March 2014 2012 a New Destination for Gay Literatureala Rainbow Book
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Certificate for Approving the Dissertation
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Meredith Glick Brinegar Candidate for the Degree: Doctor of Philosophy _______________________________ Chair William B. Stiles, Ph.D. ________________________________ Reader Roger M. Knudson, Ph.D. _________________________________ Reader Larry M. Leitner, Ph.D. ________________________________ Graduate School Representative Paul V. Anderson, Ph.D. ABSTRACT WHAT CLIENTS CAN TELL US ABOUT THE ASSIMILATION OF THEIR PROBLEMATIC EXPERIENCES: A MULTIPLE CASE STUDY by Meredith Glick Brinegar The assimilation model describes the process of change in psychotherapy. The model suggests that in successful therapy, clients’ problematic experiences progress through a series of developmental stages, referred to as the Assimilation of Problematic Experiences Sequence (APES). The model has been empirically supported and modified by a series of case studies, largely completed by observer-researchers. Relatively less attention has been paid to the client’s perspective on the process of assimilation. This study sought to incorporate clients’ phenomenological accounts about the assimilation of their problematic experiences and therapy, in general, into the model. The goals were to both honor clients’ experiences and inform a specific theory of change. Six client accounts were obtained using an interview strategy called Interpersonal Process Recall. Moments from recent therapy sessions that were related to assimilation constructs or which seemed salient to the client were identified and reflected on. Transcripts of these interviews were qualitatively analyzed by three co-investigators with the goal of creating a dialogue between clients and the assimilation model. They linked specific observations from the interviews with theoretical statements to elaborate the assimilation model, making it a richer account of psychotherapy. -
Ed 064 244 Author Title Institution Spons A3ency
DOCUMENT RESUME ED 064 244 SP 005 736 AUTHOR Twelker, Paul A.; And Others TITLE The Development of Protocol Materials. Final Report. INSTITUTION Oregon State System of Higher Education, Monmouth. Teaching Research Div. SPONS A3ENCY Office of Education (DHrW), Washington, D.C. Bureau of Research. REPORT NO P-003422 PUB DATE Jul 71 GRANT OEG-0-70-4048 NOTE 293p. EDRS PRICE MF-$0.6D HC-$9.87 DESCRIPTORS *Educational Innovation; *Educational Programs; *Instructional Programs; *Protocol Materials; *Teacher Education ABSTRACT The Oregon ?roject focuses on the development of protocol materials as a means to bridge the gap between instructional goals and instructional strategies. Educational concepts were distilled from the goals and objectives of the teacher training aivision of two participating institutions. These concepts were letermined as part of a needs assessment carried out at each institution. The cognitive concepts of analysis and evaluation and the affective concepts of commitment to learning and constructive sense of self were considered of thehighest priority. Learner outcomes which represented these concepts were filmed. An instructional system was subsequently built around the film with a series of three films developed for each concept. An additionaltask involved efforts in developing a taxonomy of learner outcomes enabling the trainee to place learned concepts into anevolving conceptual system. An extensive field trial of the system wasplanned at several teacher training institutions; however,implementation of the evaluative plan was uncompleted during the project year.Results of existing data indicated that in their design theprotocol materials did not enable students to reach the desiredproficiency in concept discrimination. Recommendations suggest aclose integration into existing educational programs and closer relation toprevious knowledge and training programs of the students. -
TUNECODE WORK TITLE Value Range 289693DR
TUNECODE WORK_TITLE Value Range 289693DR It S Everyday Bro ££££ 329418BM Boys Are So Ugh ££££ 060461CU Sex On Fire ££££ 258202LN Liar Liar ££££ 2680048Z Willy Can You Hear Me? ££££ 128318GR The Way ££££ 217278AV Better When I'm Dancing ££££ 223575FM I Ll Show You ££££ 188659KN Do It Again ££££ 136476HS Courtesy Call ££££ 224684HN Purpose ££££ 017788KU Police Escape ££££ 065640KQ Android Porn (Si Begg Remix) ££££ 189362ET Nyanyanyanyanyanyanya! ££££ 191745LU Be Right There ££££ 236174HW All Night ££££ 271523CQ Harlem Spartans - (Blanco Zico Bis Tg Millian Mizormac) ££££ 237567AM Baby Ko Bass Pasand Hai ££££ 099044DP Friday ££££ 5416917H The Big Chop ££££ 263572FQ Nasty ££££ 065810AV Dispatches ££££ 258985BW Angels ££££ 031243LQ Cha-Cha Slide ££££ 250248GN Friend Zone ££££ 235513CW Money Longer ££££ 231933KN Gold Slugs ££££ 221237KT Feel Invincible ££££ 237537FQ Friends With Benefits (Fwb) ££££ 228372EW Election 2016 ££££ 177322AR Dancing In The Sky ££££ 006520KS I Wish I Knew How It Would Feel To Be Free ££££ 153086KV Centuries ££££ 241982EN I Love The 90s ££££ 187217FT Pony (Jump On It) ££££ 134531BS My Nigga ££££ 015785EM Regulate ££££ 186800KT Nasty Freestyle ££££ 251426BW M.I.L.F. $ ££££ 238296BU Blessings Pt. 1 ££££ 238847KQ Lovers Medley ££££ 003981ER Anthem ££££ 037965FQ She Hates Me ££££ 216680GW Without You ££££ 079929CR Let's Do It Again ££££ 052042GM Before He Cheats ££££ 132883KT Baraka Allahu Lakuma ££££ 231618AW Believe In Your Barber ££££ 261745CM Ooouuu ££££ 220830ET Funny ££££ 268463EQ 16 ££££ 043343KV Couldn't Be The Girl -
3. SMACK THAT – EMINEM (Feat. Eminem) [Akon:] Shady Convict
3. SMACK THAT – EMINEM thing on Get a little drink on (feat. Eminem) They gonna flip for this Akon shit You can bank on it! [Akon:] Pedicure, manicure kitty-cat claws Shady The way she climbs up and down them poles Convict Looking like one of them putty-cat dolls Upfront Trying to hold my woodie back through my Akon draws Slim Shady Steps upstage didn't think I saw Creeps up behind me and she's like "You're!" I see the one, because she be that lady! Hey! I'm like ya I know lets cut to the chase I feel you creeping, I can see it from my No time to waste back to my place shadow Plus from the club to the crib it's like a mile Why don't you pop in my Lamborghini away Gallardo Or more like a palace, shall I say Maybe go to my place and just kick it like Plus I got pal if your gal is game TaeBo In fact he's the one singing the song that's And possibly bend you over look back and playing watch me "Akon!" [Chorus (2X):] [Akon:] Smack that all on the floor I feel you creeping, I can see it from my Smack that give me some more shadow Smack that 'till you get sore Why don't you pop in my Lamborghini Smack that oh-oh! Gallardo Maybe go to my place and just kick it like Upfront style ready to attack now TaeBo Pull in the parking lot slow with the lac down And possibly bend you over look back and Convicts got the whole thing packed now watch me Step in the club now and wardrobe intact now! I feel it down and cracked now (ooh) [Chorus] I see it dull and backed now I'm gonna call her, than I pull the mack down Eminem is rollin', d and em rollin' bo Money -
1. in One Song, This Featured Rapper Says There Are “Clocks on the Wall, Fuck Your Wristwatch” and Decides He’S “Finna Take a Nap” Because He’S in the Title State
1. In one song, this featured rapper says there are “clocks on the wall, fuck your wristwatch” and decides he’s “finna take a nap” because he’s in the title state. Rod Stewart appears in the music video for one song by this artist subtitled “a hiphop Hollywood story.” In one song, this rapper says he needs “dead people” and that he beheads people before telling everyone he “blew past” to “kneel and kiss the ring.” This featured rapper on “Kush Coma” and “Good For You” says he “never met a motherfucker fresh like me” on a song whose hook features 2 Chainz saying that his “fuckin’ problem” is that he “loves bad bitches.” This artist included “Fashion Killa” and “Wild for the Night” on an album whose title includes Long.Live. For 10 points, name this rapper who released At.Long.Last himself and has a dollar sign in his name. ANSWER: A$AP Rocky (generously prompt on “Danny Brown” before “Rod Stewart” for confused people who don’t hear the word featured) 2. One song titled for these animals describes having “weed and veggies for breakfast” and mentions “Excalibur swords, Trexes, bibles of rhymes.” That song titled for these animals features a verse by Masta Killa and appears on 8 Diagrams. Six of these animals title a collective whose associated bands included The Apples in Stereo and The Olivia Tremor Control. In one song by a band titled for these animals, the singer says “I got bills to pay, I got mouths to feed.” The singer describes “the feeling coming from my bones” and says that the title group “couldn’t hold me back” in a song that appears on an album titled for these animals that also contains “The Hardest Button to Button.” “Ain’t No Rest for the Wicked” is by a band titled for caging one of these animals. -
SHKPNK- Lyricsandpalabras
1THE EVOL’ - Lyrics & palabras- 2018 ——————————————— GO FUNK YOURSELF ——————————————— 2THE EVOL’ - Lyrics & palabras- 2018 GUNG-HO Soldier, It doesn’t matter, what they say, what they do Stronger, you betta be stronger, do what I say, not what I do Gung-ho, gung-ho (DJ drop the beat and don’t stop) Hey you, dirty skin, it’s time to get back on the ring I don’t wanna miss a thing, no I don’t wanna feel a thing Dig your father’s fuckin’ grave, slay that mother fucker slave (I’m not gonna look away) Gung-ho ! (DJ drop the beat and don’t stop) Freedom glides onto your blade You’ve lost a light and fooled your head I’ve got a lotta magma running into my veins / round 1 knock’em down down I’ve got a lotta cadaveraz painted over my skin / round 2 bam ! give it away ! I CAN’T GIVE IT AWAY !!! (HEY YOU BREAK THAT PRICK,EVERYBODY NEEDS SOME BLOODY SHIT) I CAN’T GIVE IT AWAY !!! (HEY YOU BREAK THAT PRICK,EVERYBODY NEEDS SOME BLOODY SHIT) I’M SLEUP’DOWN TODAY, BUT I REALLY CAN’T GIVE IT AWAY I’M SLEUP’DOWN TODAY, BUT I REALLY CAN’T GIVE IT AWAY hey ya litta cramé, when I look into your eyes, I see nada eyes at all (DJ drop the beat and don’t stop) hey ya litta cramé, when I listen to your voice, I hear nada thing at all (DJ drop the beat and don’t stop) It makes me think that I might have been wilder than I wanted with your teeny- body-bonzo (DJ drop the beat and don’t stop) It makes me wonder mucho did it I really wanna go loco violent and funky ? hey hey ? Did I really need to go … gung ho ? (I can’t give it away / gung ho … ) Know’m dead (dead) -
Reality by Design: Advertising Image, Music and Sound Design in the Production of Culture
Reality by Design: Advertising Image, Music and Sound Design in the Production of Culture by Joyce Kurpiers Department of Music Duke University Date:_____________________ Approved: ___________________________ Louise Meintjes, Supervisor __________________________ Scott Lindroth __________________________ Negar Mottahedeh __________________________ Orin Starn Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 ABSTRACT Reality by Design: Advertising Image, Music and Sound Design in the Production of Culture by Joyce Kurpiers Department of Music Duke University Date:_____________________ Approved: ___________________________ Louise Meintjes, Supervisor __________________________ Scott Lindroth __________________________ Negar Mottahedeh __________________________ Orin Starn An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 Copyright by Joyce Kurpiers 2009 Abstract This dissertation explores creative music, sound design and image production in the context of consumer culture (as defined by how its participants socialize in late- capitalist culture using commodities). Through the stylization of image, music and sound effects, advertisers communicate an abstract concept of a brand, and instantiate the brand through an audience member’s heightened experience of the brand via the ad. Facilitated by socialized and mediatized frameworks for brand communications, branding is an embodied practice that relies on the audience member’s participation with the brand through her/his real experience with an (audiovisual) advertisement. The effect of making the abstract brand tangible relies on successfully executing advertising objectives to create “impact” through stylized and often hyperreal representations of reality. -
Case Study: Communicative Identity Construction at South East Youth Association
CASE STUDY: COMMUNICATIVE IDENTITY CONSTRUCTION AT SOUTH EAST YOUTH ASSOCIATION Peter Simionides A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2016 Committee: Tom Mascaro, Advisor John Dowd Clayton Rosati © 2016 Peter Simionides All Rights Reserved iii ABSTRACT Tom Mascaro, Advisor This study examines the communicative identity of the South East Youth Association (SEYA) during a time of mission and funding transition. The study examines identity construction as defined by the linguistic turn comparing the fluid identity discussed in organizational communication literature to nonprofits’ typically stable identities, emerging from their mission statements and core values. The Communicative Constitution of Organizations (CCO) allows communication to be understood not as a peripheral aspect of organizing, but as the central phenomena to organizing. The adoption of a CCO lens leads this study to build on the principle that communication and organizational identity are one in the same. This study asks how SEYA’s communication patterns impacted how successfully they were able to fulfill their mission during this time of change. Interviews conducted with key organizational stake holders reveal not only a capacity and willingness to evaluate their communication patterns and messages, which provides background information on the transition, but also how the organization’s identity is both constituted and challenged by these communication practices. The SEYA transition unfolds by virtue of the multilayered and complex phenomena revealed in the interviews, a construct that merits further study. Qualitative analysis of SEYA’s communication determined that the distress attending their recent transition resulted from several gaps in communication and mission application, exacerbated by extra-communication that developed outside the immediate control of the organization. -
The Southern Rock Music Revival: Identity Work and Rebel Masculinity Jason Todd Eastman
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Southern Rock Music Revival: Identity Work and Rebel Masculinity Jason Todd Eastman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES THE SOUTHERN ROCK MUSIC REVIVAL: IDENTITY WORK AND REBEL MASCULINITY By JASON EASTMAN A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2007 The members of the Committee approve the Dissertation of Jason Eastman defended on June 13th, 2007. Douglas Schrock Professor Directing Dissertation Andrew Opel Outside Committee Member Patricia Yancey Martin Committee Member Irene Padavic Committee Member Approved: Patricia Yancey Martin, Chair, Sociology David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS LIST OF FIGURES ............................................................................................................ v LIST OF TABLES............................................................................................................. vi ABSTRACT...................................................................................................................... vii INTRODUCTION ............................................................................................................. -
AUDIO + VIDEO 2/15/11 Audio & Video Releases *Click on the Artist Names to Be Taken Directly to the Sell Sheet
NEW RELEASES WEA.COM ISSUE 04 FEBRUARY 15 + FEBRUARY 22, 2011 LABELS / PARTNERS Atlantic Records Asylum Bad Boy Records Bigger Picture Curb Records Elektra Fueled By Ramen Nonesuch Rhino Records Roadrunner Records Time Life Top Sail Warner Bros. Records Warner Music Latina Word AUDIO + VIDEO 2/15/11 Audio & Video Releases *Click on the Artist Names to be taken directly to the Sell Sheet. Click on the Artist Name in the Order Due Date Sell Sheet to be taken back to the Recap Page Street Date CD- INTERNACIONAL LAT 526888 CARRO SHOW 20 Grandes Exitos (Vol. 2) $9.98 2/15/11 1/26/11 CD- PRESUNTOS LAT 527118 IMPLICADOS 20 Grandes Exitos (2CD) $9.98 2/15/11 1/26/11 CD- LAT 527117 UBAGO, ALEX 20 Grandes Exitos (2CD) $9.98 2/15/11 1/26/11 The Best of Soul Train (Box TL DV-25446 VARIOUS ARTISTS Set)(9DV) $119.99 2/15/11 1/19/11 2/15/11 Late Additions Street Date Order Due Date MS- The Show Goes On (12" Vinyl ATL 527137 FIASCO, LUPE Single) $5.98 2/15/11 1/26/11 ARTIST: Lupe Fiasco TITLE: The Show Goes On/Words I Never Said (12" Vinyl Single) Label: ATL/Atlantic Config & Selection #: MS 527137 Street Date: 02/22/11 Order Due Date: 02/02/11 UPC: 075678827242 Box Count: 30 Unit Per Set: 1 TOURS MORE SRP: $5.98 Alphabetize Under: F 01/21/11 Ericsson Stadium For the latest up to date info on Auckland Australia this release visit WEA.com. -
Safety of Ficers Say Guns Necessar:7
-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ In Alternatives: I The Whipping Boys, 'Symphony Orchestra, -Rainbows Rondinelli, and More.... - - -- -~~~~~NO Safety Of ficers Say Guns Necessar: 7 Suprs Pulcse By Howard Saltz Public Safety's two union leaders den yesterday that the campus is unsafe bee not carry weapons. Officers Robert Swan, the shop Eugene Roos, the alternate union repro violent crimes, crimes with weapon: related injuries are on the rise since las waiting for the county police to respOT dents -which Public Safety officers from doing because they are unarmed- to adequately protect the campus. Their remarks were taped by WAB< and not yet broadcast. The allegatio included charges that the university hi vences over. the past five years, were i the day. Other media - local, metropolitan- quickly started stories Roost who said the views he express ant with those of the majority of th -^Local -Q;A PT>h]I;^ aOEta.. 'NMA'-« 4 personnel, SaIG JrUO11c ornery OILIUCrb MIIVUU five: KING Statesman David jasse same weapons as other police, including a .38-calibre Dclwing that Public Safety officers need to be armed to do their jobs yesterday were officers Eugene Roos (second from revolver and mace. left) and Robert Swan (third from left). They wee interviowed yestOrday in South P-Lot by a WABC-TV film crew. Campus Operations Vice-President Robert Francis, whose jurisdiction includes the Department of Public HIe also said crime statistics are no higher at Stony fatal force is an appropriate weapon for our officers to Safety, refuted the charges, saying that the campus Brook than other comparable communities. carry." needs peace officers, not police officers. -
Trinity College Digital Repository Insomniacs
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2018 Insomniacs Kira Mason Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Fiction Commons, and the Playwriting Commons Recommended Citation Mason, Kira, "Insomniacs". Senior Theses, Trinity College, Hartford, CT 2018. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/727 TRINITY COLLEGE Senior Thesis INSOMNIACS submitted by KIRA MASON 2018 In Partial Fulfillment of Requirements for The Degree of Bachelor of Arts 2018 Director: Michael Preston Reader: Ciaran Berry Reader: Barbara Karger 1 TABLE OF CONTENTS ______________________________________________________________________________ CHARACTER LIST, SETTING, TIME ACT I Prologue: Lying to a Professor Scene 1: Caffeine Scene 2: Blood Moment: Lying in Counseling Scene 3: Cocaine and Xanax Scene 4: Thoughts Moment: Lying to Your Parents Scene 5: Paint Scene 6: Sweat Moment: Lying to the Health Center Scene 7: Feelings Scene 8: Music Moment: Lying to a Higher Power Scene 9: Wine and Pizza Scene 10: Vomit Scene 11: Moonlight ACT II: Prologue: Seeing the Truth Scene 1: Books and Brains Scene 2: Claws and Fangs Moment: Tasting the Truth Scene 3: Hunger Scene 4: Control Moment: Hearing the Truth Scene 5: Shadows Scene 6: Holes Moment: Speaking the Truth Scene 7: Reflections Scene 8: Warts and Fangs Moment: Melting Scene 9: Freezing Scene 10: Hands Epilogue: Sleep AFTERWORD “I Guess I’m a Romantic After All: Style as Substance, Humanity in the Inhuman, Visibility in Darkness, Truth in Absurdity, and Reality in Fantasy” 2 INSOMNIACS CHARACTERS: MICAH: The Intellectual, early 20’s male or female WREN: The Achiever, early 20’s, male or female EMERY: The Artist, early 20’s, female BLAIR: The Giver, early 20’s, male or female REESE: The Performer, early 20’s, male or female SETTING: Your typical liberal arts college.