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Fiction Commons Recommended Citation Ray, Travis Scott, "Grieve If You Want" (2016). Theses and Dissertations. 1602. http://scholarworks.uark.edu/etd/1602 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Grieve If You Want A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing by Travis S Ray University of Mississippi Bachelor of Arts in English, 2011 May 2016 University of Arkansas This thesis is approved for recommendation to the Graduate Council. ______________________________________ Professor Toni Jensen Thesis Director ______________________________________ Professor Padma Viswanathan Committee Member ______________________________________ Professor Geffrey Davis Committee Member ______________________________________ Professor Ellen Gilchrist Committee Member Abstract This collection of short stories is trying to say something about empathy. It’s trying to connect with readers in an effort to convey some small kind of emotion the characters are experiencing. It’s about the difficulty we all have connecting and communicating with each other and ourselves. Table of Contents I. All of Them Were About a Half Step Flat……………………………………………………1 II. Deacon Blues………………………………………………………………………..………11 III. Bedfellows……………………………………………………………………….................31 IV. Sam and Angie……………………………………………………………………………...43 V. If I Met My Father………………………………………………………………………….52 VI. -
Volume 1 Winter 2016
Volume 1 Winter 2016 Editorial and Production Team Contributing Writers and Poets Here follows a list of the editors and producers who Grade 9: worked on the production of this magazine. These Teebh Al-Freihy Jennie Caraballo people have put in hours of their time to be a part Keddy Duato of creating this magazine. Without them, this dream Anny Perez Sanchez wouldn’t have become a reality. Diana Le Anny Perez Sanchez Kat Swenson Layout Design: Natalie Sullivan Domenic LoGiudice (Grade 12) Jasmine Tuell Grade 10: Cover Design: Cassandra Kuechler Maggie Valvano (Grade 9) Kenny Latulippe Sylvia Officer Meaghan Paine Alina Parsons Title: Alina Parsons (Grade 10) Grade 11: Amanda Clarke Narrative Editors: LS Darcy Teebh Al-Freihy (Grade 9) Skylar DiPietro Kat Swenson (Grade 9) Ryan Duggan Maggie Valvano (Grade 9) Rebecca Gosiewski Kenny Latulippe (Grade 10) Phoebe Johnson Elizabet Kanegis Sylvia Officer (Grade 10) Jack Kelly Alina Parsons (Grade 10) Allison Richardson Hannah Valvano (Grade 11) Poetry Editors: Mr. Reickert’s Surrealism Collective (11 & 12) Jennie Caraballo (Grade 9) Hallie Gagnon (Grade 9) Photography: Jessica Gagnon (Grade 9) Teebh Al-Freihy (9) Diana Le (Grade 9) Diana Le (9) Jose Bernardez (Grade 10) Meaghan Paine (Grade 11) Advisor: Nancy Dashcund A Message from The Quill of the Mind’s Advisor In September, when the literary magazine club had its first meeting, there was standing room only in my classroom. Astounded, I listened to what this mass of high school students wanted to create, what they thought would be appropriate for a new literary publication and how often they would meet to work. -
SBS Eurovision Songbook
ALBANIA Semi Final 2 / Saturday 14 May 7:30pm SBS Australia Artist: Eneda Tarifa Song: Fairytale This tale of love, larger than dreams, it may take a lifetime, To understand what it means. Many the tears, cos all the craziness and rage, Tale of love, the massage is Love can bring change. Cos it’s you...only you you I feel, And I ...oh I I know in my soul this it’s real REF And that’s why I love you..oh I Yes I love you u..u.. And I’d fight for you give my life for you my heart But comes a day when it’s not enough and what you have the time is up but it’s hard to turn a new page In the tale, sweet tale of love you will find the peace of heart that you crave Share your party pics #SBSEurovision sbs.com.au/eurovision ARMENIA Semi Final 1 / Friday 13 May 7:30pm SBS Australia Artist: Iveta Mukuchyan Song: LoveWave Hey it’s me. It’s taking over me. Look, I know it might sound strange but suddenly Instrumental I’m not the same I used to be. It’s taking, it’s taking over me. It’s like I’ve stepped out of space and time and come alive… Guess this is what it’s all about Chorus cause… You (oh like a lovewave) Shook my life like an earthquake now 1. ...when it touched me the world went silent, I’m waking up, Calm before the storm reaches me. -
Afro-Future Females
Afro-Future Females Barr_final.indb 1 4/15/2008 2:52:25 AM Barr_final.indb 2 4/15/2008 2:52:25 AM Afro-Future Females Black Writers Chart Science Fiction’s Newest New-Wave Trajectory Edited by MARLEEN S. BARR T H E O H I O S TAT E U N I V E R S I T Y P R E ss / Columbus Barr_final.indb 3 4/15/2008 2:52:25 AM Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Afro-future females : black writers chart science fiction’s newest new-wave trajectory / edited by Marleen S. Barr. p. cm. Includes bibliographical references. ISBN-13: 978–0–8142–1078–9 (cloth : alk. paper) 1. Science fiction, American. 2. Science fiction, American—History and criticism. 3. American fiction—African American authors—History and criticism. 4. American fic- tion—Women authors—History and criticism. 5. Women and literature—United States— History—20th century. 6. Women and literature—United States—History—21st century. I. Barr, Marleen S. PS648.S3A69 2008 813.’0876209928708996073—dc22 2007050083 This book is available in the following editions: Cloth (ISBN 978–0–8142–1078–9) CD-ROM (ISBN 978–0–8142–9156–6) Cover design by Janna Thompson Chordas. Text design by Jennifer Shoffey Forsythe. Type set in Adobe Minion. Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Barr_final.indb 4 4/15/2008 2:52:25 AM Contents PRefAce “All At One Point” Conveys the Point, Period: Or, Black Science Fiction Is Bursting Out All Over ix IntRODUctiOns: “DARK MAtteR” MAtteRS l Imaginative Encounters Hortense J. -
Highlights of My Life and Ministry in Old Time Revivals
Marshall University Marshall Digital Scholar Roberts, Thomas P., 1872-1956 Library of Appalachian Preaching 1952 Highlights of My Life and Ministry in Old Time Revivals Thomas P. Roberts Follow this and additional works at: https://mds.marshall.edu/roberts_thomasp Part of the Appalachian Studies Commons, Digital Humanities Commons, Other Religion Commons, and the Rhetoric Commons Recommended Citation Roberts, Thomas P., "Highlights of My Life and Ministry in Old Time Revivals" (1952). Roberts, Thomas P., 1872-1956. 1. https://mds.marshall.edu/roberts_thomasp/1 This Book is brought to you for free and open access by the Library of Appalachian Preaching at Marshall Digital Scholar. It has been accepted for inclusion in Roberts, Thomas P., 1872-1956 by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Spec.Coll. F 456 .R60 Jilights ®f W lift and Binistrg In Old Time Revivals BY T. P ROBERTS _ .. t 2, I' t i ’ 1 MARSHALL UNIVERSITY LIBRARY • t '-.t E i i r ' : ' ' ' I I WEST VIRGINIANA ■ -i COLLECTION ' J ■ 1 -4 • •» Highlights of My Life and Ministry In Old Time Revivals By T. P. Roberts Wilmore. Kentucky Price $1.50 1952 * i \ -J -■ ■ r:" I I ;3 Rev. T. P. Roberts IN OLD TIME REVIVALS DEDICATION It was through the good providence and plan of God that I met, won, and wedded the girl who was to be my helpmate through life and a truer helpmate no man has ever had. All through our married life and during the busy years of my ministry she stood faithfully and nobly by me in our little humble home.