Books Are Windows to the World: a Calendar of Special Days with Book-Related Activities
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INNOVATION, MEET LIFESTYLE How the U’S New Entrepreneurial Living Space Is Launching Students Into the Maker-Sphere
FALL 2017 INNOVATION, MEET LIFESTYLE How the U’s new entrepreneurial living space is launching students into the maker-sphere. THE COST OF WAR FLASH THE U WHAT HAPPY PEOPLE DO DESERT BLOOMS Continuum_Fall17_cover.indd 1 8/15/17 3:55 PM Continuum_Fall17_cover.indd 3 8/14/17 12:48 PM FALL 2017 VOL. 27 NO. 2 32 Innovation, Meet Lifestyle How the U’s new entrepreneurial living space is launching students into the maker-sphere. 14 What Do We Want in a U President? See responses from students, faculty, administrators, and alumni. 16 What Happy People Do Ed Diener, aka Dr. Happiness, shares wisdom on well-being. 32 20 No Flash in the Pan How “flashing the U” became an iconic, unifying symbol. 26 Reflecting on War Alum Kael Weston examines the human costs of conflict. DEPARTMENTS 2 Feedback 4 Campus Scene 6 Updates 10 Bookshelf 12 Discovery 40 Alum News 48 One More 204 Cover photo by Trina Knudsen 16 26 Continuum_Fall17_TOC Feedback.indd 1 8/15/17 3:01 PM FEEDBACK Publisher William Warren Executive Editor M. John Ashton BS’66 JD’69 Editor minutes and was followed J. Melody Murdock for the rest of the hour by Managing Editor an even more egregious Marcia C. Dibble interview featuring two Associate Editor professors…. Ann Floor BFA’85 Assistant Editor Bradley R. Larsen MS’89 Amanda Taylor Doug Fabrizio Bountiful, Utah Advertising Manager David Viveiros Photo by Austen Diamond Austen by Photo Art Director/Photographer SCIENTIFIC David E. Titensor BFA’91 DOUG FABRIZIO AND I love listening to DISCOVERY AND RADIOWEST RadioWest! The inter- Corporate Sponsors views are so interesting, CLIMATE CHANGE ARUP Laboratories Others may disagree, but We don’t have to spin University Credit Union and as Doug interviews, University of Utah Health I consider Mr. -
2008 Annual Report GMHC Fights to End the AIDS Epidemic and Uplift the Lives of All Affected
web of truth 2008 annual report GMHC fights to end the AIDS epidemic and uplift the lives of all affected. From Crisis to Wisdom 2 Message from the Chief Executive Officer and the Chair of the Board of Directors 3 From Education to Legislation 4 From Baby Boo to Baby Boom 6 From Connection to Prevention 8 From Hot Meals to Big Ideals 10 The Frontlines of HIV Prevention 12 Financial Summary 2008 14 Corporate & Foundation Supporters 15 The Founders’ Circle 17 Individual Donors 18 The President’s Council / Friends for Life / Allies Monthly Benefactors / Partners in Planning Event Listings 23 House Tours / Fashion Forward / Savor Toast at Twilight / AIDS Walk 2008 GMHC fights to end the AIDS epidemic and uplift the lives of all affected. Gender 76% Male 23% Female 1% Transgender Race/Ethnicity 31% Black 31% White 30% Latino 3% Asian/Pacific Islander 5% Other/Unknown Sexual Orientation 56% Gay/Lesbian 9% Bisexual 35% Heterosexual Age 19% 29 and under 21% 30–39 33% 40–49 27% 50 and over Residence 14% Bronx 20% Brooklyn 47% Manhattan 12% Queens 1% Staten Island 6% Outside NYC 1 from crisis to wisdom HIV is a disease that thrives in darkness. In For 27 years, GMHC has born witness to HIV silence. In apathy. It thrives when connections from its frontlines. And in those 27 years, remain unseen—when the links between we’ve charted a pandemic that changes con- individuals and communities…between social tinuously and profoundly. Its demographics lives and sexual lives remain broken and have changed. Its challenges have changed. -
Text Collection
GRADE TM 4 Ac GEN b Text Collection Glenview, Illinois • Boston, Massachusetts • Chandler, Arizona • Hoboken, New Jersey Copyright © 2014 Pearson Education, Inc., or its affiliates. All Rights Reserved. Printed in the United States of America. This publication is protected by copyright, and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise. For information regarding permissions, write to Rights Management & Contracts, Pearson Education, Inc., 221 River Street, Hoboken, New Jersey 07030. Pearson and ReadyGEN are trademarks, in the U.S. and/or other countries of Pearson Education, Inc., or its affiliates. Common Core State Standards: © Copyright 2010. National Governors Association for Best Practices and Council of Chief State School Officers. All rights reserved. ISBN-13: 978-0-328-78846-0 ISBN-10: 0-328-78846-5 4 5 6 7 8 9 10 V003 18 17 16 15 14 RGEN14_SC4_V1_FM.indd 1 2/11/14 1:37 PM Table of Contents Unit 1 Becoming Researchers The Frog Scientist by Pamela S. Turner ......................................................... 5 Movers & Shapers by Dr. Patricia Macnair ......................................................13 King of the Parking Lot by Gaby Triana ...........................................................33 Spider by Shel Silverstein ..........................................................45 The Frog by Hilaire Belloc ...........................................................45 -
Section 10: Outdoor Action Song Guide
Section 10: Outdoor Action Song Guide Songs, just like games, can be a useful and fun addition to a trip. Whether used to get the group warmed up on a chilly morning or to lighten the mood on the trail, songs should be a part of your leader bag of tricks. Most of these songs represent relatively low interpersonal risk except for songs that single out individuals such as Little Sally Walker. As for any activity, use your leader radar to determine when the individual and group dynamics are appropriate for a particular song. Enjoy! 10-1 Old Nassau Tune every heart and every voice, bid every care withdraw; Let all with one accord rejoice, in praise of Old Nassau. In praise of Old Nassau we sing, Hurrah! hurrah! hurrah! Our hearts will give while we shall live, three cheers for Old Nassau. 10-2 10-3 10-4 10-5 10-6 10-7 10-8 Go Bananas CHORUS (With Actions) LEADER: Bananas of the world…UNITE! Thumbs up! Elbows back! LEADER: Bananas…SPLIT! Thumbs up! Elbows back! Knees together! Toes together ALL: Peel bananas, peel peel bananas Butt out Slice bananas… Head out Mash bananas… Spinning round Dice bananas… Tongue out Whip bananas… Jump bananas… GO BANANAS… The Jellyfish (Jellyfish should be yelled in silly voice to yield its full comedic effect.) CHORUS Penguin Song ALL: The jellyfish, the jellyfish, the jellyfish (while (With Actions) moving like a jellyfish). CHORUS ALL: Have you ever seen a penguin come to tea? LEADER: Feet together!! Take a look at me, a penguin you will see ALL: Feet together!! Penguins attention! Penguins begin! (Salute here) -
The Complete Poetry of James Hearst
The Complete Poetry of James Hearst THE COMPLETE POETRY OF JAMES HEARST Edited by Scott Cawelti Foreword by Nancy Price university of iowa press iowa city University of Iowa Press, Iowa City 52242 Copyright ᭧ 2001 by the University of Iowa Press All rights reserved Printed in the United States of America Design by Sara T. Sauers http://www.uiowa.edu/ϳuipress No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The publication of this book was generously supported by the University of Iowa Foundation, the College of Humanities and Fine Arts at the University of Northern Iowa, Dr. and Mrs. James McCutcheon, Norman Swanson, and the family of Dr. Robert J. Ward. Permission to print James Hearst’s poetry has been granted by the University of Northern Iowa Foundation, which owns the copyrights to Hearst’s work. Art on page iii by Gary Kelley Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Hearst, James, 1900–1983. [Poems] The complete poetry of James Hearst / edited by Scott Cawelti; foreword by Nancy Price. p. cm. Includes index. isbn 0-87745-756-5 (cloth), isbn 0-87745-757-3 (pbk.) I. Cawelti, G. Scott. II. Title. ps3515.e146 a17 2001 811Ј.52—dc21 00-066997 01 02 03 04 05 c 54321 01 02 03 04 05 p 54321 CONTENTS An Introduction to James Hearst by Nancy Price xxix Editor’s Preface xxxiii A journeyman takes what the journey will bring. -
Multiple Personality Climbs Progressive Hill Climbs
Audio Master Class Multiple Personality Climbs Progressive Hill Climbs Created By: Jennifer Sage Ride Objective: Five progressive climbs Working intensity: Zones 3–5a Class Length: 60 minutes Ride Objective The primary objective of this ride is five progressive climbs of varying cadence and intensity. The first is more for fun; the second raises the intensity and emotion. The third and fourth climbs are the hardest, and the final climb becomes a consistent, inward-focusing, Zen-like experience. When you ride outside, every climb is different. Some are steeper or longer, some are undulating, some are consistent in grade. Some are straight, some curve gently, some have 180- degree hairpin turns. The sights and sounds, the trees and scenery—they will be different on every climb. Even the same climb done on different days may feel different. This could be due to your mood or thoughts, the weather, your level of fatigue or fitness, or your personal motivation on that day to push hard or ride easier. It could be due to whom you are riding with, or if you are alone. Sometimes your goal is just to ride for fun; sometimes it’s for a specific training purpose. In this profile, each climb will be different. The personalities of the climbs will be achieved through varying genres of music. This particular profile uses pop, indie rock, classic rock, alternative electronic (an angry song), and a world-beat song for each of the differing personalities. You can create many rides based on this concept using some of the following additional genres: • Hip-hop • Rap • Heavy metal • Acid rock • Dance/trance • Psychedelic trance • Heavy drums • Retro • Disco • Grunge • Downtempo • Movie soundtracks • Trailer music/symphonic • Country • Reggae • Classical Copyright © 2015 Jennifer Sage and Indoor Cycling Association Page 1 Indoor Cycling Association Audio Master Class Multiple Personality Climbs As you can see, the possibilities are endless! The beauty of this profile is that it is also an educational tool to show your riders why you use different genres. -
Strategic Intertextuality in Three of John Lennon╎s Late Beatles Songs
STRATEGIC INTERTEXTUALITY IN THREE OF JOHN LENNON’S LATE BEATLES SONGS* MARK SPICER his article will focus on an aspect of the Beatles’ compositional practice that I believe T merits further attention, one that helps to define their late style (that is, from the ground- breaking album Revolver [1966] onwards) and which has had a profound influence on all subsequent composers of popular music: namely, their method of drawing on the resources of pre-existing music (or lyrics, or both) when writing and recording new songs. This may at first seem entirely obvious, especially since nowadays such a practice has been adopted routinely by many songwriters and producers, and is in fact the prevailing compositional strategy within certain pop and rock genres, rap being probably the most blatant example. Many rap artists are well known for their so-called “rap versions,” as Tim Hughes has described them, in which a distinctive element of a pre-existing song is lifted out of its original context—typically via digital sampling—and used as the foundation upon which a new song is built.1 Will Smith’s hit “Wild Wild West” (1999), for example, is composed around a sample of the bass-driven main groove from Stevie Wonder’s funk classic “I Wish” (1976); and Eminem’s hit “Like Toy Soldiers” * This essay is based in part on the first chapter of my dissertation, “British Pop-Rock Music in the Post-Beatles Era” (Ph.D. dissertation, Yale University, 2001). An earlier version was presented at the annual meeting of the Society for Music Theory, Columbus, in November 2002. -
Iowa Family Day Care Handbook
DOCUMENT RESUME ED 286 603 PS 016 794 AUTHOR Holt, Bess Gene; Karas, Shirley C. TITLE Iowa Family Day Care Handbook. 3rd Edition. INSTITUTION Iowa State Univ. of Science and Technology, Ames. Dept. of Child Development. SPONS AGENCY Iowa State Dept. of Human Services, Des Moines. PUB DATE 86 GRANT IDHS-PL-98-473 NOTE 215p. AVAILABLE FROM Child Development Training Program, Department of Child Development, Iowa State University, Ames, IL 50011 ($7.00). PUB TYPE Guides Non-Classroom Use (055) EMS PRICE MF01/PC09 Plus Postage. DESCRIPTORS Administrator Guides; *Business Skills; Community Resources; Discipline; Early Childhood Education; *Educational Planning; *Family Day Care; First Aid; Health; Nutrition; Safety; Scheduling; State Programs; Teacher Burnout IDENTIFIERS *Iowa ABSTRACT The purposes of this handbook are (1) to help individuals who are thinking about becoming family day care providers decide whether the profession is appropriate for themselves and their families, and (2) to present ideas for setting up and maintaining a family day care home that provides high quality service to families, 4 developmental learning environment to children, and business success to providers. Chapter 1 offers an introduction to family day care in Iowa. Chapter 2 focuses on starting and maintaining a family day care business. Chapter 3 discusses the home as a child care and learning environment. Chapter 4 explores aspects of the relationship between parent and cz.regiver. Chapter 5 discusses causes of behavior, individual differences, learning, development, and meeting children's special needs. Chapter 6 offers suggestions for guiding and disciplining children. Chapter 7 concerns scheduAing and planning learning and care activities. -
Script Sample
ALL RIGHTS RESERVED Original Works Publishing CAUTION: Professionals and amateurs are hereby warned that this play is subject to royalty. It is fully protected by Original Works Publishing, and the copyright laws of the United States. All rights, including professional, amateur, motion pic- tures, recitation, lecturing, public reading, radio broadcasting, tele- vision, and the rights of translation into foreign languages are strictly reserved. The performance rights to this play are controlled by Original Works Publishing and royalty arrangements and licenses must be secured well in advance of presentation. PLEASE NOTE that amateur royalty fees are set upon application in accordance with your producing circumstances. When applying for a royalty quotation and license please give us the number of performances intended, dates of production, your seating capacity and admission fee. Royalties are payable with negotiation from Original Works Publishing. Royalty of the required amount must be paid whether the play is presented for charity or gain and whether or not admission is charged. Particular emphasis is laid on the question of amateur or professional readings, permission and terms for which must be secured from Original Works Publishing through direct contact. Copying from this book in whole or in part is strictly for- bidden by law, and the right of performance is not transferable. Whenever the play is produced the following notice must appear on all programs, printing, and advertising for the play: “Produced by special arrangement with Original Works Publishing. www.originalworksonline.com” Due authorship credit must be given on all programs, printing and advertising for the play. Keeping Faith © 2007, Mark Scharf Trade Edition, 2013 ISBN 978-1-63092-003-6 More Great Plays Available From Original Works Publishing American Whup-Ass by Justin Warner 5 Males, 1 Female (with doubling) Synopsis : The re-election campaign of Nevada Senator and former UNLV football star Wayne “Wall of Pain” Kight has hit some serious snags. -
ABSTRACT MY LIFE AS a PINBALL by Jennifer Davis My Life As A
ABSTRACT MY LIFE AS A PINBALL By Jennifer Davis My Life as a Pinball is a coming-of-age, first-person narrative about a female protagonist, a thirteen-year-old girl named Alex who bounces back and forth between parents—her mother’s house in Ohio and her father’s house in Florida. The novella is set mostly in Florida and the plot revolves around a developing girl who is searching for agape. Alex’s parents don’t know how to be nurturing, as she bounces through her narrative. Her ideas about sexual love and parental love are skewed by her experience with sexual abuse. But this fourteen-year-old also clings to a dream of an ideal sexual love that is selfless. In her desire to find what she needs both for healthy sexual development, she finds ways to cope with the abuse by using her imagination and becoming, as she calls herself, “a steely marble.” Alex explains her life in her breezy teen’s lingo. MY LIFE AS A PINBALL A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of English By Jennifer Davis Miami University Oxford, Ohio 2007 Advisor____________________________ Brian Ascalon Roley Reader_____________________________ Margaret M. Luongo Reader______________________________ Mary Jean Corbett Contents Beach Bods…………………………….……………..1 Launching the Steely Marble………….…………….14 God as Pinball Wizard..……………………………..23 Motion of the Ocean & the Palms……………….…..32 Wave Lovers………………………………….………38 Boards Rock & Shake the Comet…………...….…….58 Tilt……………………………………………………66 ii For my teachers especially Jim & Jim iii Acknowledgements Many heartfelt thanks to my professors Brian Ascalon Roley and Margaret Luongo for their thoughtful editing, artistic mentoring, and great advising. -
Introduction to the Special Issue on the Beatles: Nothing You Can Know That Isn’T Known?
[PMH 9.1 (2014) 5-10] Popular Music History (print) ISSN 1740-7133 doi:10.1558/pomh.v9i1.27615 Popular Music History (online) ISSN 1743-1646 Marcus Collins Introduction to the special issue on The Beatles: Nothing you can know that isn’t known? Marcus Collins is Senior Lecturer in Cultural Department of Politics, History and History at Loughborough University. He is the International Relations author of Modern Love (2003) and editor of The Loughborough University Permissive Society and its Enemies (2007) as well as Leicestershire, LE11 3TU numerous articles on The Beatles and their con- UK temporaries. He is currently completing a mono- [email protected] graph on The Beatles and the culture, society and politics of 1960s Britain, and beginning a book- length project on the BBC and permissiveness. Abstract Writing on The Beatles has multiplied and diversified to an astonishing extent over the past half century. The contribution of academics to this literature has until recently been modest in volume and impact. However, multidisciplinary scholarship is now producing new insights into such subjects as The Beatles’ reception and their creative and commercial collaborations. Far from there being ‘Nothing you can know that isn’t known’ about The Beatles, scholars have much to explain regarding the band’s value and meaning in the 1960s and beyond. Keywords: 1960s; The Beatles; historiography; popular music For almost as long as people have been writing about The Beatles, they have won- dered whether it was time to stop. Some commentators in the 1960s felt that devoting any attention to them served to inflate the subject out of all proportion. -
Strategic Intertextuality in Three of John Lennon╎s Late Beatles Songs
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 2 Issue 1 Article 11 July 2009 Strategic Intertextuality in Three of John Lennon’s Late Beatles Songs Mark Spicer Hunter College and City University of New York., [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Spicer, Mark (2009) "Strategic Intertextuality in Three of John Lennon’s Late Beatles Songs," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 2 : Iss. 1 , Article 11. Available at: https://trace.tennessee.edu/gamut/vol2/iss1/11 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part I), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. STRATEGIC INTERTEXTUALITY IN THREE OF JOHN LENNON’S LATE BEATLES SONGS* MARK SPICER his article will focus on an aspect of the Beatles’ compositional practice that I believe T merits further attention, one that helps to define their late style (that is, from the ground- breaking album Revolver [1966] onwards) and which has had a profound influence on all subsequent composers of popular music: namely, their method of drawing on the resources of pre-existing music (or lyrics, or both) when writing and recording new songs.