This is a list of all the questions and their associated study carrel identifiers. One can learn a lot of the "aboutness" of a text simply by reading the questions.
| identifier | question |
|---|---|
| work_i5phrzznw5c4hfobj4addy632m | What, then, the curious reader is advised to do to find out his or her own answers as opposed to the question of the definition of modernism? |
| work_ncq27ifllnbcno6fkkpogxd5u4 | Whitney, W. D.,"What ls Articulation?" |
| work_vpxxzkt23jbbvle4fwzw3wuzpi | However, how exactly are phonemes subordi- nated? |
| work_fekrsh7okfadfm6kkdqporjxve | Although I could not let such recordings go live into cyberspace, how — for the purposes ofthe assignment — could I say no? |
| work_fekrsh7okfadfm6kkdqporjxve | How could we harness these qualities in the class- room, to aid historical analysis and to encourage active citizenship in the republic of cul- ture? |
| work_hej7xirnsnfgfooktxrcq6ge7q | Altering the lyrics to “ Walsingham”—“How should I your true- love know/ From another one? |
| work_jmovsopbjfhwzbx5h5objmaeiy | News from Booksurge.com FOR IMMEDIATE RELEASE New Guide Reveals Florida''s Favorite"Off- the- Beaten- Path"Restaurants Traveling in Florida? |
| work_jmovsopbjfhwzbx5h5objmaeiy | What fundamental account of the world is implicit in physical theory? |
| work_a7tjf63yv5bqhc5ti7dye7o7wa | 25 Mallory Millender, “ Remember When? ” Augusta News Review, 16 March 1985, 1–2. |
| work_a7tjf63yv5bqhc5ti7dye7o7wa | Millender, Mallory K. “ Remember When? ” Augusta News Review, 16 March 1985, 1–2. |
| work_aavw7x2gcrcjvefazdtu3vfxpm | Why accelerate in the first place? |
| work_aavw7x2gcrcjvefazdtu3vfxpm | Why did the boogie hold such appeal for audiences, who purchased the recordings of ‘ Boogie Chillen ’ and its many knock- offs and imitations? |
| work_aavw7x2gcrcjvefazdtu3vfxpm | ‘ Structural analysis or cultural analysis? |
| work_pad4vsuqz5hxhphrssqjrk3s5e | What then are the historical conditions of possibility for didactic metaphors to emerge? |
| work_ddzfd5nw7nbirclsz4geq25kji | How does he fit into what the urban sociologist Sharon Zukin has described as a “ symbolic economy ” devised by “ place entrepreneurs ”( 7)? |
| work_ddzfd5nw7nbirclsz4geq25kji | So for the painter who feels that the imaginative impulse is supreme, how does the cultural stage, his context of performance, appear? |
| work_ddzfd5nw7nbirclsz4geq25kji | What kind of reality did Stevens ’ barefoot ghost step into on the evening of No- vember 17, 2014, during his long- awaited visit to London? |
| work_jedxx6m335dufn7qlhs7xcuecm | I mean what did he have to lose? |
| work_jedxx6m335dufn7qlhs7xcuecm | Microsoft Word- How Blue Can You Get_.docx 274 How Blue Can You Get? |
| work_jedxx6m335dufn7qlhs7xcuecm | Why do blues guitarists name their guitars? |
| work_nl5aw5egpzecvggsns4alonneq | How does it feel? |
| work_x52lebkxwngbrcg5pdt3wrbwpm | Do deep dyslexia, dysphasia and dysgraphia share a common phonological impairment? |
| work_x52lebkxwngbrcg5pdt3wrbwpm | Repeating with the right hemisphere: Reduced interactions between phonological and lexical- semantic systems in crossed aphasia? |
| work_x52lebkxwngbrcg5pdt3wrbwpm | Word processing and verbal short- term memory: How are they connected and why do we want to know? |
| work_ovznndcq5bddlm7fmvin4ggyzq | Neuroendocrine tumor imaging: can 18F- fluorodeoxyglucose positron emission tomography detect tumors with poor prognosis and aggressive behavior? |
| work_ovznndcq5bddlm7fmvin4ggyzq | Perhaps is surgical exploration and peroperative palpation, including intraoperative ultrasonography, the outstanding method to localize NET´s? |
| work_ovznndcq5bddlm7fmvin4ggyzq | Positron emission tomography studies in patients with locally advanced and/or metastatic breast cancer: A method for early therapy evaluation? |
| work_ovznndcq5bddlm7fmvin4ggyzq | The origin of gut and pancreatic endocrine( APUD) cells- the last word? |
| work_5wgmcxajqzfhxp4gvy3vai6z44 | Are there those who worship him religiously? |
| work_5wgmcxajqzfhxp4gvy3vai6z44 | Homeless Minds Today? |
| work_5wgmcxajqzfhxp4gvy3vai6z44 | Is there a cult of Prince? |
| work_5wgmcxajqzfhxp4gvy3vai6z44 | ‘ Fire ’, The Jimi Hendrix Experience, Are You Experienced?, Reprise Records( 1967). |
| work_5wgmcxajqzfhxp4gvy3vai6z44 | ‘ Purple Haze ’, The Jimi Hendrix Experience, Are You Experienced?, Reprise Records( 1967). |
| work_qu4mhv6knfctfa3xqf774kpdwe | But if his metaphors are not the images of imaginative poetry, then what are they? |
| work_qu4mhv6knfctfa3xqf774kpdwe | Of what was it I was thinking? |
| work_qu4mhv6knfctfa3xqf774kpdwe | What do we lose when narrative is so ruthlessly curtailed? |
| work_qu4mhv6knfctfa3xqf774kpdwe | What happens, then, in those rare moments in which Stevens allows the narrative mode to predominate? |
| work_n6e2b2a7hfek5mijm7rziwgm64 | Second, will 5-year- olds rapidly modify these predictions in response to counterevidence in the language they hear? |
| work_sbauwiquvfcdrexkl4zlqyc5ta | ( Necessary Angel 51) Why does Stevens believe that “ God is dead ” as Nietzsche declares? |
| work_sbauwiquvfcdrexkl4zlqyc5ta | And why did he believe it is all because of God ’s death and only a Supreme Fiction can save humanity out of all disorder in the absence of God? |
| work_sbauwiquvfcdrexkl4zlqyc5ta | Now the man- created God is dead, why can not the humans replace Him with something new, a new fiction? |
| work_sbauwiquvfcdrexkl4zlqyc5ta | The Supreme Fiction: Fiction or Fact? |
| work_sbauwiquvfcdrexkl4zlqyc5ta | What was wrong with the world? |
| work_sbauwiquvfcdrexkl4zlqyc5ta | Why did Stevens think the world was out of order with the man- proclaimed ‘ death of God ’? |
| work_r2yh2xsgkrao5aee6dkffwxypy | 6 In JC Hage, “ Construction or reconstruction? |
| work_r2yh2xsgkrao5aee6dkffwxypy | Claims On The Interface? |
| work_r2yh2xsgkrao5aee6dkffwxypy | Does this mean that the world of law does not impact the outside world at all? |
| work_r2yh2xsgkrao5aee6dkffwxypy | How can immaterial beliefs have causal effects? |
| work_r2yh2xsgkrao5aee6dkffwxypy | One example is the duty – or is it a permission? |
| work_r2yh2xsgkrao5aee6dkffwxypy | Property Rights On The Interface? |
| work_iabdrxfur5dhhcsebcq3wiyl24 | But how can this be so? |
| work_iabdrxfur5dhhcsebcq3wiyl24 | Can you come as my friend? |
| work_iabdrxfur5dhhcsebcq3wiyl24 | What can we therefore learn about the yellow and red shirts from their musical preferences? |
| work_oi4iiyfejjaphdavtw26kh64ki | But what happens if these two concepts are decoupled? |
| work_oi4iiyfejjaphdavtw26kh64ki | Could such a phenomenon intervene in the standoff between the imagination and reality? |
| work_oi4iiyfejjaphdavtw26kh64ki | How can it exceed its moment? |
| work_oi4iiyfejjaphdavtw26kh64ki | Is it pos- sible to have a person without the personal? |
| work_nar7abtvm5b2rjlx4fblx2ryqe | How can one ask the eyes of the body, or those of the mind, to see more than they see? |
| work_nar7abtvm5b2rjlx4fblx2ryqe | How can we find again mysterious motivations and the innocence of no memory — reason to the point of being unreasonable? |
| work_nar7abtvm5b2rjlx4fblx2ryqe | How could we say what living thing the dance symbolizes? |
| work_nar7abtvm5b2rjlx4fblx2ryqe | How to blindfold my ability to construct a dance? |
| work_nar7abtvm5b2rjlx4fblx2ryqe | How to render speechless the common instinct for taste? |
| work_nar7abtvm5b2rjlx4fblx2ryqe | sense that makes no sense? |
| work_nar7abtvm5b2rjlx4fblx2ryqe | “ What is Feldman? ” Tempo 68( 270): 7–14. |
| work_g6c46d7c55cfreyrg2xvzf6xe4 | Anyone who has done a PhD will know the sort of questions that immediately follow: Which novels are you studying? |
| work_g6c46d7c55cfreyrg2xvzf6xe4 | Author and Critic= Horse and Rider, but which rides the other? |
| work_g6c46d7c55cfreyrg2xvzf6xe4 | Does this mean something? |
| work_g6c46d7c55cfreyrg2xvzf6xe4 | [ uh oh, me too] When are you submitting? |
| work_pp4aupyndzamzl2l3qyhem32xy | : Circular Imagery in the Revolutionary Poetics of Stevens and YeatsWhere/ Do I begin and end? |
| work_pp4aupyndzamzl2l3qyhem32xy | / Have I? ”( CPP 142). |
| work_pp4aupyndzamzl2l3qyhem32xy | ? |
| work_pp4aupyndzamzl2l3qyhem32xy | Where/ Do I begin and end? |
| work_wiovv3okjzetthjn4z5upaiyda | He was let go from his job in 2012 and was considering retraining as a photographer when his friend said “ Have you heard of Seasick Steve? |
| work_wiovv3okjzetthjn4z5upaiyda | We just sit here with a load of parts, do n’t we? |
| work_wiovv3okjzetthjn4z5upaiyda | What plating do you want on it? |
| work_wiovv3okjzetthjn4z5upaiyda | “ Do- it- Yourself: A Walden for the Millions? ” American Quarterly 10( 2) Part 1: 154–164. |
| work_wiovv3okjzetthjn4z5upaiyda | “ ‘ Anyone Designing Anything? ’ Non- Professional Designers and the History of Design. ” Journal of Design History 5( 3): 217–225. |
| work_wiovv3okjzetthjn4z5upaiyda | … I get a text, my phone goes at 6.30 – are you coming home for your tea? |
| work_qei55uivxrdull7bcrfq4en2sy | 19 Lucinda: and do n''t you think now Niece, that this Noble- man had a tolerably good Relish? |
| work_qei55uivxrdull7bcrfq4en2sy | A n d if common beliefs concerning female virtues are just an elaborate fiction, does this not imply that so too are notions about all virtues? |
| work_qei55uivxrdull7bcrfq4en2sy | If this is so, then to what can women''s subordinate role be attributed? |
| work_qei55uivxrdull7bcrfq4en2sy | What is it that motivates men to argue that women have different virtues than men? |
| work_6ujzcidklbfgvb5iyz5lmhqgre | ( CP 298) Why might ‘ the fire of music ’ offer a completion of ‘ observing ’? |
| work_6ujzcidklbfgvb5iyz5lmhqgre | 35 Niklas Luhmann, ‘ How Can the Mind Participate in Communication? ’ in Materialities of Communication, ed. |
| work_6ujzcidklbfgvb5iyz5lmhqgre | Could in be re- captured( as Marconi thought it might) what would come to the ear? |
| work_6ujzcidklbfgvb5iyz5lmhqgre | For after all what does man say when it comes right down to it? |
| work_6ujzcidklbfgvb5iyz5lmhqgre | What does it transmit? |
| work_6ujzcidklbfgvb5iyz5lmhqgre | What is the relationship between its formal inscription( the Idea) vs. performance( the Will; the body)? |
| work_6gyfuq7rgjfetmbgkdjywbyz3e | ''44 What do these obituaries collectively tell us? work_6gyfuq7rgjfetmbgkdjywbyz3e 1- 18; Roy Porter,''Was there a medical Enlightenment in eighteenth- century England? work_6gyfuq7rgjfetmbgkdjywbyz3e For the cultural history of these complaints see Roy Porter,''The rage of party: A glorious revolution in English psychiatry? work_6gyfuq7rgjfetmbgkdjywbyz3e If we then examine it more closely, what specifically will it tell us about lay attitudes toward medicine at that time? work_6gyfuq7rgjfetmbgkdjywbyz3e Was the Gentleman''s Magazine rather too sober an organ for these cosmetic afflictions? work_5tieywzcmjfnreck37fx64knlu CONCLUSION This article began with Rosemary J. Coombe ’s question ‘ Who authors the celebrity? ’( 1998: 88). work_5tieywzcmjfnreck37fx64knlu Does the listener create their own copy, seeking to ratify it from an already- alienated position of indeterminacy? work_5tieywzcmjfnreck37fx64knlu How might this impact the potential( re)authoring of Johnson? work_5tieywzcmjfnreck37fx64knlu In deliberately using recorded voice, were we further dislocating the connection between voice and celebrity? work_5tieywzcmjfnreck37fx64knlu In either instance, one question pervaded the rehearsal room: how do you sing a suicide note? work_5tieywzcmjfnreck37fx64knlu In the case of this song, the absence of a meta- position is enhanced by Cobain ’s ‘ voice ’ being silenced( perhaps stolen? work_5tieywzcmjfnreck37fx64knlu Or is this a form of aural voyeurism? work_5tieywzcmjfnreck37fx64knlu Yet, is this eavesdropping? work_5tieywzcmjfnreck37fx64knlu ‘ It ’s too real — what if he actually wrote this? ’, he asked. work_y2ghdzlmrzbbdnpatg35kv4kre ? work_y2ghdzlmrzbbdnpatg35kv4kre Are things special just because we say so, or rather because we note them down? work_y2ghdzlmrzbbdnpatg35kv4kre Do we name things into being, at least linguistic or literary being? work_y2ghdzlmrzbbdnpatg35kv4kre The rain is rendered, but it is n’t rain ’ raising questions like what do you call rain after it has, and are these grounded drops really rain? work_y2ghdzlmrzbbdnpatg35kv4kre Was it worth it? work_y2ghdzlmrzbbdnpatg35kv4kre What for? work_y2ghdzlmrzbbdnpatg35kv4kre What things? work_y2ghdzlmrzbbdnpatg35kv4kre What use is a language that can not be read? work_y2ghdzlmrzbbdnpatg35kv4kre Who cares what the sound does to the thing proper when the thing is withheld from sight? work_y2ghdzlmrzbbdnpatg35kv4kre Who dares speak out on behalf of the status of individual raindrops encountered at the very limits of their hardly- even- being? work_a3zuymezwjasjlu6wd4t7fayeu Did you all know them? ” I look up from the ruin. work_a3zuymezwjasjlu6wd4t7fayeu I hope no one was hurt and all, but I do n’t believe I know the family? work_a3zuymezwjasjlu6wd4t7fayeu She looks me over and says, “ At the Academy, right? ” “ No, ” I say. work_a3zuymezwjasjlu6wd4t7fayeu Tommy follows us: “ Where y’ all from? work_a3zuymezwjasjlu6wd4t7fayeu What do you think of that? work_a3zuymezwjasjlu6wd4t7fayeu Where y’ all from? work_a3zuymezwjasjlu6wd4t7fayeu Wilkins, why do n’t you do something about him? work_a3zuymezwjasjlu6wd4t7fayeu Wilkins, you make these beans? ” I nod. work_a3zuymezwjasjlu6wd4t7fayeu You got Yankee accents, so where y’ all from? ” For simplicity ’s sake, I tell him Spokane, Washington, where Liz and I both went to college. work_h5rtzlockrfndgvafpuunpziaq A sociofunctional approach to prejudice at the polls: are atheists more politically disadvantaged than gays and Blacks? work_h5rtzlockrfndgvafpuunpziaq Atheist Spirituality: A Follow- on from New Atheism? work_h5rtzlockrfndgvafpuunpziaq But what exactly was the “ active character of athe- ism ”? work_h5rtzlockrfndgvafpuunpziaq Discussion So, what can be learned from the comparison between the two approaches to spirituality? work_h5rtzlockrfndgvafpuunpziaq For some reason( a language barrier? work_h5rtzlockrfndgvafpuunpziaq Is it also a form of cognitive dissonance or does it point to a different understanding of spirituality – or of atheism? work_h5rtzlockrfndgvafpuunpziaq Religion, Interrupted? work_h5rtzlockrfndgvafpuunpziaq What Is Atheism? work_h5rtzlockrfndgvafpuunpziaq Ükskõiksus – on see hea või halb? work_h5rtzlockrfndgvafpuunpziaq “ Was Soviet Society Secular? work_uzpby4gncfb2bjqnhdqrpxo4h4 A sociofunctional approach to prejudice at the polls: are atheists more politically disadvantaged than gays and Blacks? work_uzpby4gncfb2bjqnhdqrpxo4h4 Atheist Spirituality: A Follow- on from New Atheism? work_uzpby4gncfb2bjqnhdqrpxo4h4 But what exactly was the “ active character of athe- ism ”? work_uzpby4gncfb2bjqnhdqrpxo4h4 Discussion So, what can be learned from the comparison between the two approaches to spirituality? work_uzpby4gncfb2bjqnhdqrpxo4h4 For some reason( a language barrier? work_uzpby4gncfb2bjqnhdqrpxo4h4 Is it also a form of cognitive dissonance or does it point to a different understanding of spirituality – or of atheism? work_uzpby4gncfb2bjqnhdqrpxo4h4 Religion, Interrupted? work_uzpby4gncfb2bjqnhdqrpxo4h4 What Is Atheism? work_uzpby4gncfb2bjqnhdqrpxo4h4 Ükskõiksus – on see hea või halb? work_uzpby4gncfb2bjqnhdqrpxo4h4 “ Was Soviet Society Secular? work_alvr5uqqyneupgk6owflegmm2a Are we to contemplate these pictures with an awareness of gender, but not race, as though the artists ’ whiteness is somehow neutral? work_alvr5uqqyneupgk6owflegmm2a But why should a teenager in the mid 1990s feel so strongly about an ob- scure heavy metal band from the early seventies? work_alvr5uqqyneupgk6owflegmm2a Has feminist scholarship led to a belief that only women have complex, painfully constructed identities? work_alvr5uqqyneupgk6owflegmm2a How are we to understand the notion of authorship when listening to “ cover ” ver- sions? work_alvr5uqqyneupgk6owflegmm2a If rock accommodates women ’s voices and yet those voices express femininity as ordinarily constructed, what ’s gained? ”( p. 200). work_alvr5uqqyneupgk6owflegmm2a Or do these images connect to conventional Euro- American depictions of the Muse as an attrac- tive, if melancholy, female? work_alvr5uqqyneupgk6owflegmm2a To what extent can rock music be understood as masculine — and can sound have a gender at all? work_alvr5uqqyneupgk6owflegmm2a What might it mean that the notion of identity should be repre- sented by a white woman? work_alvr5uqqyneupgk6owflegmm2a Who is responsible when brutish fans misinterpret an anti- rape song as a celebration of misogyny? work_alvr5uqqyneupgk6owflegmm2a Why was Alanis Morissette not mentioned at all in this study? work_2tudfn6p7vbovpiu2j5biw4d4m : Stevens and EliotDead Opposites"or"Reconciled among the Stars"? |
| work_2tudfn6p7vbovpiu2j5biw4d4m | But if so, why? |
| work_2tudfn6p7vbovpiu2j5biw4d4m | Dead Opposites"or"Reconciled among the Stars"? |
| work_2tudfn6p7vbovpiu2j5biw4d4m | If the latter was not personally acquainted with Eliot, he did have friendly “ DEAD OPPOSITES ” OR “ RECONCILED AMONG THE STARS ”? |
| work_2tudfn6p7vbovpiu2j5biw4d4m | STEVENS AND ELIOT 71 bread, would give him a stone? |
| work_2tudfn6p7vbovpiu2j5biw4d4m | “ DEAD OPPOSITES ” OR “ RECONCILED AMONG THE STARS ”? |
| work_2tudfn6p7vbovpiu2j5biw4d4m | “ Dead Opposites ” or “ Reconciled among the Stars ”? |
| work_2tudfn6p7vbovpiu2j5biw4d4m | “ ‘ Hello, Hello are you there? ’: Theatrics of Place in Eliot ’s Poetry. ” The Journal of the T. S. Eliot Society( UK), 2017, pp. |
| work_cxoqb4uja5ctrhdxq764cqjxuq | ( Tirro 1993, p. 51) Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | As correctly noted by Keil: Bob Blaumer got the title wrong in his essay ‘ Black Culture Myth or Reality? ’: it should be ‘ Myth as Reality ’. |
| work_cxoqb4uja5ctrhdxq764cqjxuq | For me it ’s really hard to separate between jazz Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | For what is there to measure? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | I am using the notion ‘ diatonic ’ to stress the Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | In Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | Printed in the United Kingdom Is there such a thing as the ‘ blue note ’? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | The idea of the ‘ blue note ’ as pitch Is there such a thing as the ‘ blue note? ’ This question is raised for a number of reasons. |
| work_cxoqb4uja5ctrhdxq764cqjxuq | The main question still is: What aspects of the musical material are conceived of as significant to listeners and performers? |
| work_cxoqb4uja5ctrhdxq764cqjxuq | ‘ John Scofield – 80-åras ledende jazzgitarist? ’, Musikk Praksis, 5/86, pp. |
| work_moejrmbnj5hoff6j7vuwx4ryza | About the challenges and rewards of staying true to their artistic visions? |
| work_moejrmbnj5hoff6j7vuwx4ryza | About the way that artists transform what they see in their lives? |
| work_moejrmbnj5hoff6j7vuwx4ryza | Above? |
| work_moejrmbnj5hoff6j7vuwx4ryza | Below? |
| work_moejrmbnj5hoff6j7vuwx4ryza | Fast or slow …? ’ They silenced him. |
| work_moejrmbnj5hoff6j7vuwx4ryza | For example, how many lines are in each stanza? |
| work_moejrmbnj5hoff6j7vuwx4ryza | How can engaging with other works of art, literature, music, or film help you write your own poetry? |
| work_moejrmbnj5hoff6j7vuwx4ryza | If you were to recite this poem, what subtle nuances in your performance could help convey to your audience the switch between perspectives? |
| work_moejrmbnj5hoff6j7vuwx4ryza | In hell or heaven? |
| work_moejrmbnj5hoff6j7vuwx4ryza | What artists, writers, singers, or filmmakers inspire your own creative ideas? |
| work_moejrmbnj5hoff6j7vuwx4ryza | What is the rhythm of each line? |
| work_moejrmbnj5hoff6j7vuwx4ryza | Which image do you find most memorable? |
| work_moejrmbnj5hoff6j7vuwx4ryza | Which lines rhyme with one another? |
| work_moejrmbnj5hoff6j7vuwx4ryza | Which personal experiences, memories, and feelings do you associate with that artwork? |
| work_moejrmbnj5hoff6j7vuwx4ryza | Why has the poet italicized the last line of each stanza? |
| work_moejrmbnj5hoff6j7vuwx4ryza | https://www.poetryinvoice.com But tell me, what is that to you? |
| work_moejrmbnj5hoff6j7vuwx4ryza | ’ ‘ Things as they are? |
| work_hx534dx2hzcc7jbq4yljmyezpi | Bolden R and Gosling J( 2006) Leadership Competencies: Time to Change the Tune? |
| work_hx534dx2hzcc7jbq4yljmyezpi | Despite claims( aspirations?) |
| work_hx534dx2hzcc7jbq4yljmyezpi | How do they acquire the knowledge, skills and competence to do what they do? |
| work_hx534dx2hzcc7jbq4yljmyezpi | IMPROVISATION What then can we say of the role of the leader in this new world we live in? |
| work_hx534dx2hzcc7jbq4yljmyezpi | Lynd R S( 1939) Knowledge for what? |
| work_hx534dx2hzcc7jbq4yljmyezpi | The question,"What do leaders do?" |
| work_hx534dx2hzcc7jbq4yljmyezpi | This performative mindset has arisen out of the attempt to answer three instrumentally driven questions: What do leaders really do? |
| work_hx534dx2hzcc7jbq4yljmyezpi | This, however, raises a fundamental question: Do leaders in fact experience their roles as lists? |
| work_hx534dx2hzcc7jbq4yljmyezpi | What can educators and trainers do to improve the process by which leaders acquire this knowledge, skill and competence? |
| work_hx534dx2hzcc7jbq4yljmyezpi | What do we need now? |
| work_hx534dx2hzcc7jbq4yljmyezpi | Why change or learn when we have nowhere we want to go? |
| work_hx534dx2hzcc7jbq4yljmyezpi | Would there then remain no unsolved component of our comprehension of the universe? |
| work_hx534dx2hzcc7jbq4yljmyezpi | You know what they were doing? |
| work_hx534dx2hzcc7jbq4yljmyezpi | what kind of person would write about something he knows does n''t exist, and how can something that does n''t exist have aspects? |
| work_3asa5qxlenh3tm63bffpvzd46i | And I, who am no more than they, what do I know about this? |
| work_3asa5qxlenh3tm63bffpvzd46i | Are things meaningless? |
| work_3asa5qxlenh3tm63bffpvzd46i | Can what I have said in this paper be taken as a description of the goal of poetry überhaupt, once and for all time and for all genres? |
| work_3asa5qxlenh3tm63bffpvzd46i | E eu, que não sou mais do que eles, que sei disso? |
| work_3asa5qxlenh3tm63bffpvzd46i | I would like to begin with Poem XXXIX by Caeiro: O mistério das cousas, onde està ele? |
| work_3asa5qxlenh3tm63bffpvzd46i | Onde està ele que não aparece Pelo menos a mostrar- nos que é mistério? |
| work_3asa5qxlenh3tm63bffpvzd46i | Pessoa himself died in 1935 and may still be- who knows? |
| work_3asa5qxlenh3tm63bffpvzd46i | Por que veríamos nós uma cousa se houvesse outra? |
| work_3asa5qxlenh3tm63bffpvzd46i | Por que é que ver e ouvir seria iludirmo- nos Se ver e ouvir são ver e ouvir? |
| work_3asa5qxlenh3tm63bffpvzd46i | Que sabe o rio disso e que sabe a árvore? |
| work_3asa5qxlenh3tm63bffpvzd46i | The mystery of things- where is it? |
| work_3asa5qxlenh3tm63bffpvzd46i | What does the river know about this and what does the tree know? |
| work_3asa5qxlenh3tm63bffpvzd46i | What is the meaning of this declaration of meaning- lessness and this denial of interpretation? |
| work_3asa5qxlenh3tm63bffpvzd46i | Where is it, since it does not appear, At least to show us that it ’s a mystery? |
| work_3asa5qxlenh3tm63bffpvzd46i | Why would seeing and hearing be to delude ourselves When seeing and hearing are seeing and hearing? |
| work_3asa5qxlenh3tm63bffpvzd46i | Why would we see one thing when another is there? |
| work_3asa5qxlenh3tm63bffpvzd46i | Yet, how are we to understand the meaning of this statement? |
| work_pzymdnlrsrg3hmejylvji2qwui | Como a performance reproduz, legitima, confirma ou desafia, critica ou sub- verte a ideologia? |
| work_pzymdnlrsrg3hmejylvji2qwui | Como então a metáfora do ensino como performance ganhou legitimidade junto à comunidade educacional? |
| work_pzymdnlrsrg3hmejylvji2qwui | Como nós enquadramos a resistência ou a licença para a transgressão face aos comportamentos entranhados e às expectativas? |
| work_pzymdnlrsrg3hmejylvji2qwui | Como pode a experiência de longa data de sala de aula dos professores- artistas enriquecer os usos pedagógicos da performance? |
| work_pzymdnlrsrg3hmejylvji2qwui | Como podemos explorar ou discutir a eficácia epistemológica da metáfora do ensino como performance? |
| work_pzymdnlrsrg3hmejylvji2qwui | De que modo, precisamente, a prática da sala de aula, e de maneira geral a cultura educacional, abrem- se para uma inves- tigação performativa? |
| work_pzymdnlrsrg3hmejylvji2qwui | EISNER, E. W. What can education learn from the arts about the practice of education? |
| work_pzymdnlrsrg3hmejylvji2qwui | Não há nunca uma ação culpável? |
| work_pzymdnlrsrg3hmejylvji2qwui | O que elas simultaneamente reproduzem e de que maneira se contrapõem à hegemonia? |
| work_pzymdnlrsrg3hmejylvji2qwui | O que significaria estetizar o espaço da sala de aula em um comentário crítico e deliberado sobre a partilha entre arte e institucionalização? |
| work_pzymdnlrsrg3hmejylvji2qwui | Perguntei: como aquele tempo junto remodelou e recriou sua pessoalidade por meio da performance coletiva? |
| work_pzymdnlrsrg3hmejylvji2qwui | Quais são os recursos performativos para interromper os scripts oficiais? |
| work_pzymdnlrsrg3hmejylvji2qwui | Que narradores são hoje privilegiados? |
| work_pzymdnlrsrg3hmejylvji2qwui | SMITH, R. Is teaching really a performing art? |
| work_pzymdnlrsrg3hmejylvji2qwui | Tal trickster poderia perguntar: sob que condições estão os participantes autorizados a quebrar as normas? |
| work_pzymdnlrsrg3hmejylvji2qwui | [...] Como as performances são situadas entre as forças de acomodação e resistência? |
| work_pzymdnlrsrg3hmejylvji2qwui | É a subversão na sala de aula genuinamente revolucionária ou é um acontecimento isolado rapidamente contido e controlado pela institui- ção? |
| work_5y7yakaz4bcjrped6syzasvwvu | ( 2013) A more ‘ livable ’ school? |
| work_5y7yakaz4bcjrped6syzasvwvu | 202–203) proposal in What is Philosophy? |
| work_5y7yakaz4bcjrped6syzasvwvu | Academic scribbling: a frivolous approach?, Teaching in Higher Education, 16:2, 255- 266. |
| work_5y7yakaz4bcjrped6syzasvwvu | And all we can say to this is: well, maybe, and how could we know otherwise? |
| work_5y7yakaz4bcjrped6syzasvwvu | And while distributed agency makes it difficult to know( and why do we want to know?) |
| work_5y7yakaz4bcjrped6syzasvwvu | And, again, who is doing the ‘ speculating ’? |
| work_5y7yakaz4bcjrped6syzasvwvu | But who, I wonder, is doing the ‘ rendering ’? |
| work_5y7yakaz4bcjrped6syzasvwvu | By whose criteria is this rendering deemed to be ‘ satisfactory ’? |
| work_5y7yakaz4bcjrped6syzasvwvu | Doing diffraction in this vein brings to mind a small(?) |
| work_5y7yakaz4bcjrped6syzasvwvu | How to pursue that invitation? |
| work_5y7yakaz4bcjrped6syzasvwvu | How, then, can we approach the alien strangeness of withdrawn objects in the weird realism of object- oriented ontology? |
| work_5y7yakaz4bcjrped6syzasvwvu | I wish, like Stevens with his thirteen ways of looking at a blackbird( why 13? |
| work_5y7yakaz4bcjrped6syzasvwvu | Only 13? |
| work_5y7yakaz4bcjrped6syzasvwvu | So, that ’s life, then: things as they are? |
| work_5y7yakaz4bcjrped6syzasvwvu | The exemplars for doing this are beginning to multiply – but how might I do this? |
| work_5y7yakaz4bcjrped6syzasvwvu | The question arises: to what extent is this position shared by new material feminism? |
| work_5y7yakaz4bcjrped6syzasvwvu | This sounds provocative and exciting yet immediately raises questions: for example, who is doing the speaking in this metaphysics, when, why, and how? |
| work_5y7yakaz4bcjrped6syzasvwvu | Undoubtedly Bogost himself, alone or in collusion with other – male? |
| work_5y7yakaz4bcjrped6syzasvwvu | What is philosophy? |
| work_5y7yakaz4bcjrped6syzasvwvu | What procedures, practices or even ‘ methods ’ might work? |
| work_5y7yakaz4bcjrped6syzasvwvu | Where Do I begin and end? |
| work_5y7yakaz4bcjrped6syzasvwvu | Why has critique run out of steam? |
| work_5y7yakaz4bcjrped6syzasvwvu | which ‘ one ’ makes a ‘ decision ’( and anyway what constitutes a decision? |
| work_rxcpvf7emngwniwtgincssigzu | ; and epistemology — how do we know that which we claim to know? |
| work_rxcpvf7emngwniwtgincssigzu | Is physics human? |
| work_rxcpvf7emngwniwtgincssigzu | It behooves us to ask: Why should this be so? |
| work_rxcpvf7emngwniwtgincssigzu | Or, why are the equations that we state without proof such as, You can rotate things and it ’s still the same, why should those things be true? |
| work_rxcpvf7emngwniwtgincssigzu | Science education and young people ’s identity construction: Two mutually incompatible projects? |
| work_rxcpvf7emngwniwtgincssigzu | Science education and youth ’s identity construction — Two incompatible projects? |
| work_rxcpvf7emngwniwtgincssigzu | She added a few notes at the bottom of her discussion: ‘ ‘ 6th sense: heat sensory? |
| work_rxcpvf7emngwniwtgincssigzu | What can education learn from the arts about the practice of education? |
| work_rxcpvf7emngwniwtgincssigzu | What goes well with physics? |
| work_rxcpvf7emngwniwtgincssigzu | Who needs physics education research? |
| work_rxcpvf7emngwniwtgincssigzu | Whose scientific knowledge? |
| work_rxcpvf7emngwniwtgincssigzu | Why symmetry? |
| work_rxcpvf7emngwniwtgincssigzu | Women and science careers: Leaky pipeline or gender filter? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | And the ocean? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Bladder on the rocks? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Can there be being without perception of existence? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Can you be sure? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Did they ever wish to know who they are? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Did you ever consider the symbolism of a mirror from this background of reasoning? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Did you just swallow your old years ’ globus sensation saliva? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Do you wish to have a drink? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Gin chromo stain? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Guinea pig pasta? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Hour of ginger? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Lemon joke? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Never stop to ask: why you? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Perception? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Thought? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Twinkle water? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | What makes the being to be, to come into exis- tence? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | When did you stop to smoke, chill, and make love? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Who is this face? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Who killed your motivation? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Who stands and awaits silence? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | Would I exist if you would not see me, recognize me, perceive me, nourish me with adoration? |
| work_vnxhtinvfrg7rgigyrex4ijsmy | You? |
| work_fos67nw6zjb6lblxc72ggtzakq | ), and( c) the code usage( How is it communicated?). |
| work_fos67nw6zjb6lblxc72ggtzakq | ),( b) the accuracy( How well is it communicated? |
| work_fos67nw6zjb6lblxc72ggtzakq | 802 JUSLIN AND LAUKKA ings also explain induction of emotions in listeners? |
| work_fos67nw6zjb6lblxc72ggtzakq | Can emotions be synthesized without controlling voice quality? |
| work_fos67nw6zjb6lblxc72ggtzakq | Can results from studies of perceived expression in musical performance be generalized across response formats? |
| work_fos67nw6zjb6lblxc72ggtzakq | Communication of Emotions in Vocal Expression and Music Performance: Different Channels, Same Code? |
| work_fos67nw6zjb6lblxc72ggtzakq | Failure to obtain patterns may be due to error variance, but how can the presence of similar patterns in several studies be explained? |
| work_fos67nw6zjb6lblxc72ggtzakq | Feelings for what? |
| work_fos67nw6zjb6lblxc72ggtzakq | Fundamental issues concern- ing nonverbal communication include( a) the content( What is communi- cated? |
| work_fos67nw6zjb6lblxc72ggtzakq | How are the player ’s ideas conveyed to the audience? |
| work_fos67nw6zjb6lblxc72ggtzakq | How do children and college students recognize emotions of piano performances? |
| work_fos67nw6zjb6lblxc72ggtzakq | Infants ’ listening prefer- ences: Baby talk or happy talk? |
| work_fos67nw6zjb6lblxc72ggtzakq | Infants ’ perception of dynamic affective expressions: Do infants distinguish specific expressions? |
| work_fos67nw6zjb6lblxc72ggtzakq | Is infant- directed speech prosody a result of the vocal expression of emotion? |
| work_fos67nw6zjb6lblxc72ggtzakq | Is music autonomous from language? |
| work_fos67nw6zjb6lblxc72ggtzakq | Is there universal recognition of emotion from facial expression? |
| work_fos67nw6zjb6lblxc72ggtzakq | Second, both domains have investigated the same questions( How accurate is the communication?, What is the nature of the code?). |
| work_fos67nw6zjb6lblxc72ggtzakq | Second, both domains have investigated the same questions( How accurate is the communication?, What is the nature of the code?). |
| work_fos67nw6zjb6lblxc72ggtzakq | Vocal Expression and Music Performance: Are They Related? |
| work_fos67nw6zjb6lblxc72ggtzakq | What is the relative importance of the different acoustic cues in vocal expression and music performance? |
| work_fos67nw6zjb6lblxc72ggtzakq | What ’s basic about basic emotions? |
| work_fos67nw6zjb6lblxc72ggtzakq | Why evoke an explanation through a different perceptual modality when there is an explanation within the same modality? |
| work_fos67nw6zjb6lblxc72ggtzakq | Why should anyone care about such cross- modal similarities, if they really exist? |
| work_fos67nw6zjb6lblxc72ggtzakq | Why, then, should individuals re- spond to music performances as if they were vocal expressions? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Deno sentido de"sobre", de"provaniente de", de"sendo parte de"? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | 0 que deve ser a escritura para ameagar este sistema analOgico em seu centro vul- nerfivel e secreto? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | 0 que deve ser a escritura para significar o eclipse do que é bem e do que 6 pal? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | A ilustragio ilustra uma luz que the a anterior, a chama pa- terna que gera todas as chamas menores? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | A resposta a minha pergunta inicial sobre o poema de Stevens("Por que nao pode o sol ser nomeado diretamente no poema?") |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Nao 6 preciso deixar de considerar a escritura como eclipse que vem surpreender e ofuscar a glOria do ver- be? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Ou nio seria mais precisamente"a revelagio do todo, a expressdo do todo"? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Ou sera que se trata da composigio( que ji existe) atraves da composigio( enquanto processo)? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Perguntari o leitor:"De"em que sentido? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Por que? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Quando um primitivo é como um orbe? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Seri que o poema particular é somente uma pilida cripia do poema essencial, ou sere antes uma parte dele, co- mo afirma em certa altura o poema? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Seria a luz original ou seria ela feita pelo homem, um caso de"poiesis"? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Serie a inveng go do poems criaggo ou descober- ta? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Trata- se de um poems sobre o todo, ou um poems que derive do todo, ou um poems que partilha do todo,"uma particula tenaz"dele? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | Uma vez que o preprio padroeiro( um ser?) |
| work_x3bdyqd7bnavdp2i22xjrlapwm | WARM UM PRIMITIVO t COMO UM ORBE? |
| work_x3bdyqd7bnavdp2i22xjrlapwm | posicio do azul do mar a de verde"e em"composicio do todo? |
| work_qz6lfui3mvaq7ky2qsuuphmzya | ( Bassekou Kouyaté, personal communication, London 2013)51 How can such oral testimony be corroborated? |
| work_qz6lfui3mvaq7ky2qsuuphmzya | And why has it been overlooked to date? |
| work_qz6lfui3mvaq7ky2qsuuphmzya | Bamana jeli music in the public sphere Why is Bamana music not better known outside the region, either in scholarship or through recordings? |
| work_qz6lfui3mvaq7ky2qsuuphmzya | But we want to know which traditions, by whom in Mali or elsewhere, and in which time period – late 18th century? |
| work_qz6lfui3mvaq7ky2qsuuphmzya | But which way around did the influences travel? |
| work_qz6lfui3mvaq7ky2qsuuphmzya | Do you really want to know? |
| work_qz6lfui3mvaq7ky2qsuuphmzya | Has anyone ever heard such a bird sing? |
| work_qz6lfui3mvaq7ky2qsuuphmzya | The king asked: ‘ What is in Pui? ’ Samba said: ‘ One- sixty. ’ They all looked at him. |
| work_qz6lfui3mvaq7ky2qsuuphmzya | What new evidence can this tradition throw on our understanding of the African sources of the blues? |
| work_qz6lfui3mvaq7ky2qsuuphmzya | “ Sorotomo: a forgotten Malian Capital?. ” Archaeology International,[ S.l. |
| work_qz6lfui3mvaq7ky2qsuuphmzya | “ The Fodet: A Senegambian Origin for the Blues? ” The Black Perspective in Music 10( 1): 69–84. |
| work_naabgn6aujg3dd2lsn63lwchji | Anthony keeps the game going, asking 96 why not now — why wait until tomorrow, why do n’t they meet this afternoon? |
| work_naabgn6aujg3dd2lsn63lwchji | Beat Down to Your Soul: What Was the Beat Generation? |
| work_naabgn6aujg3dd2lsn63lwchji | Davis, Rocio G. “ Oral Narrative as Short Story Cycle: Forging Community in Edwidge Danticat''s ‘ Krik? |
| work_naabgn6aujg3dd2lsn63lwchji | Did we put them down or repress them? |
| work_naabgn6aujg3dd2lsn63lwchji | I answered to my legal name, of course, but who was Lizzy Thompson? |
| work_naabgn6aujg3dd2lsn63lwchji | Rocio G. Davis, “ Oral Narrative as Short Story Cycle: Forging Community in Edwidge Danticat''s ‘ Krik? |
| work_naabgn6aujg3dd2lsn63lwchji | She no longer sings, teaches, nor hears from any of her old friends, and she is left wondering to herself, “ ‘ Why did I ever become a singer? |
| work_naabgn6aujg3dd2lsn63lwchji | Trigilio, “ Who Writes? |
| work_naabgn6aujg3dd2lsn63lwchji | Upon rereading his first novel, Go, in 1976, Holmes questions in a new Introduction: “ Can it really have been like that? |
| work_naabgn6aujg3dd2lsn63lwchji | We ’re responsible for the lack of outstanding genius in the women we knew? |
| work_naabgn6aujg3dd2lsn63lwchji | Were there any? |
| work_naabgn6aujg3dd2lsn63lwchji | “ Many Drummers, a Single Dance? ” Girls Who Wore Black: Women Writing the Beat Generation. |
| work_naabgn6aujg3dd2lsn63lwchji | “ The Know- Nothing Bohemians. ” Beat Down to Your Soul: What Was the Beat Generation? |
| work_naabgn6aujg3dd2lsn63lwchji | “ The Other Night at Columbia: A Report from the Academy. ” Beat Down to Your Soul: What Was the Beat Generation? |
| work_naabgn6aujg3dd2lsn63lwchji | “ What Is Magical Realism, Really? ” Writing- World. |
| work_naabgn6aujg3dd2lsn63lwchji | “ Who Writes? |
| work_naabgn6aujg3dd2lsn63lwchji | … But then, among the group of people we knew at the time, who were the writers of such power as Kerouac or Burroughs? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | Art or Brend? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | Introductory: Culture Is Not Neutral, Whom Does It Serve? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | 219 Meredith Tax,"Introductory: Culture Is Not Neutral, Whom Does It Serve?,"in Radical Perspectives in the Arts, ed. |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | 27 John and Victor Bockris Cale, What''s Welsh for Zen? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | 84 Brend? ’. |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | And if so, how is it transmitted to his audience, and is it effective? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | And lastly would such an undertaking help to reach deeper conclusions on each musician ’s techniques? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | And lastly, how should one approach synthesising what amounts to a sometimes vague collection of personal reflections and artist commentaries? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | And who can claim ownership to compositions consisting only of such a fundamental musical concept as a drone? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | Another biographical source is John Cale ’s autobiography What ’s Welsh for Zen? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | Does his philosophy really come across in his music? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | Further, how does one notate subtle timbral nuances that are unique even to each bow- stroke? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | How does one depict such minutiae of timbre? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | How does one notate a drone? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | Is not a scream as effective as a dulcet tone? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | What ’s Welsh for Zen? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | What''s Welsh for Zen? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | When does a drone truly start and end? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | Who Owns a Drone? |
| work_ofrtlgpgozfjfjxs3ajrmvpmme | Who owns a drone? |
| work_j365i7y6czfvfd2xgtshh7e7ei | 14 D R A FT 3.4 How do the faults of GTZAN affect evaluation? |
| work_j365i7y6czfvfd2xgtshh7e7ei | 2 use Classify in GTZAN, their meaningfulness is thus “ doubly questionable. ” What valid conclusions, then, can one draw from all this work? |
| work_j365i7y6czfvfd2xgtshh7e7ei | 2) If so, does this behavior generalize to novel auditory stimuli with the same discriminability? |
| work_j365i7y6czfvfd2xgtshh7e7ei | 3 D R A FT So, what is genre? |
| work_j365i7y6czfvfd2xgtshh7e7ei | 3.1 How has GTZAN been used? |
| work_j365i7y6czfvfd2xgtshh7e7ei | 3.2 What is in GTZAN? |
| work_j365i7y6czfvfd2xgtshh7e7ei | 3.3 What faults does GTZAN have? |
| work_j365i7y6czfvfd2xgtshh7e7ei | ;( b) how do I get my paper published? |
| work_j365i7y6czfvfd2xgtshh7e7ei | ;( c) when will I be promoted? ” There are no shortcuts to the design, implementation, and analysis of a valid experiment. |
| work_j365i7y6czfvfd2xgtshh7e7ei | ? |
| work_j365i7y6czfvfd2xgtshh7e7ei | ? |
| work_j365i7y6czfvfd2xgtshh7e7ei | Evaluating music emotion recognition: Lessons from music genre recognition? |
| work_j365i7y6czfvfd2xgtshh7e7ei | How many beans make five? |
| work_j365i7y6czfvfd2xgtshh7e7ei | How much progress has been made? |
| work_j365i7y6czfvfd2xgtshh7e7ei | How significant is statistically significant? |
| work_j365i7y6czfvfd2xgtshh7e7ei | How, then, has this happened, and why does it continue? |
| work_j365i7y6czfvfd2xgtshh7e7ei | Music genre classification: Is it worth pursuing and how can it be improved? |
| work_j365i7y6czfvfd2xgtshh7e7ei | Semantic gap?? |
| work_j365i7y6czfvfd2xgtshh7e7ei | Semantic gap?? |
| work_j365i7y6czfvfd2xgtshh7e7ei | So, where does MGR lie now? |
| work_j365i7y6czfvfd2xgtshh7e7ei | The quest for musical genres: Do the experts and the wisdom of crowds agree? |
| work_j365i7y6czfvfd2xgtshh7e7ei | The question remains, what are the worst figures of merit that a “ perfect ” MGR system can obtain in GTZAN? |
| work_j365i7y6czfvfd2xgtshh7e7ei | Two systems for automatic music genre recognition: What are they really recognizing? |
| work_j365i7y6czfvfd2xgtshh7e7ei | What is experimental computer science? |
| work_j365i7y6czfvfd2xgtshh7e7ei | Why, then, should it be any different for artificial systems? |
| work_j365i7y6czfvfd2xgtshh7e7ei | You may freely distribute the URL identifying the publication in the public portal? |
| work_j365i7y6czfvfd2xgtshh7e7ei | You may not further distribute the material or use it for any profit- making activity or commercial gain? |
| work_gou2y6vrinhexbg7yr6ddbrina | $ 35.00 REDS OR RACKETS? |
| work_gou2y6vrinhexbg7yr6ddbrina | $ 39.50 cloth,$ 14.95 paper American Culture Series UNIVERSAL A B A N D O N? |
| work_gou2y6vrinhexbg7yr6ddbrina | Do voters look at their pocketbooks or at the national accounts? |
| work_gou2y6vrinhexbg7yr6ddbrina | Does this military expenditure aid economic development, or does it retard it? |
| work_gou2y6vrinhexbg7yr6ddbrina | How does it actually work? |
| work_gou2y6vrinhexbg7yr6ddbrina | How does the direct marketing of politics work? |
| work_gou2y6vrinhexbg7yr6ddbrina | How has direct marketing altered public policy and the way that public officials make their deci- sions? |
| work_gou2y6vrinhexbg7yr6ddbrina | How have the users of new tech- nologies attempted to change politics and political participation in the United States? |
| work_gou2y6vrinhexbg7yr6ddbrina | Is constitutional doctrine the monopoly of the courts? |
| work_gou2y6vrinhexbg7yr6ddbrina | Is it inflation, unemploy- ment, or income that makes the difference? |
| work_gou2y6vrinhexbg7yr6ddbrina | Or were they motivated by a premodern or classical republican mental- ity? |
| work_gou2y6vrinhexbg7yr6ddbrina | Reds or Rackets? |
| work_gou2y6vrinhexbg7yr6ddbrina | The first part deals with such questions as: What is war? |
| work_gou2y6vrinhexbg7yr6ddbrina | What can we do to make it better? |
| work_gou2y6vrinhexbg7yr6ddbrina | What is the difference between peace treaties, armistice agreements and cease- fires? |
| work_gou2y6vrinhexbg7yr6ddbrina | What triggers economic voting for or against the incumbent? |
| work_gou2y6vrinhexbg7yr6ddbrina | When does it commence and terminate? |
| work_gou2y6vrinhexbg7yr6ddbrina | Where can war be waged and what is the meaning of neutrality? |
| work_gou2y6vrinhexbg7yr6ddbrina | mŝsX UBDUOUIV oqi p Suipunoj 3q; SDUIS saeaX sq? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Did you think[ Marina would] just walk off the plane one day and Grandma would set an extra place for supper? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | How stupid do you think we are? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | ... how many of my friends get to ride in a truck higher''n any old building we got around here? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Ali Ababwa: Who pawned watch to bury Friday Kim Chee? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Ali Ababwa: Why did n''t you? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Ali Hakim: Who bribed the guards in camp in Axerbijan? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Ali Hakim: You? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | And who bought passports to get out of Jerkiistan? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Billie asks,"How''s my baby? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | But when it comes to blue Agrabanians, well that''s a whole different story now, is n''t it? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Do you feel your soul ripping because there are two people battling inside of you? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Furthermore, if this nationalism exists as a fundamental aspect of Canadian identity, why is it so prevalent in the theatre? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Huh, Mar? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | I know you''re upset, but ca n''t we all sit down and discuss this like adults?" |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | I may not be a star, but who is in this country?" |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | I might not be star, but who is in this country? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | If I do give him special attention, he gets insecure and says,''Why do n''t you work with her? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Is n''t that great?" |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Jimmy: Grandad? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Martha then naively asks about the stove:"Is it in the metric too?" |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | More importantly, what strategies have they devised to combat such feelings? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | So how does this insecurity impact people? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | So, what does all of this say about Canadian theatre? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | They suggest that the dream was perhaps a dream of the future, but maybe it is actually Canada? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | We see this reinforced at the end of the play:"Ali Ababwa... you are really wishing to stay here[ in Canada] with them?" |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Who called us Black anyway? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Who made warlord certify cheque in Congo? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | Why must it always be me who does the saying? |
| work_drzpwrrzdnfb5egdsdtx7ws5ci | With the shift of the two solitudes to Trudeau''s cultural mosaic, has the national identity in fact just been further fractured? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 10) Do you monitor your reputation amongst others? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 2) What do you think influences your reputation in the music industry? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 2) What factors are thought to influence their reputation? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 3) Do you consider reputation to be a risk within the industry? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 3) What strategies are used to actively manage their reputational risk? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 4) Do you actively manage your reputation? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 4) What are the perceived barriers to managing their reputational risk? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 5) Can you give an example where your reputation was damaged or compromised? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 5) Who are their stakeholders and who is responsible for RRM? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 6) Are perceptions of reputation monitored amongst their stakeholders? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 6) Does anything prevent you from managing your reputation? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 7) Do you think that anyone else can impact on your reputation? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 8) Does the work that you do affect or impact on any other people or organisation(s)? |
| work_jci7pb77gvhddbqzszsiipfdpa | ( 9) Who is responsible for managing/ maintaining reputation? |
| work_jci7pb77gvhddbqzszsiipfdpa | Adapting behaviour … How? |
| work_jci7pb77gvhddbqzszsiipfdpa | Are perceptions of reputation monitored amongst stakeholders? |
| work_jci7pb77gvhddbqzszsiipfdpa | Harwood D ow nl oa de d by[ U ni ve rs it y of S ou th am pt on H ig hf ie ld] at 0 3: 47 1 6 M ay 2 01 4 Abstract What is reputation? |
| work_jci7pb77gvhddbqzszsiipfdpa | Responsibility for RRM Are perceptions of reputation monitored amongst stakeholders? |
| work_jci7pb77gvhddbqzszsiipfdpa | What are the main risks facing self- employed musicians? |
| work_jci7pb77gvhddbqzszsiipfdpa | What factors are thought to influence reputation? |
| work_jci7pb77gvhddbqzszsiipfdpa | What factors are thought to influence reputation? |
| work_jci7pb77gvhddbqzszsiipfdpa | What is reputation? |
| work_jci7pb77gvhddbqzszsiipfdpa | What strategies are used to actively manage RR? |
| work_jci7pb77gvhddbqzszsiipfdpa | What strategies are used to actively manage RR? |
| work_jci7pb77gvhddbqzszsiipfdpa | Who are the musicians ’ stakeholders and who is responsible for RRM? |
| work_jci7pb77gvhddbqzszsiipfdpa | You know what I mean? |
| work_jci7pb77gvhddbqzszsiipfdpa | “ All You Need is Trust? |
| work_jci7pb77gvhddbqzszsiipfdpa | “ Can Reputation Be Managed? ” The Bulletin of Public and Corporate Communication 1( 1): 4–7. |
| work_jci7pb77gvhddbqzszsiipfdpa | “ Part VI: How Should Reputations be Managed in Good Times and Bad Times? |
| work_jci7pb77gvhddbqzszsiipfdpa | “ Reputation Management: The New Face of Corporate Public Relations? ” Public Relations Review 27( 3): 247–261. |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | 167 ‘ Hello this is Tanya, I do n’t know if you remember me? ’ ‘ Tanya … Tanya … Tanya … umm, oh right Tanya ……. |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | 38 and therefore begs the question: what are the differences between textual and visual narratives? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | And found nothing, of course. ’ ‘ He did n’t think your photos are beautiful? ’ ‘ They are n’t. ’ Again, silence. |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Are these the images that Kwiatkowski stole? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Are they photographs of another woman who was present? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Belcher, Shaun D. “ Can Grey Ravens Fly? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | From a bird ’s eye- view perspective. ’ ‘ What kind of square? ’ “ A square in a city. |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | From what I heard, you were rather condescending. ’ ‘ Me? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Has the baby passed away? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | He considered my work from another level. ’ ‘ On what level did he look, you think? ’ ‘ He was looking for something beautiful. |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | He kept repeating, “ So you ’ve been studying for four years to become an artist? ” He really wondered what I ’d been doing all that time. |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | How does one prevent that the one becomes subordinate to the other? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | I did n’t know I was that way inclined? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Long enough for me to ask myself a series of questions, Does Money find me attractive? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | MS: Do you want your audience to imagine the photograph that would have been taken in a particular scene? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | MS: In “ Embedded Texts ” you write about the desire to record silence and “ plateau ” the work down to map a landscape? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Or are they found photographs that are woven into this element of the narrative to allude to the stolen image? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Should I squeeze my butt cheeks together and give Money a little trouser wave? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | The result? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | There is a small public garden, and some parked cars that do n’t really stand out. ’ ‘ People? ’ ‘ No people. ’ ‘ Okay. |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | What would I see if I stood in front of that photo? ’ “ A square. |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Why a square? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Why have the baby shoes never been worn? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Why that square? ’ ‘ I think it ’s easy to get an overview of a square. |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Why would you celebrate being another year older, another year where you were n’t where you thought you would be? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Will we be lovers? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | Would you say that you write ‘ through ’ photography as opposed to ‘ about ’ or ‘ for ’ it? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | ‘ Yes, I do, we were the leads in the hit farce ‘ The Perfect Price for Donny ’ for Tihe Sacred Heart Players, ‘ Is everything OK? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | “ What''s the Point of an Index? |
| work_qwarbhwkc5dhvcbxj2sq4nb26m | “ Why Might You Use Narrative Methodology? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | ( 144) Where do you think, serpent, Where do you lie, beneath snow, And with eyes closed Breathe in a crevice of earth? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | ( What would it look like if a bachelor got married but succeeded, through sheer force of will, in remaining a bachelor?) |
| work_2wqlzl6g6vc5vexa5kqijnc32q | And why all of this talk about God anyhow in a pair of stanzas that do not apostrophise God at all? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Are there mandolines of northern moonlight? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Are there mandolines of western mountains? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | But are these separate? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Come now I will not be tantalized, you conceive too much of articulation, Do you know O speech how the buds beneath you are folded? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Could this be a reconciliation, late in Stevens ’ life, with God the imaginer? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Does ripe fruit never fall? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | How did we come to think that autumn Was the veritable season, that familiar Man was the veritable man? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | In what camera do you taste Poison, in what darkness set Glittering scales and point The tipping tongue? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Is he trying to replace God with poetry? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Is it An absence for the poem, which acquires Its true appearances there, sun ’s green, Cloud ’s red, earth feeling, sky that thinks? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Is it the sun who is walking along the shore, or is it Walt Whitman? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Is this monster the reeling leaves imbued with the colour from ‘ the turquoise hen and sky ’? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Is this poem, then, a lesson by way of contrary example? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | It is rather a question of attitude: Is there a way to live in harmony with the universe, and not just in it? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Leaving aside the fact that Weberian intellectualization is an incomplete( uncompletable?) |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Or is it in fact an exhibit of the speaker ’s wakened sight? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Or is it rather that he is adapting the idea of God to ‘ our different intelligence ’( L, 378)? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Or should the colon indicate an anacoluthic break, and that what follows is an imperative command to high poetry and low? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Providential stasis is one of Stevens ’ greatest anathemas:~ 31~ Is there no change of death in paradise? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Robbins, Bruce,( 2011), ‘ Enchantment? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | The final stanza announces that ‘ After the hero, the familiar/ Man makes the hero artificial. ’( 280), and then asks: But was the summer false? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | The hero? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | The poet of the supreme fiction asks: ‘ Is there a poem that never reaches words ’? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | We may want to ask, moreover, what might be the implications of disenchantment for the continued viability of the poet? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | What bread does one eat? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | What was the ointment sprinkled on my beard? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | What was the sea whose tide swept through me there? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | What were the hymns that buzzed beside my ears? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | What wine does one drink? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | What would it mean for a place to be within the difference of the and a? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Whatever Happened to Modernism?, New Haven: Yale University Press. |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Who or what is the turquoise monster? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | Why is the conversation with this silent man continual? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | http://themathesontrust.org/papers/metaphysics/XXIV-A4.pdf~ 27~ Stevens ’ is doing? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | ~ 147~ What are the major men? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | ~ 176~ What syllable are you seeking, Vocalissimus, In the distances of sleep? |
| work_2wqlzl6g6vc5vexa5kqijnc32q | ‘ The Supreme Fiction: Fiction or Fact? ’, Journal of Modern Literature, 31:1, 80- 100. |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Why Ca n''t Photographers Explain? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | *** What fruits does this approach yield when attempting to understand Schuyler''s verse, or Porter''s painting? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | And what becomes of its status as a thing when it becomes only the idea of itself, a line in a poem? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | And what happens when the face of the genitive antique is effaced? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | And what of the window, that potential for escape from the signifying face, secreted away in the parallel universe of the mirror? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | And where is Porter standing, anyway? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | And, most importantly, what can it mean for Schuyler to be so intent on exploring the bridge between art and letters in his work? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Another mask, a fallible human presence — or nothing"( 274)? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Are the contents of the mirror the work of art? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | As Robert Frost is rumored to have said to someone asking him to explain the meaning of his poems,"you want me to say it worse?" |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Breaks? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | But does Schuyler succeed in revealing himself through the mirror of thingness,"to say, to see and say, things/ as they are"? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | But what if all we find there be approximation, illusion, mask? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | But what sorts of shapes do we have? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Could the third meaning not be wave, hexagon, pyramid, tesseract? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Do critical projects actually resemble one half of the machine of faciality? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | How, then, can a poem really engage in the process of subjectification? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | If the mirror is facing the viewer directly as perspective would indicate, why is Lizzie''s reflection off- centre? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | In the end, what can signs, signifying each other, be that is not a sign? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | It is a screen both constantly changing and necessarily unreliable: smile or smirk? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Schuyler''s What''s for Dinner? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Schuyler''s terse interview for Contemporary Authors is telling: CA: Is there any poetry criticism that you feel is valuable reading for information? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | She asks, with Barbara Novak and Brian O''Doherty,"what is behind the mask? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | So why take on a task with tools not inadequate, but simply made for different things, like pulling teeth with a compass? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Some lines("daisy, paintbrush that,""enough? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | The black hole of subjectivity is deeply complicated by the conflation of artist, subject, artwork, and viewer: who is Lizzie looking at? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | The speaker of this poem asks a pointed 114 question: is the memory of a thing enough to substitute for that thing? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | To claim that the third term can not encompass the moral or the aesthetic, that it can only be blunted or rounded in form( what makes an idea round? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | To open letters? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Trouverons- nous le point fixe ou amarrer la premiere relation de signe? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | What business does a painter have writing poetry, even though Fairfield Porter''s poems are of uniformly high quality? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | What is left to interpret in the description of the view from one window? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | What is there to criticize, after all, in the view from one window? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | What makes his landscapes more Freilicher than Wordsworth, if that is even true? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | What then, to make of that world? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | What''s for Dinner? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Why did I take on a task that better critics than I have called impossible? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Why explore this desolate space? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | Will we find a fixed point to anchor the first sign- relationship? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | William Watkin asks, when considering Schuyler''s fastidious attempts to describe the sky,"was it worth it? |
| work_fjzrgm4tgrhalbcrqogypk3ovi | William Watkin considers rain the epitome of the unrepresentable object: what do you call rain after it has, and are these grounded drops really rain? |
| work_nytswgbk3rg23dvozgfrwbvrae | ( 6) Even when her sentences are interrogative, as in But which Cordelia?, Elaine expands on them explanatorily. |
| work_nytswgbk3rg23dvozgfrwbvrae | ( 71) 3) Grandpa Nakane at Sick Bay? |
| work_nytswgbk3rg23dvozgfrwbvrae | 106 In “ In Whose Interest? |
| work_nytswgbk3rg23dvozgfrwbvrae | 172 Chapter Three: Theatre and Locality How does theatre performance offer its audiences an experience of what I have been calling common ground? |
| work_nytswgbk3rg23dvozgfrwbvrae | And how does it do so differently than novels and short stories? |
| work_nytswgbk3rg23dvozgfrwbvrae | And why is it a cause of distress? |
| work_nytswgbk3rg23dvozgfrwbvrae | Are they mutually aware of the object ’s presence in their physical situation? |
| work_nytswgbk3rg23dvozgfrwbvrae | But which Cordelia? |
| work_nytswgbk3rg23dvozgfrwbvrae | CBC ’s “ Canada Reads ” and Noah Richler ’s This is My Country, What ’s Yours?) |
| work_nytswgbk3rg23dvozgfrwbvrae | Have you ever smelled this city at the beginning of spring? |
| work_nytswgbk3rg23dvozgfrwbvrae | How much of the particular Vancouver geographies that the narrators or performances know do they assume their audiences know too? |
| work_nytswgbk3rg23dvozgfrwbvrae | I mean, who is the audience for this? ”( Banting “ Courting ” 17). |
| work_nytswgbk3rg23dvozgfrwbvrae | If Grandpa Nakane is at the beach now, could he be lost the way I was? |
| work_nytswgbk3rg23dvozgfrwbvrae | In a song lyric, perhaps? |
| work_nytswgbk3rg23dvozgfrwbvrae | In these lines, the words themselves are relatively information- poor: Janine is “ pure ” Nanaimo, but what does that mean? |
| work_nytswgbk3rg23dvozgfrwbvrae | Is Sick Bay near English Bay or Horseshoe Bay? |
| work_nytswgbk3rg23dvozgfrwbvrae | It is not addressed to her, but it is personally relevant nonetheless: Should I be reading this? |
| work_nytswgbk3rg23dvozgfrwbvrae | Or the tastes and desires that drive consumer capitalism? |
| work_nytswgbk3rg23dvozgfrwbvrae | Should we not go to find him? |
| work_nytswgbk3rg23dvozgfrwbvrae | The identifications of people who have interests and orientations “ in common ”? |
| work_nytswgbk3rg23dvozgfrwbvrae | The narrator begins as follows, taking Main Street ’s relevance and specific identity for granted as well known: Janet and me? |
| work_nytswgbk3rg23dvozgfrwbvrae | The one I have conjured up, the one with the rolltop boots and the turned up collar, or the one before, or the one after? |
| work_nytswgbk3rg23dvozgfrwbvrae | What can this tell us about the city as a social space, as it is mediated by these texts and plays? |
| work_nytswgbk3rg23dvozgfrwbvrae | What does ‘ Canada ’ really mean when transnational communicative networks cross national boundaries? ”( 7). |
| work_nytswgbk3rg23dvozgfrwbvrae | When narrators describe a city, for instance, how much knowledge of that city do they assume their audience shares with them? |
| work_nytswgbk3rg23dvozgfrwbvrae | Where, I wonder, is that? |
| work_nytswgbk3rg23dvozgfrwbvrae | Why compare Vancouver to Toronto? |
| work_nytswgbk3rg23dvozgfrwbvrae | Why does n’t he stop himself? |
| work_nytswgbk3rg23dvozgfrwbvrae | Why else would she send it here? |
| work_nytswgbk3rg23dvozgfrwbvrae | Why nod to an audience unfamiliar with either city? |
| work_nytswgbk3rg23dvozgfrwbvrae | Why not? |
| work_nytswgbk3rg23dvozgfrwbvrae | ‘ Where is here, ’ you ask? |
| work_nytswgbk3rg23dvozgfrwbvrae | “ Boy Meets Girl in Winnipeg an Who Cares? ” Scotchman ’s Return and other essays. |
| work_nytswgbk3rg23dvozgfrwbvrae | “ But a boy meets a girl in Winnipeg and they swing into the same routine and who cares? |
| work_nytswgbk3rg23dvozgfrwbvrae | “ Elsewhere, ” in this novel ’s case, is elsewhere in cosmopolitan North America( or beyond? |
| work_nytswgbk3rg23dvozgfrwbvrae | “ In Whose Interest? |
| work_nytswgbk3rg23dvozgfrwbvrae | “ What''s Toronto''s story? ” Toronto Star 5 Nov. 2006 Metro Toronto ed. |
| work_kn4fgkn445ffhhfosf6vgxny44 | 166 Have you shared all that is significant with reference to the experience? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Can you say what qualities it was in the work of art that released your response? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Could it have been induced by any work of art or any other object? ”( Abbs, 1994, p. 68). |
| work_kn4fgkn445ffhhfosf6vgxny44 | Does Arts- Based Research Have a Future? |
| work_kn4fgkn445ffhhfosf6vgxny44 | For instance, is the apple symbolic of a commodity which signifies economic, cultural or social stratums? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Furthermore, Chris confronted what he believed to be the unanswerable vastness in The Conversion of Saint Paolo Malfi: What the Hell is that? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Had anything prepared you for this experience? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Has the person shared all of the significant ingredients or constituents of the experience? |
| work_kn4fgkn445ffhhfosf6vgxny44 | How can we know art? |
| work_kn4fgkn445ffhhfosf6vgxny44 | How did the experience affect significant others in your life? |
| work_kn4fgkn445ffhhfosf6vgxny44 | How did the experience affect you? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Is Art Essentially Institutional? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Is Art an Adaptation? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Is There a Feminine Aesthetic? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Is it salient enough to generate transformation into participation and communication? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Is that sky? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Is there innuendo related to anti- feminist or religious connotations through subjective associations with temptation or guilt( biblical)? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Is there moralistic or behavioural intent( an apple a day ….)? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Looking, again, at your encounter have you any further reflections on the nature or structure of the experience to add? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Or do they simply amplify it? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Should We Create New Aims for Art Education? |
| work_kn4fgkn445ffhhfosf6vgxny44 | That is, what are the bases for the perception and description of the phenomena of aesthetic experience in painting? |
| work_kn4fgkn445ffhhfosf6vgxny44 | These concerns addressed: What does the person know about the experience being studied? |
| work_kn4fgkn445ffhhfosf6vgxny44 | They were: What dimensions, incidents and people immediately connected with the experience stand out for you? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Under the VR Spell? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What Is Art For? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What Knowledge Is of Most Worth in the Arts? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What age were you? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What bodily changes or states were you aware of at the time? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What bodily states or shifts in bodily presence occur in the experiencing? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What changes do you associate with the experience? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What events, situations, and people are connected with the experience? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What examples are alive and vivid? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What feelings and thoughts are generated by the experience? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What feelings were generated by the experience? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What is Art Education? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What is a Work of Art? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What is reflection in learning? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What qualities or dimensions of the experience stand out for the person? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What subsequent effects, if any, did the experience have on you in relation to the art and in relationship to your life as a whole? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What thoughts stood out for you? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What time and space factors affect the person''s awareness and meaning of the experience? |
| work_kn4fgkn445ffhhfosf6vgxny44 | What was the work of art? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Where did you encounter it? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Why was it made so? |
| work_kn4fgkn445ffhhfosf6vgxny44 | Within this theory of context- situated cognition, such phenomena as language[ and art experiencing?] |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Are the S o c i a l Sciences R e a l l y I n f e r i o r? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Being Here: Whose L i f e i s i t Anyway? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Methodological P o s t s c r i p t: D e c o n s t r u c t i o n versus I n t e r p r e t a t i o n? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | What C a l l s f o r T h i n k i n g? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | What Is Metaphysics? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | What i s a Text? work_sbzmsxzvxjfllgndwbkg4mbxcu A f t e r P h i l o s o p h y: End or Transformation? work_sbzmsxzvxjfllgndwbkg4mbxcu And I begin to ask, Are there s t o r i e s? work_sbzmsxzvxjfllgndwbkg4mbxcu And i n what sense? work_sbzmsxzvxjfllgndwbkg4mbxcu And what might t h i s look l i k e f o r anthropology i n general? work_sbzmsxzvxjfllgndwbkg4mbxcu And, indeed, how c o u l d i t not be? work_sbzmsxzvxjfllgndwbkg4mbxcu As D e r r i d a says, what i s s i g n i f i e d by p h e n o m e n o l o g y''sp r i n c i p l e o f p r i n c i p l e s"? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | As Ricoeur says, Why do we need an a r t of guessing? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | By what new a l l e g o r i e s? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Can we console o u r s e l v e s with t h a t? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | However, as D e r r i d a s a y s,"But what i s a s i g n as such? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | In a d d r e s s i n g the concept of t r u t h N i e t z s c h e expresses h i m s e l f as f o l l o w s: What, then, i s t r u t h? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Is the redemptive s t r u c t u r e of s a l v a g e- t e x t u a l i z a t i o n being r e p l a c e d? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Is there a r i g o r o u s and s c i e n t i f i c concept of context? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Moreover, Nisa''s s t o r y t e l l s us( how c o u l d i t not?) |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Of c o n f l i c t? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Of emergence? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Of syncretism? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | That we know words or t h a t we know minds? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | What does s c i e n c e have to say about reason and unreason or about us[ human beings] as s u b j e c t s of t h i s freedom? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | What i f she/ he simply put the emphasis on h e t e r o g e n e i t y as opposed to homogeneity? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | What i s t h i s but the r e p r e s s i o n/ o p p r e s s i o n of d i f f e r e n c e i n the name of e s s e n t i a l i d e n t i t y? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | What might we s t i l l f i n d? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Who i s James C l i f f o r d to d e f i n e c h i l d b i r t h as r e v e a l i n g''something b a s i c about woman''s experience''? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | Why do we have to''construe''the meaning? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | [ There i s a] general t r e n d toward a s p e c i f i c a t i o n of d i s c o u r s e s i n ethnography: who speaks? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | [ Where] i s one to l o c a t e the eide? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | and then? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | asks,"what does w r i t i n g f i x? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | persons are d e f i n e d to one another? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | the q u e s t i o n i s, what does one l e a r n about such p r i n c i p l e s from examining 109 c u l t u r e as an assemblage of t e x t s? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | under what i n s t i t u t i o n a l and h i s t o r i c a l r e s t r a i n t s? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | what happened next? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | what was the outcome? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | when and where? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | who w r i t e s? |
| work_sbzmsxzvxjfllgndwbkg4mbxcu | with or to whom? |
| work_hmnduvushzffzhtto7saw4xzy4 | 247 Could you describe the edges of these areas? |
| work_hmnduvushzffzhtto7saw4xzy4 | 254 In terms of its composition? |
| work_hmnduvushzffzhtto7saw4xzy4 | 258 Why do n''t we look at the next one? |
| work_hmnduvushzffzhtto7saw4xzy4 | 262 Could you describe some of the various methods you see there? |
| work_hmnduvushzffzhtto7saw4xzy4 | Are you familiar with his work? |
| work_hmnduvushzffzhtto7saw4xzy4 | Can you describe the things that create that sense of depth? |
| work_hmnduvushzffzhtto7saw4xzy4 | Can you see any connections between the way traditional artists and computer artists might talk about these images? |
| work_hmnduvushzffzhtto7saw4xzy4 | Can you tell me about this? |
| work_hmnduvushzffzhtto7saw4xzy4 | Can you tell me something about the different areas? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the background? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the color scheme? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the colors or the palette of the picture? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the edges of these areas? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the edges of this figure? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the lighting in this picture? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the lighting in this picture? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the surfaces of different areas and objects? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the way the different areas are organized in a composition or in space? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the way these different areas are 248 organized in a composition or in space? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe the way these different areas are organized in a composition or in space? |
| work_hmnduvushzffzhtto7saw4xzy4 | Could you describe their location in space? |
| work_hmnduvushzffzhtto7saw4xzy4 | Do you think that there are any terms or concepts in computer graphics that are useful for talking about traditonal art? |
| work_hmnduvushzffzhtto7saw4xzy4 | Do you think that''s what going on here? |
| work_hmnduvushzffzhtto7saw4xzy4 | Do you think this is a successful image, on the basis of its visual structure? |
| work_hmnduvushzffzhtto7saw4xzy4 | Do you think this is a successful image, on the basis of its visual structure? |
| work_hmnduvushzffzhtto7saw4xzy4 | How do you think it was done? |
| work_hmnduvushzffzhtto7saw4xzy4 | How do you think those lines were made? |
| work_hmnduvushzffzhtto7saw4xzy4 | How may existing formalist notions be enhanced or redefined by the analysis of responses to questions 1- 4? |
| work_hmnduvushzffzhtto7saw4xzy4 | I''m always,"How the hell did they do that?" |
| work_hmnduvushzffzhtto7saw4xzy4 | I''m trying to figure out what kind of program it could have been... Do you think it was a computer image? |
| work_hmnduvushzffzhtto7saw4xzy4 | Is it a computer image? |
| work_hmnduvushzffzhtto7saw4xzy4 | Is there anything besides contrast? |
| work_hmnduvushzffzhtto7saw4xzy4 | Is this second image flat to you? |
| work_hmnduvushzffzhtto7saw4xzy4 | It''s like one of those pictures of,"Do you make these mistakes in your art?" |
| work_hmnduvushzffzhtto7saw4xzy4 | It''s the way you would approach your painting... You mean the procedures that you use in making it? |
| work_hmnduvushzffzhtto7saw4xzy4 | Like thumb tacks, or blobs of paint? |
| work_hmnduvushzffzhtto7saw4xzy4 | Like, what is this yellow thing? |
| work_hmnduvushzffzhtto7saw4xzy4 | Looking at the visual structure, how would you describe the third image? |
| work_hmnduvushzffzhtto7saw4xzy4 | On the basis of its visual structure, do you think this is a successful image? |
| work_hmnduvushzffzhtto7saw4xzy4 | Or maybe one of the petals dying a bit? |
| work_hmnduvushzffzhtto7saw4xzy4 | Prompts: Stimulus 1 Could you describe the colors or the palette of this picture? |
| work_hmnduvushzffzhtto7saw4xzy4 | Prompts: Stimulus 1 Could you describe the different areas of this figure( dress, limbs, face, etc.)? |
| work_hmnduvushzffzhtto7saw4xzy4 | Publisher? |
| work_hmnduvushzffzhtto7saw4xzy4 | So you think that the language to describe art could be used 265 for computer graphics? |
| work_hmnduvushzffzhtto7saw4xzy4 | Stimulus 2 Could you describe the colors or the palette of the picture? |
| work_hmnduvushzffzhtto7saw4xzy4 | Stimulus 2 Could you describe the different areas in this picture( flowers, leaves, vines, etc.)? |
| work_hmnduvushzffzhtto7saw4xzy4 | Stimulus 3 Could you describe the colors or the palette of this picture? |
| work_hmnduvushzffzhtto7saw4xzy4 | Stimulus 3 Could you describe the different areas of this picture( face, horse, background, border design, etc.)? |
| work_hmnduvushzffzhtto7saw4xzy4 | Stimulus 4 Could you describe the different areas of this image? |
| work_hmnduvushzffzhtto7saw4xzy4 | Stimulus 4 Could you describe the perspective of different objects? |
| work_hmnduvushzffzhtto7saw4xzy4 | That''s an excellent print of that... Could you describe it to me? |
| work_hmnduvushzffzhtto7saw4xzy4 | The question, Is computer art art? |
| work_hmnduvushzffzhtto7saw4xzy4 | To begin, could you tell me about this picture? |
| work_hmnduvushzffzhtto7saw4xzy4 | We''re definitely dealing with a figurative image... Could you describe the different areas of the figure? |
| work_hmnduvushzffzhtto7saw4xzy4 | What are the terms and concepts currently employed by artists and art educators to describe and analyze the visual structure of images and objects? |
| work_hmnduvushzffzhtto7saw4xzy4 | What are you looking at right now? |
| work_hmnduvushzffzhtto7saw4xzy4 | What are you reading? |
| work_hmnduvushzffzhtto7saw4xzy4 | What is that? |
| work_hmnduvushzffzhtto7saw4xzy4 | What kind of order are you talking about? |
| work_hmnduvushzffzhtto7saw4xzy4 | What makes its structure work? |
| work_hmnduvushzffzhtto7saw4xzy4 | What would those be? |
| work_hmnduvushzffzhtto7saw4xzy4 | When you say you"read"it, what do you mean by that? |
| work_hmnduvushzffzhtto7saw4xzy4 | Why do you think that line looks like that? |
| work_hmnduvushzffzhtto7saw4xzy4 | Why does the outline of the dress have to be the same as the outline of the legs? |
| work_hmnduvushzffzhtto7saw4xzy4 | Would you say this is a 2D or a 3D image? |
| work_hmnduvushzffzhtto7saw4xzy4 | You know what I mean? |
| work_hmnduvushzffzhtto7saw4xzy4 | You mean as far as the tint is concerned, of the color? |
| work_imoaspz6djc7hbzohmmncaiyy4 | ( James, The Golden Bowl 435–36)1 How do we learn to read such a complex passage as this? |
| work_imoaspz6djc7hbzohmmncaiyy4 | After all, we have seen “ the death of Man, ” “ the death of the author, ” the tumescence of “ Western patriarchal culture, ” have we not? |
| work_imoaspz6djc7hbzohmmncaiyy4 | And how is it related to the divine, the religious, or the sacred? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Are we to assume that all of them are certifiably insane or perversely proud of their chosen ignorance? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Are we to mention Moira and Brawith in the same breath with SpongeBob and Patrick? |
| work_imoaspz6djc7hbzohmmncaiyy4 | But can it be one for “ us, ” its sufferers; that is, for those of us who have borne its effects and testify to them? |
| work_imoaspz6djc7hbzohmmncaiyy4 | But given just his initial condition of incontinence, why does Moira not return him to the hospital? |
| work_imoaspz6djc7hbzohmmncaiyy4 | But is n’t such laughter a testament to nihilism, too? |
| work_imoaspz6djc7hbzohmmncaiyy4 | But then what use are they? |
| work_imoaspz6djc7hbzohmmncaiyy4 | But what if a critic does n’t want to play this game of identities and identifications? |
| work_imoaspz6djc7hbzohmmncaiyy4 | But what “ moral ” does the story of Abraham and Isaac exemplify? |
| work_imoaspz6djc7hbzohmmncaiyy4 | But why is it nihilistic? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Can the subject, without cowardly resorting to physical violence, universalize it or not? |
| work_imoaspz6djc7hbzohmmncaiyy4 | David: Daddy — weren’t the music enough? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Foucault, in this sense, is preparing a readiness for thinking and poeticizing “ beyond modernity ”( or is it “ behind its back ”?) |
| work_imoaspz6djc7hbzohmmncaiyy4 | He needed me and he made a difference for me in this terrible world — do you see what I mean? |
| work_imoaspz6djc7hbzohmmncaiyy4 | How can this be? |
| work_imoaspz6djc7hbzohmmncaiyy4 | How do we recognize and address its rich and various contexts? |
| work_imoaspz6djc7hbzohmmncaiyy4 | If so, in what way? |
| work_imoaspz6djc7hbzohmmncaiyy4 | In addition, is there only ever one principle of selection at work in a situation? |
| work_imoaspz6djc7hbzohmmncaiyy4 | In this light, is 9/11, for the perpetrators, a truth event? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Is Moira wrong here? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Is it better to be more or less human, or better still to be a god? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Is it fun- damentally different from the post/ human? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Is there a discern- ible truth of the 9/11 event for all its victims, or not? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Marian ’s person was lightness — her charm was lightness; could it be that her soul was levity too? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Mere blind luck? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Monstrous levity, with a vengeance? |
| work_imoaspz6djc7hbzohmmncaiyy4 | My reading is influenced here by a forthcoming essay in boundary 2 from Hans Ulrich Gumbrecht, “ Reading for the Stimmung? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Once the last person or group on earth can become whatever she, he, or it wants to be, what then? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Or is Nietzsche, even Nietzsche, more loving( and lovable) than Emerson? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Passive breakdown? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Perhaps most important: in our emerging “ post- human ” global society, what is there to be gained from such an experience of reading? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Perhaps your figure for such tastes might run to the personal blogs of would- be leading critics detailing their every daily movement? |
| work_imoaspz6djc7hbzohmmncaiyy4 | The Satanic version of this mythic scene of terrible self- begetting, as John Milton gives it, in the birth of Sin in Paradise Lost? |
| work_imoaspz6djc7hbzohmmncaiyy4 | The published English translation is partial and appeared in Ornicar? |
| work_imoaspz6djc7hbzohmmncaiyy4 | The succubi I fear are not the pod people but the “ security sheep. ” Who are they? |
| work_imoaspz6djc7hbzohmmncaiyy4 | The union of Athena and Zeus? |
| work_imoaspz6djc7hbzohmmncaiyy4 | This unique moral will surely pack the tents now, wo n’t it? |
| work_imoaspz6djc7hbzohmmncaiyy4 | To what end? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Was it Boscovitch who found out that bodies never come in contact? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Was she a creature without faith and without conscience? |
| work_imoaspz6djc7hbzohmmncaiyy4 | What are this figure ’s invariantly resistant traits? |
| work_imoaspz6djc7hbzohmmncaiyy4 | What did I mean by “ global America ”? |
| work_imoaspz6djc7hbzohmmncaiyy4 | What does it matter that the mate- rial and cultural resources of the emerging post/ human imagination be more( rather than less) equally distributed? |
| work_imoaspz6djc7hbzohmmncaiyy4 | What else was the meaning of that horrible blankness and deadness that quenched the light in her eyes and stole the smile from her lips? |
| work_imoaspz6djc7hbzohmmncaiyy4 | What is that, you say? |
| work_imoaspz6djc7hbzohmmncaiyy4 | What is the dynamic component of it? |
| work_imoaspz6djc7hbzohmmncaiyy4 | What precedents can we raise for this momentous union? |
| work_imoaspz6djc7hbzohmmncaiyy4 | What then? |
| work_imoaspz6djc7hbzohmmncaiyy4 | What then? |
| work_imoaspz6djc7hbzohmmncaiyy4 | What, more specifically, then, is this reading? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Who cares? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Who is human? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Why is this significant? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Why not? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Why such postponement? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Why “ levity, ” and what is its relationship to Jamesian jouissance? |
| work_imoaspz6djc7hbzohmmncaiyy4 | Why? |
| work_imoaspz6djc7hbzohmmncaiyy4 | [ I]t was shut there between them, the successive moments throbbing under it the while as the pulse of fever throbs under the doctor ’s thumb? |
| work_imoaspz6djc7hbzohmmncaiyy4 | “ Why? ” you might ask. |
| work_ptrqatik2rb7lbpzhlct52ldwe | 104 Conceding that schooling as labour dominates our practice, how do we find space for education? |
| work_ptrqatik2rb7lbpzhlct52ldwe | 109 How do we manage these perplexities? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Are Arendt ’s reflections on evil still relevant? |
| work_ptrqatik2rb7lbpzhlct52ldwe | As Arendt( 1978b) questions: “ What is it then that causes the will to will? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Could I act swiftly and resolutely, making “ good ” and just decisions? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Could I speak to and defend those decisions publicly, explaining what had happened to the boys and why? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Did she actually care about him or was she just doing her job? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Did she care enough to continue asking him to remove his hood or would she eventually give in( up) and let him wear it? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Does ethics have a chance in a world of consumers? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Education, accountability, and the ethical demand: Can the democratic potential of accountability be regained? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Eliot captured the essence of the problem of judgment that I wish to explore: Where is the Life we have lost in living? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Greene( 2001) queries: Is not learning, authentic learning, a matter of going beyond? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How can I exercise responsibility for others if I( r)eject them? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How can something that is eternal create “ new ” things when all that is has always been? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How can we find hope in the midst of such hopelessness? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How could I, and other adults, support them if we simply pushed them away? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How could anything relevant come from such aporetic thinking? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How do spiders know to make that pattern? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How do we create space in schools for the wind of thinking? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How does the concept of time even come to be? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How long will it last? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How many days should they be suspended? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How much scope do we provide for people to determine their own lives? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How was it created? |
| work_ptrqatik2rb7lbpzhlct52ldwe | How would I know they were okay, if they were not here? |
| work_ptrqatik2rb7lbpzhlct52ldwe | I did not feel good about following the expected course of action, but what was the “ right ” thing to do? |
| work_ptrqatik2rb7lbpzhlct52ldwe | In a society that aims to be pluralist and democratic, all of these dimensions are open to debate: What counts as knowledge? |
| work_ptrqatik2rb7lbpzhlct52ldwe | In sum, what resources help determine the goodness of a community? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Is it not an exploration generated by wonder, curiosity, open questions? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Is it not the case that learning really begins when people begin teaching themselves? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Is there not always a drive to reach beyond what is deliberately taught? |
| work_ptrqatik2rb7lbpzhlct52ldwe | On what basis? |
| work_ptrqatik2rb7lbpzhlct52ldwe | On what basis? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Or is it being done ultimately because it will be measured or compared? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Or would she get so frustrated that she would impose punitive consequences( as Freddy would expect)? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Or would she understand that Freddy needed to have that interaction with her each morning? |
| work_ptrqatik2rb7lbpzhlct52ldwe | To begin with, how might educators even be sure about what a child ’s “ best interests ” might be? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Was the web here yesterday and we did not notice it? |
| work_ptrqatik2rb7lbpzhlct52ldwe | We need to ask ourselves more frequently, “ are we doing this because it is important, because we believe in it, because it is worthwhile? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What bright scale fell and left this needle quivering? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What counts as action in educational research? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What do you see? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What does it mean to do the right thing? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What does it mean to listen to a voice before it is spoken? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What happens when that society is Nazi Germany and virtue centres on loyalty to the Führer? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What if I did not suspend them? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What is worthwhile knowledge? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What kind of spider built it? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What leads some to value and develop inner plurality and conscience while others rely on external rules and maxims to guide their behaviour? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What loaded balances have come to grief? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What makes some follow without question while others are ‘ filled with obstacles ’? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What prompts us to act when our bannisters have collapsed or failed? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What sets the will in motion ”( p. 89)? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What then do we do with them? |
| work_ptrqatik2rb7lbpzhlct52ldwe | What were the alternatives? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Where is the knowledge we have lost in information? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Where is the spider? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Where is the wisdom we have lost in knowledge? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Who decides? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Who gets to decide what is “ best ”? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Who is suspension really for? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Why do we educate? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Why do we educate? |
| work_ptrqatik2rb7lbpzhlct52ldwe | Worldlessness and wordlessness: how might we talk about teacher education in a fractured world? |
| work_ptrqatik2rb7lbpzhlct52ldwe | [ How do we demand] that human beings be capable of telling right from wrong even when all they have to guide them is their own judgment? |
| work_ptrqatik2rb7lbpzhlct52ldwe | “ Why then should taste … be elevated to and become the vehicle of the mental faculty of judgment? |
| work_ptrqatik2rb7lbpzhlct52ldwe | “ Why? — what is the cause?—is suggested by the will because the will experiences itself as a causative agent. |
| work_epvsrtmnfzadbdob3jqjc7ix7a | 10 T i n d a l l, i n d i s c u s s i n g t h i s q u e s t i o n, makes a more dangerous observation? work_epvsrtmnfzadbdob3jqjc7ix7a ( CP 196) Pears hang i n d i v i d u a l l y, l i k e apples; i s there one l e a f or two? work_epvsrtmnfzadbdob3jqjc7ix7a ( NA 5 6- 5?) work_epvsrtmnfzadbdob3jqjc7ix7a ...But He comes i n some other song, I hope?" |
| work_epvsrtmnfzadbdob3jqjc7ix7a | 114- 1?. |
| work_epvsrtmnfzadbdob3jqjc7ix7a | 170 Coneluslon And I saw a strong angel proclaiming w i t h a loud v o i c e, who i s worthy to open the hook, and to loose the s e a l s thereof? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | 17? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | 1? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | 2 Williams''reaction was i n i t i a l l y as antagonistic as F r o s t''s 3* and as l a t e as 193? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | 2?.. |
| work_epvsrtmnfzadbdob3jqjc7ix7a | 3? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | A r c h i b l a d MacLeish, C o l l e c t e d Poems? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Alas, poor wretches, Why such a mad desire for l i g h t?" |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Are there, mandolines of northern moonlight? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Benet''s comment-"Stevens''mind dwells with v e l l e- i t l e s that may well be unimportant- but who i s to say they are? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Bernard Heringman,"The Poetry of Synthesis,"P e r s p e c t i v e, VI 1, Autumn 195^, p. 1 6? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | But he i s faced now with a decision-"At what l e v e l of the truth s h a l l he compose his poems?" |
| work_epvsrtmnfzadbdob3jqjc7ix7a | But hoxf does one f e e l? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | But i s i t? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | But what are the results of p r a c t i c a l c r i t i c i s m i n t h i s case? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | But what does"of phosphor"mean then? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Can there be the s l i g h t e s t doubt what the decision w i l l be? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Did several s p i r i t s assume a single shape? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Does not philosophy c a r r y us to a point at which there i s nothing l e f t except the imagination? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | George Santayana, The Sense of Beauty? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | His s l o u c h i n g pantaloons, beyond the town, Looking f o r what was, where i t used to be? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | How should you walk i n that space and know Nothing of the madness of space, Nothing of i t s jocular, p r o c r e a t i o n s? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | How then l i b e r a t e the concept from such an anthropomorphic hypothesis? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | I f that remains concealed, what does the bottom matter?. |
| work_epvsrtmnfzadbdob3jqjc7ix7a | I l l u s t r a t i o n? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | I wonder, have I l i v e d a skeleton''s l i f e, 53 As a d i s b e l i e v e r i n r e a l i t y, A countryman of a l l the bones i n the world? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Ik? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | It i s t h e i r own mind that creates i l l u s i o n s, Is t h i s not the greatest of a l l self- contradictions? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Macrobius 150 says? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | New York, 1956(?) |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Not to be p a r t of the sun? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Of some constant p r i n c i p l e behind the e l u s i v e metamorphoses of the n a t u r a l world as p r o f f e r e d by our senses? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | One of the l i n e s occurs i n"The Poems of Our Climate";"The imperfect i s our paradise.8? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Or did the saint survive? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Or of there being no such u n d e r l y i n g constancy to look f o r? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Shall a man go barefoot Blinking and blank? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Shawcross, London, 1 9 5 8,( 1 9 0?) |
| work_epvsrtmnfzadbdob3jqjc7ix7a | The ephebe has l e a r n e d, however, that a l l con- ceptions( except the sun?) |
| work_epvsrtmnfzadbdob3jqjc7ix7a | The verbal energy of the f i r s t? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Thus i n one of the sections of Notes Toward a Supreme Fiction? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | To stand Remote and c a l l i t m e r c i f u l? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Walter T e v i s, The Man Who F e l l to Earth, Greenwich, 1963? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | We ask i n turn: Why perplex these times, profane as they are, with need- less obscurity, by omission and by commission? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | What are the v i r g i n and her observer doing there? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | What bread does one eat? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | What i s i t that my f e e l i n g seeks? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | What r e a l l y happens i n t h i s b r i e f experience? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | What wine does one drink? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Which of these i s the best? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Who i s the central poet? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | Why are there no bears among the roses? |
| work_epvsrtmnfzadbdob3jqjc7ix7a | r e l a t i o n s- f o r where i n these extreme ranges i s the i d e n t i t y of the poet''s s e n s i b i l i t y? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Merely the effect of the epatant? |
| work_3ad4zhnt55bl5cf6q7iyypspva | The Man on the Dump versus the United Dames of America; Or, What Does Frank Lentricchia Want? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What is love? work_3ad4zhnt55bl5cf6q7iyypspva ( 199) But does the poem present the giant as entirely the young girls''creation? work_3ad4zhnt55bl5cf6q7iyypspva (Blanche McCarthy"1915- 1916?) |
| work_3ad4zhnt55bl5cf6q7iyypspva | 118*** But what, in all of this, of the letters of the young French soldier? |
| work_3ad4zhnt55bl5cf6q7iyypspva | 221 With this problem in mind, Leggett asks,"Is there a style appropriate to perspectivism?" |
| work_3ad4zhnt55bl5cf6q7iyypspva | 237 multitudinous tones/ Was name for short- shanks in all that brant? |
| work_3ad4zhnt55bl5cf6q7iyypspva | 74"the mother of beauty"in Canto V, presenting there a scene of youthful passion being impelled by a female deity of both death and desire? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Am I to pick my way Through these crickets? — I, that have a head In the bag Slung over my shoulder? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Am I to pick my way Through these crickets? — I, that have a head In the bag Slung over my shoulder? |
| work_3ad4zhnt55bl5cf6q7iyypspva | And what are we to make of closing irony of Canto I where it seems things shatter only to be made whole once again? |
| work_3ad4zhnt55bl5cf6q7iyypspva | And whom did I hate more than passing clouds, and all that stains you? |
| work_3ad4zhnt55bl5cf6q7iyypspva | But how are we to understand Stevens''bewildering image of a shadow which seems both avoidable and eternally present? |
| work_3ad4zhnt55bl5cf6q7iyypspva | But is the woman of"Sunday Morning"a figure for ideality and the"antithesis of the creative world,"of the procreative earth? |
| work_3ad4zhnt55bl5cf6q7iyypspva | But other questions also remain unanswered, such as,"does the firecat sleep with a full belly, or an empty one?" |
| work_3ad4zhnt55bl5cf6q7iyypspva | But what to make of that strange word,"incomplicate"? |
| work_3ad4zhnt55bl5cf6q7iyypspva | But what, finally, of the"voluptuousness of looking"? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Can one really interpret Stevens''"palais de justice of chambermaids"as a figure for the ideal? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Capstone or Imaginative Failure? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Could Stevens really have written his poems to belittle Lemercier? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Do you not feel the thirst and the hot breath of her love? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Does Nietzsche''s sun not recall the reader to light and air? |
| work_3ad4zhnt55bl5cf6q7iyypspva | How are we to understand this? |
| work_3ad4zhnt55bl5cf6q7iyypspva | In any case, the narrator says, chiding gently,"what can all this matter since/ The relation comes, 267 benignly, to its end?" |
| work_3ad4zhnt55bl5cf6q7iyypspva | Is it not this: To humiliate oneself in order to mortify one''s pride? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Is it not''good manners''? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Is the final couplet in Stevens''portrait of Nietzsche meant as a consummate image of solipsism? |
| work_3ad4zhnt55bl5cf6q7iyypspva | It never asks,"How to spiritualise, beautify, and deify a desire?" |
| work_3ad4zhnt55bl5cf6q7iyypspva | It remains,/ It is a repetition"( i, 15, 16- 17)? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Now while Stevens''Crispin clearly owes much to Jonson''s Crispinus, is it possible that he also owes something of a debt to Nietzsche? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Of bakers, Crispin asks,"Are they one moment flour/ Another pearl? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Or was this poem''s debt to the philosopher even looser, a response to some Nietzschean"phras[e] caught on the wind"? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Our''good society''? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Out of what swift destruction did it spring? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Such a question might appear to belong to the"how many children had Lady Macbeth?" |
| work_3ad4zhnt55bl5cf6q7iyypspva | That is, having glimpsed the headless Triton out in the waves( Zarathustra having"drawn up the head of[ this] ancient god"? |
| work_3ad4zhnt55bl5cf6q7iyypspva | The narrator then muses,"Sed quaeritur: is this same wig/ Of things, this nincompated pedagogue,/ Preceptor to the sea?" |
| work_3ad4zhnt55bl5cf6q7iyypspva | The word is striking: against what or whom was this outburst directed? |
| work_3ad4zhnt55bl5cf6q7iyypspva | To exhibit one''s folly in order to mock at one''s wisdom?" |
| work_3ad4zhnt55bl5cf6q7iyypspva | What are we to make of what seems in fact an image of downpour from the sky? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What does Crispin see? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What follows therefrom? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What is a star? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What is creation? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What is longing? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What is this"panoply,"this"caparison"? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What then did Stevens mean in framing the epigraph to"Common Soldier"in ellipsis? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What to Do,"in showing Stevens and Nietzsche to share a love of the dance? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What to make of such fulsome descriptions of deference to all manner of authority? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What was the ointment sprinkled on my beard? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What was the sea whose tide swept through me there? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What was this gaudy, gusty panoply? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What were the hymns that buzzed beside my ears? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What, for Leggett, is the status of Ubermenschlichkeit in relation to the"ideal"? |
| work_3ad4zhnt55bl5cf6q7iyypspva | What, then, are we to make of"swarm- Zz''fe"? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Where is there on earth that perpetually serene sky, which is my sky?" |
| work_3ad4zhnt55bl5cf6q7iyypspva | Who inhabited Arcady? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Who inhabited Sicily?. |
| work_3ad4zhnt55bl5cf6q7iyypspva | Why did Stevens make so free with Lemercier''s text? |
| work_3ad4zhnt55bl5cf6q7iyypspva | Why should we quarrel with human nature, with metaphor, with myth, with impersonation? |
| work_3ad4zhnt55bl5cf6q7iyypspva | [ speaks the first king]"Good manners?" |
| work_3ad4zhnt55bl5cf6q7iyypspva | replied angrily and bitterly the other king:"what then do we run out of the way of? |
| work_3ad4zhnt55bl5cf6q7iyypspva | we should find a multitude of lesser things( less but a multitude) to occupy us?" |
| work_3ad4zhnt55bl5cf6q7iyypspva | what can all this matter since The relation comes, benignly, to its end? |
| work_ey3akxayzjgadk4cym2yumlv44 | ( New York: Nornton, 1990), 113, 76 Darnton, “ What is the History of Books? ” 107- 135. |
| work_ey3akxayzjgadk4cym2yumlv44 | 107 Darnton, “''What is the History of Books?'' |
| work_ey3akxayzjgadk4cym2yumlv44 | 108 Darnton, “''What is the History of Books?'' |
| work_ey3akxayzjgadk4cym2yumlv44 | 160 about Henry VIII? |
| work_ey3akxayzjgadk4cym2yumlv44 | 3.5.2 Book or Textbook? |
| work_ey3akxayzjgadk4cym2yumlv44 | 305 Darnton, “''What is the History of Books?'' |
| work_ey3akxayzjgadk4cym2yumlv44 | 306 Darnton, “''What is the History of Books?'' |
| work_ey3akxayzjgadk4cym2yumlv44 | 381 Springgay and Rotas, “ How Do You Make a Classroom Operate like a Work of Art?, ” 554. |
| work_ey3akxayzjgadk4cym2yumlv44 | 382 Springgay and Rotas, “ How Do You Make a Classroom Operate like a Work of Art?, ” 554. |
| work_ey3akxayzjgadk4cym2yumlv44 | 453 Darnton, “ ‘ What Is the History of Books? ’ Revisited, ” 504. |
| work_ey3akxayzjgadk4cym2yumlv44 | 53 Seixas asks the question: “ what if narrative has not only an epistemological but also an ontological dimension ” in the history classroom? |
| work_ey3akxayzjgadk4cym2yumlv44 | 570 Springgay and Rotas, “ How Do You Make a Classroom Operate like a Work of Art?,"554. |
| work_ey3akxayzjgadk4cym2yumlv44 | 75 Robert Darnton, “ What Is the History of Books?, ” in The Kiss of Lamourette: Reflections in Cultural History, 1st ed. |
| work_ey3akxayzjgadk4cym2yumlv44 | 78 Darnton, What is the History of Books?, ” 135. |
| work_ey3akxayzjgadk4cym2yumlv44 | 79 Darnton, “ What is the History of Books?, ” 110. |
| work_ey3akxayzjgadk4cym2yumlv44 | 80 Robert Darnton, “ ‘ What Is the History of Books? ’ Revisited, ” Modern Intellectual History 4, no. |
| work_ey3akxayzjgadk4cym2yumlv44 | 82 Darnton, “ What is the History of Books? ’ Revisited, ” 495. |
| work_ey3akxayzjgadk4cym2yumlv44 | 83 Darnton, “ What is the History of Books? ”, 110. |
| work_ey3akxayzjgadk4cym2yumlv44 | 84 Darnton, “''What is the History of Books?'' |
| work_ey3akxayzjgadk4cym2yumlv44 | 85 Darnton, “''What is the History of Books?'' |
| work_ey3akxayzjgadk4cym2yumlv44 | 86 Darnton, “ What is the History of Books? ”, 113. |
| work_ey3akxayzjgadk4cym2yumlv44 | 89 Darnton, “''What is the History of Books?'' |
| work_ey3akxayzjgadk4cym2yumlv44 | And is it the story I would choose to tell? |
| work_ey3akxayzjgadk4cym2yumlv44 | And what of the spine? |
| work_ey3akxayzjgadk4cym2yumlv44 | And where, in the assemblage, is England Under the Tudors? |
| work_ey3akxayzjgadk4cym2yumlv44 | And who envisioned it? |
| work_ey3akxayzjgadk4cym2yumlv44 | Are there the foggy outlines of a flower in the centre, a Tudor rose perhaps? |
| work_ey3akxayzjgadk4cym2yumlv44 | But is it the right story? |
| work_ey3akxayzjgadk4cym2yumlv44 | Elton? |
| work_ey3akxayzjgadk4cym2yumlv44 | How 163 do they reach readers? |
| work_ey3akxayzjgadk4cym2yumlv44 | How did England Under the Tudors shape the historical narrative that was taught about Henry VIII? |
| work_ey3akxayzjgadk4cym2yumlv44 | How did I decide which pages to read? |
| work_ey3akxayzjgadk4cym2yumlv44 | How did I witness myself and express my individuality when I wrote in England Under the Tudors? |
| work_ey3akxayzjgadk4cym2yumlv44 | How did their materiality, in a complex interplay with their content, affect and move readers? |
| work_ey3akxayzjgadk4cym2yumlv44 | How did we formulate or co- construct a narrative as we worked with narratives of others? |
| work_ey3akxayzjgadk4cym2yumlv44 | How do books shape and change the people who read them through both material and immaterial practice? |
| work_ey3akxayzjgadk4cym2yumlv44 | How do they reach readers? |
| work_ey3akxayzjgadk4cym2yumlv44 | How might the object emerge in an untidy school, or failing school, or an independent school, or a school outside of London? |
| work_ey3akxayzjgadk4cym2yumlv44 | How was England Under the Tudors used as textbook by the teacher to inform the historical narrative that was taught about Henry VIII? |
| work_ey3akxayzjgadk4cym2yumlv44 | How was this experience particular to the conditions and situation that gave rise to it? |
| work_ey3akxayzjgadk4cym2yumlv44 | If I used the book in another school would I have felt the need to witness myself and make a feminist point? |
| work_ey3akxayzjgadk4cym2yumlv44 | Is there some faint, illegible writing underneath the same would- be coat of arms in the top left corner? |
| work_ey3akxayzjgadk4cym2yumlv44 | Is this even really about children? |
| work_ey3akxayzjgadk4cym2yumlv44 | Is this surprising? |
| work_ey3akxayzjgadk4cym2yumlv44 | Or Does Postmodern History Have a Place in the Schools?" |
| work_ey3akxayzjgadk4cym2yumlv44 | Or Does Postmodern History Have a Place in the Schools?, ” in Knowing, Teaching and Learning History: National and Intellectual Perspectives, ed. |
| work_ey3akxayzjgadk4cym2yumlv44 | Or a water stain? |
| work_ey3akxayzjgadk4cym2yumlv44 | Or is it just the bright, spring light of the English countryside hitting the scruffy plastic at a particular angle? |
| work_ey3akxayzjgadk4cym2yumlv44 | Perhaps it is the remnants of a well- worn fold in the original map? |
| work_ey3akxayzjgadk4cym2yumlv44 | Published in 1967 this is usually read as a response to E.H. Carr ’s What is History? |
| work_ey3akxayzjgadk4cym2yumlv44 | Publishers at Routledge? |
| work_ey3akxayzjgadk4cym2yumlv44 | The “ rough wooing ” did not work but war with France started in 1544( yes, but how do these things connect to each other?) |
| work_ey3akxayzjgadk4cym2yumlv44 | These ideas also mirror, 380 Stephanie Springgay and Nikki Rotas, “ How Do You Make a Classroom Operate like a Work of Art? |
| work_ey3akxayzjgadk4cym2yumlv44 | Was Cromwell ’s goal a doxic aspiration? |
| work_ey3akxayzjgadk4cym2yumlv44 | Was Elton following the mantra of “ if you work hard you can attain your dream ” by burying himself in the archives? |
| work_ey3akxayzjgadk4cym2yumlv44 | Was the book ’s destiny decided before it arrived in my classroom? |
| work_ey3akxayzjgadk4cym2yumlv44 | Were the leadership team ruthless and lacking in mercy but because they felt their mission was justified? |
| work_ey3akxayzjgadk4cym2yumlv44 | What are the material qualities of England Under the Tudors as a textual artefact? |
| work_ey3akxayzjgadk4cym2yumlv44 | What are the material qualities of England Under the Tudors as a textual artefact? |
| work_ey3akxayzjgadk4cym2yumlv44 | What do readers make of them? |
| work_ey3akxayzjgadk4cym2yumlv44 | What has this understanding of the history textbook shown us? |
| work_ey3akxayzjgadk4cym2yumlv44 | What intellectual influences were at work as lines of forces creating this set of relations? |
| work_ey3akxayzjgadk4cym2yumlv44 | What was England Under the Tudors ’ role in this? |
| work_ey3akxayzjgadk4cym2yumlv44 | What was the desired destiny for this copy of England Under the Tudors? |
| work_ey3akxayzjgadk4cym2yumlv44 | What were the conditions of arrival and conditions of use of England Under the Tudors in the classroom? |
| work_ey3akxayzjgadk4cym2yumlv44 | What were the conditions of arrival, and conditions of use, of England Under the Tudors in the classroom? |
| work_ey3akxayzjgadk4cym2yumlv44 | Why leave your classroom at all if everything is provided for you there? |
| work_ey3akxayzjgadk4cym2yumlv44 | Why would there be? |
| work_ey3akxayzjgadk4cym2yumlv44 | Would the conditions of arrival of the book have had the same pomp and splendour as it received in this school? |
| work_ey3akxayzjgadk4cym2yumlv44 | “ How Do You Make a Classroom Operate like a Work 178 of Art? |
| work_ey3akxayzjgadk4cym2yumlv44 | “ What Is the History of Books? ” In The Kiss of Lamourette: Reflections in Cultural History, 1st ed., 107 – 135. |
| work_ey3akxayzjgadk4cym2yumlv44 | “ ‘ What Is the History of Books? ’ Revisited. ” Modern Intellectual History 4, no. |
| work_rlncehiymneivk2tz4osco76x4 | ( Joan pauses) Would n''t it be amazing if there was such a notion as a common and universal good? |
| work_rlncehiymneivk2tz4osco76x4 | ( Joanne moves back toward the couches, carrying coffee and mugs, Sally gets up to help her) J O A N N E: Coffee? |
| work_rlncehiymneivk2tz4osco76x4 | 102 J O A N N E( interrupting with emphasis) How do you decide then what is good or right? |
| work_rlncehiymneivk2tz4osco76x4 | 20. Who is your inner judge? |
| work_rlncehiymneivk2tz4osco76x4 | 20. Who is your inner judge? |
| work_rlncehiymneivk2tz4osco76x4 | 40 Clandinin and Connelly( 2000) pose the question,"what does narrative inquiry help us learn about our phenomenon that other theories do not?" |
| work_rlncehiymneivk2tz4osco76x4 | After my supervisor read the play she made a simple suggestion,"why not call this meaning maker character Joan?" |
| work_rlncehiymneivk2tz4osco76x4 | Are they all asking;"What do I love when I love my God?" |
| work_rlncehiymneivk2tz4osco76x4 | Are you afraid to articulate your inner life to the academy? |
| work_rlncehiymneivk2tz4osco76x4 | Are you afraid to articulate your inner life to the academy? |
| work_rlncehiymneivk2tz4osco76x4 | Be in relationship with? |
| work_rlncehiymneivk2tz4osco76x4 | Can you make a comment on this? |
| work_rlncehiymneivk2tz4osco76x4 | Can you make a comment on this? |
| work_rlncehiymneivk2tz4osco76x4 | Cookies, soda anyone? |
| work_rlncehiymneivk2tz4osco76x4 | Dialogue about?" |
| work_rlncehiymneivk2tz4osco76x4 | Do you believe in a universal good and if so how do you decide what is good? |
| work_rlncehiymneivk2tz4osco76x4 | Do you believe in a universal good and if so, how do you decide what is good? |
| work_rlncehiymneivk2tz4osco76x4 | Do you pray? |
| work_rlncehiymneivk2tz4osco76x4 | Do you pray? |
| work_rlncehiymneivk2tz4osco76x4 | Does it reside in the inner life? |
| work_rlncehiymneivk2tz4osco76x4 | Does you inner life sustain you? |
| work_rlncehiymneivk2tz4osco76x4 | Does your inner life sustain you? |
| work_rlncehiymneivk2tz4osco76x4 | For example, the notion of social justice that arose in the study; is this a theme that resides broadly in public education leadership? |
| work_rlncehiymneivk2tz4osco76x4 | Harry: Yes Kevin:( overhearing) You mean that thing she is doing on the inner life and leadership? |
| work_rlncehiymneivk2tz4osco76x4 | Have I changed doing this inquiry? |
| work_rlncehiymneivk2tz4osco76x4 | Hey, how did I get back out here, starting over pushing a fully loaded train up the hill...? |
| work_rlncehiymneivk2tz4osco76x4 | How did this inner life form? |
| work_rlncehiymneivk2tz4osco76x4 | How did this inner life form? |
| work_rlncehiymneivk2tz4osco76x4 | How do poetry, art and theatre offer richness to the educating of public education leaders? |
| work_rlncehiymneivk2tz4osco76x4 | How do you articulate your inner life with your colleagues and/or the academy? |
| work_rlncehiymneivk2tz4osco76x4 | How do you articulate your inner life with your colleagues and/or the academy? |
| work_rlncehiymneivk2tz4osco76x4 | How does a privileged or underprivileged background play into your inner life? |
| work_rlncehiymneivk2tz4osco76x4 | How does a privileged or underprivileged background play into your inner life? |
| work_rlncehiymneivk2tz4osco76x4 | How does the inner life influence leadership? |
| work_rlncehiymneivk2tz4osco76x4 | How does your inner life grow or mature? |
| work_rlncehiymneivk2tz4osco76x4 | How does your inner life grow or mature? |
| work_rlncehiymneivk2tz4osco76x4 | How does your inner life influence how you lead? |
| work_rlncehiymneivk2tz4osco76x4 | How does your inner life influence how you lead? |
| work_rlncehiymneivk2tz4osco76x4 | How does your inner life influence leadership in everyday leadership situations? |
| work_rlncehiymneivk2tz4osco76x4 | How does your inner life influence leadership in everyday leadership situations? |
| work_rlncehiymneivk2tz4osco76x4 | How does your inner life influence you every day? |
| work_rlncehiymneivk2tz4osco76x4 | How does your inner life influence you everyday? |
| work_rlncehiymneivk2tz4osco76x4 | How? |
| work_rlncehiymneivk2tz4osco76x4 | How? |
| work_rlncehiymneivk2tz4osco76x4 | I wanted to answer two key questions: 1) What is the meaning of the inner life as defined by the education leaders in the study? |
| work_rlncehiymneivk2tz4osco76x4 | If so, where does their God reside? |
| work_rlncehiymneivk2tz4osco76x4 | Is Bickford saying that in listening and dialogue, and Greene in possibility they have already found out what or who their God is? |
| work_rlncehiymneivk2tz4osco76x4 | Is this meaning found in your inner life? |
| work_rlncehiymneivk2tz4osco76x4 | Is this meaning found in your inner life? |
| work_rlncehiymneivk2tz4osco76x4 | Is your inner life the servant or the master of your leadership? |
| work_rlncehiymneivk2tz4osco76x4 | Is your inner life the servant or the master of your leadership? |
| work_rlncehiymneivk2tz4osco76x4 | It brought the issues of"why this research?" |
| work_rlncehiymneivk2tz4osco76x4 | It sure makes you think about things...( drifts off) Hey, are you one of Joan''s subjects for her doctorate? |
| work_rlncehiymneivk2tz4osco76x4 | It was one of the questions that I asked leaders: How do you articulate the inner life to your colleagues or the academy? |
| work_rlncehiymneivk2tz4osco76x4 | J O A N N E:( quizzically) Did Joan ask all of you about the inner life being the master or servant of your inner life? |
| work_rlncehiymneivk2tz4osco76x4 | K E V I N: Anyone else need sugar? |
| work_rlncehiymneivk2tz4osco76x4 | KEVIN: That is if we ever get off this island, what has it been — four hours? |
| work_rlncehiymneivk2tz4osco76x4 | Rollercoaster, how could I ever find a better metaphor for post- secondary leadership? |
| work_rlncehiymneivk2tz4osco76x4 | S A L L Y:( picks up the stone from the coffee table) HARRY:( moving closer to Sally) What? |
| work_rlncehiymneivk2tz4osco76x4 | SALLY: Yes, lam, are you? |
| work_rlncehiymneivk2tz4osco76x4 | So what is this"possibility"? |
| work_rlncehiymneivk2tz4osco76x4 | So, does it matter if you can describe it or not? |
| work_rlncehiymneivk2tz4osco76x4 | The questions guiding this exploration are what is the inner life of leaders and how does that inner life influence their leadership? |
| work_rlncehiymneivk2tz4osco76x4 | What causes this fear? |
| work_rlncehiymneivk2tz4osco76x4 | What causes this fear? |
| work_rlncehiymneivk2tz4osco76x4 | What gives your leadership meaning? |
| work_rlncehiymneivk2tz4osco76x4 | What gives your leadership meaning? |
| work_rlncehiymneivk2tz4osco76x4 | What inner conditions need to exist for individuals to undertake this form of democratic action? |
| work_rlncehiymneivk2tz4osco76x4 | What internal leadership views allow leaders to work across these issues with integrity and hope? |
| work_rlncehiymneivk2tz4osco76x4 | What is it that we as leaders believe our inner lives to be and how does that inner life form and inform how we lead? |
| work_rlncehiymneivk2tz4osco76x4 | What is the intrinsic motivation for being a change leader? |
| work_rlncehiymneivk2tz4osco76x4 | What is the meaning of the inner life as defined by the education leaders in the study? |
| work_rlncehiymneivk2tz4osco76x4 | What island is this anyway? |
| work_rlncehiymneivk2tz4osco76x4 | What role does humility play in your inner life? |
| work_rlncehiymneivk2tz4osco76x4 | What role does humility play in your inner life? |
| work_rlncehiymneivk2tz4osco76x4 | What sustains you in your leadership? |
| work_rlncehiymneivk2tz4osco76x4 | What sustains you in your leadership? |
| work_rlncehiymneivk2tz4osco76x4 | What would motivate one to undertake to listen? |
| work_rlncehiymneivk2tz4osco76x4 | What would remain silent and what would find its way onto the page along with the findings of the research? |
| work_rlncehiymneivk2tz4osco76x4 | When do you feel''real''as a leader? |
| work_rlncehiymneivk2tz4osco76x4 | When do you feel''real''as a leader? |
| work_rlncehiymneivk2tz4osco76x4 | When you think about your inner life, what period in your life do you go to? |
| work_rlncehiymneivk2tz4osco76x4 | When you think about your inner life, what period in your life do you go to? |
| work_rlncehiymneivk2tz4osco76x4 | Where is the pilot, still out at the helicopter? |
| work_rlncehiymneivk2tz4osco76x4 | Who/ What, nurtures your inner life? |
| work_rlncehiymneivk2tz4osco76x4 | Who/ What, nurtures your inner life? |
| work_rlncehiymneivk2tz4osco76x4 | Why is it that leaders bother to attempt the change at all? |
| work_rlncehiymneivk2tz4osco76x4 | Would the 154 generational aspect influence how the inner life was described or how it influenced leadership? |
| work_rlncehiymneivk2tz4osco76x4 | a deeply spiritual place P- a place of universal values What words/ metaphors/ concepts would you use to describe your inner life? |
| work_rlncehiymneivk2tz4osco76x4 | and 2) How does the inner life influence leadership? |
| work_rlncehiymneivk2tz4osco76x4 | how does a privileged, or underprivileged, background play into your inner life?). |
| work_rlncehiymneivk2tz4osco76x4 | if you were to choose one story what would it be? |
| work_rlncehiymneivk2tz4osco76x4 | jmcb 5"we have come to confuse control with order"( p. 24) and"what if we stopped looking for control and began, in earnest, the search for order? |
| work_yqi3blf4crgyrdmhtnskashyju | 23 Why is there a need for structure for the act of making in the studio? |
| work_yqi3blf4crgyrdmhtnskashyju | 43 However, the question remains, how does one come to understand meaning? |
| work_yqi3blf4crgyrdmhtnskashyju | 55 Day Thirty- Seven Living Inquiry, Processes of Thinking How does one best document processes of thinking? |
| work_yqi3blf4crgyrdmhtnskashyju | A constant question in my head while painting is, “ what if? ” What if I do this, what if I change that, what if I add that? |
| work_yqi3blf4crgyrdmhtnskashyju | A constant question in my head while painting is, “ what if? ” What if I do this, what if I change that, what if I add that? |
| work_yqi3blf4crgyrdmhtnskashyju | And anyway, what ’s wrong with Maybe? |
| work_yqi3blf4crgyrdmhtnskashyju | And when does the party end? |
| work_yqi3blf4crgyrdmhtnskashyju | Bolt asks the question, “ If a painting comes to perform rather than merely represent some other thing, what is happening? ”( Bolt, 2004, p. 43). |
| work_yqi3blf4crgyrdmhtnskashyju | But how does one come to know the importance of learning as a lifelong journey? |
| work_yqi3blf4crgyrdmhtnskashyju | But in further thinking, I really did not, for how could I? |
| work_yqi3blf4crgyrdmhtnskashyju | Day Fifteen Aliveness What does it mean for bodies to be alive? |
| work_yqi3blf4crgyrdmhtnskashyju | Does an artwork have pointed moments of aliveness? |
| work_yqi3blf4crgyrdmhtnskashyju | Does this matter, and whom does this work benefit? |
| work_yqi3blf4crgyrdmhtnskashyju | Further, how does material engagement inform written inquiry? |
| work_yqi3blf4crgyrdmhtnskashyju | Her question is one that is relevant to the creative process, for how does one follow the creative impulse to what they do not know? |
| work_yqi3blf4crgyrdmhtnskashyju | How am I a part of the problem and in what ways can I help? |
| work_yqi3blf4crgyrdmhtnskashyju | How can I continue to make whilst there is suffering around me? |
| work_yqi3blf4crgyrdmhtnskashyju | How can mastery be thought of with materials that assert themselves? |
| work_yqi3blf4crgyrdmhtnskashyju | How can this be thought of in relation to the way one thinks through making? |
| work_yqi3blf4crgyrdmhtnskashyju | How can we carry on this way of living hopefully despite our circumstances? |
| work_yqi3blf4crgyrdmhtnskashyju | How can we resist this tendency to forget the importance of making as we leave childhood? |
| work_yqi3blf4crgyrdmhtnskashyju | How can we, as inhabitants of Earth, join in its formative processes to offer help to the Earth 65 rather than harm? |
| work_yqi3blf4crgyrdmhtnskashyju | How do we learn from hindsight? |
| work_yqi3blf4crgyrdmhtnskashyju | How do we see Earth ’s rejection of some materials? |
| work_yqi3blf4crgyrdmhtnskashyju | How does keeping a distance from the work alter the trajectory of it? |
| work_yqi3blf4crgyrdmhtnskashyju | How does making help the reality of the horrible atrocities that occur every day in the world? |
| work_yqi3blf4crgyrdmhtnskashyju | How does remaining close hide what is revealed at a distance? |
| work_yqi3blf4crgyrdmhtnskashyju | How does the act of making also, like looking at an artwork, cause one to notice themselves as present? |
| work_yqi3blf4crgyrdmhtnskashyju | How is our way of noticing limited, what do we miss, what do we pay attention to? |
| work_yqi3blf4crgyrdmhtnskashyju | How many had fallen while we stood watching? |
| work_yqi3blf4crgyrdmhtnskashyju | How will I know how to respond? |
| work_yqi3blf4crgyrdmhtnskashyju | How would society change if students were taught to seek after conditions of freedom rather than only a higher position of academic excellence? |
| work_yqi3blf4crgyrdmhtnskashyju | How would this affect the way students engage with their education? |
| work_yqi3blf4crgyrdmhtnskashyju | However, this beginning and end are ambiguous, when does the painting begin and when does it end? |
| work_yqi3blf4crgyrdmhtnskashyju | I wonder how then we can notice ourselves in relation to material and environment? |
| work_yqi3blf4crgyrdmhtnskashyju | I ’ve wondered often, how do I continue my creative work amidst the demands of mothering? |
| work_yqi3blf4crgyrdmhtnskashyju | I ’ve wondered, what does poetry know that painting also knows? |
| work_yqi3blf4crgyrdmhtnskashyju | In what ways do modes of learning stifle growth by discouragement and lack of belief in the potential of students? |
| work_yqi3blf4crgyrdmhtnskashyju | In what ways is mastery a misleading word, as it seems to imply dominance over, rather than a corresponding with? |
| work_yqi3blf4crgyrdmhtnskashyju | In what ways must education be framed so that the arts are not seen as an extracurricular? |
| work_yqi3blf4crgyrdmhtnskashyju | Is it not possible to communicate with other ways, other mediums of communication? |
| work_yqi3blf4crgyrdmhtnskashyju | Kind asks the question, “ What if materials shape us as much as we shape them? ”( Kind et al., 2017, p. 4). |
| work_yqi3blf4crgyrdmhtnskashyju | Kind( 2017) asks, What if humans ’ role in shaping materials is not as central as we believe? |
| work_yqi3blf4crgyrdmhtnskashyju | Methodology- The How? |
| work_yqi3blf4crgyrdmhtnskashyju | My curiosity throughout all of this has been, how am I changing? |
| work_yqi3blf4crgyrdmhtnskashyju | One may ask, why does this matter? |
| work_yqi3blf4crgyrdmhtnskashyju | One ’s way of responding to an artwork is worth paying careful attention to, by asking what does the artwork do to you? |
| work_yqi3blf4crgyrdmhtnskashyju | Or do they? |
| work_yqi3blf4crgyrdmhtnskashyju | Or is the mothering the real work? |
| work_yqi3blf4crgyrdmhtnskashyju | Or, perhaps, the collecting of moments and fragments with the desire to bring them together somehow? |
| work_yqi3blf4crgyrdmhtnskashyju | Over time, what message does this teach children? |
| work_yqi3blf4crgyrdmhtnskashyju | Own Photo Day Twenty- Seven 46 Writing and Painting, Reading Why is it that the writing feels more important than the painting? |
| work_yqi3blf4crgyrdmhtnskashyju | Rather than being overlooked, what if children were encouraged to share their ideas with consideration, respect and love for others? |
| work_yqi3blf4crgyrdmhtnskashyju | So why endure the process of losing ourselves? |
| work_yqi3blf4crgyrdmhtnskashyju | Solnit( 2005) also asks a similar question when saying, How do you calculate upon the unforeseen? |
| work_yqi3blf4crgyrdmhtnskashyju | Stopa utilized Bradford ’s point to question: is it necessary that art engage contemporary societal issues? |
| work_yqi3blf4crgyrdmhtnskashyju | The question then becomes, where does the educator fit in all of 51 this? |
| work_yqi3blf4crgyrdmhtnskashyju | The wonderment of what will fill this space, what will cover the surface and how will I arrive there? |
| work_yqi3blf4crgyrdmhtnskashyju | Therefore, how could a mother overlook this part of self in lieu of making things? |
| work_yqi3blf4crgyrdmhtnskashyju | What about my decisions do I accept or when do I reject and make over? |
| work_yqi3blf4crgyrdmhtnskashyju | What about the materials generated by human hands that the earth can not absorb back into itself? |
| work_yqi3blf4crgyrdmhtnskashyju | What are these students hoping to get from me, from this experience? |
| work_yqi3blf4crgyrdmhtnskashyju | What causes or leads to the decisions that I make in the paintings? |
| work_yqi3blf4crgyrdmhtnskashyju | What constitutes a good or bad decision in the studio? |
| work_yqi3blf4crgyrdmhtnskashyju | What could it mean to dance at the heart of living? |
| work_yqi3blf4crgyrdmhtnskashyju | What could it mean to live a curriculum of love and a community of hope fueled by a prophetic imagination? |
| work_yqi3blf4crgyrdmhtnskashyju | What does looking provide to the process of making? |
| work_yqi3blf4crgyrdmhtnskashyju | What happens in a child ’s heart when their courage to share is silenced? |
| work_yqi3blf4crgyrdmhtnskashyju | What if a child was encouraged to follow the inclination to share, to be vocal and to record their ideas, thoughts, and creations? |
| work_yqi3blf4crgyrdmhtnskashyju | What if art schools enabled students to leave with a sense of passion, rather than a fear of what they lack? |
| work_yqi3blf4crgyrdmhtnskashyju | What if materials shape us as much as we shape them? |
| work_yqi3blf4crgyrdmhtnskashyju | What if the classroom is meant to orientate students outward, recognizing the potential for learning outside of it in a living inquiry? |
| work_yqi3blf4crgyrdmhtnskashyju | What if this willingness, practiced in the experience with art, was present in circumstances where perspectives differ? |
| work_yqi3blf4crgyrdmhtnskashyju | What kind of habits do we cultivate in our lives that develop a sense for the things we love most? |
| work_yqi3blf4crgyrdmhtnskashyju | What possibilities are present when we think about materials as concepts? |
| work_yqi3blf4crgyrdmhtnskashyju | What propels one to the journey of self- discovery? |
| work_yqi3blf4crgyrdmhtnskashyju | What value does an engaged and destabilized perception offer to self and society? |
| work_yqi3blf4crgyrdmhtnskashyju | What would 115 happen if students were indoctrinated in the language of love and freedom rather than domination( hooks, 2003, p. 92)? |
| work_yqi3blf4crgyrdmhtnskashyju | What would happen if I purposefully remain close and resist the urge to keep my distance? |
| work_yqi3blf4crgyrdmhtnskashyju | When does the painting end? |
| work_yqi3blf4crgyrdmhtnskashyju | Where are the places we have never been before? |
| work_yqi3blf4crgyrdmhtnskashyju | Where does the motivation come from to bring meaning to our experiences? |
| work_yqi3blf4crgyrdmhtnskashyju | Where is painting now? |
| work_yqi3blf4crgyrdmhtnskashyju | Where next? |
| work_yqi3blf4crgyrdmhtnskashyju | While thinking about the perdurance of an artwork, the way that an artwork endures time, I wonder, how does a painting come alive? |
| work_yqi3blf4crgyrdmhtnskashyju | Why do we search for deeper understanding of the creative process of ourselves and others? |
| work_yqi3blf4crgyrdmhtnskashyju | Why does one feel the need to make sense of things? |
| work_yqi3blf4crgyrdmhtnskashyju | With these realities of encountering a work of art one could ask, why is it important that one notice themselves as well as notice their surroundings? |
| work_yqi3blf4crgyrdmhtnskashyju | acquiring the support? |
| work_yqi3blf4crgyrdmhtnskashyju | ‘ Before her time? ’ Lily Briscoe and painting now. |
| work_yqi3blf4crgyrdmhtnskashyju | ‘ Poetry is a way of knowing and being and becoming. ’ Becoming human? |
| work_yqi3blf4crgyrdmhtnskashyju | ‘ What does it mean to be human? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Do you t h i n k t h i s i s a good l i f e? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Hyperactive Ho- hum? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | I can l o v e you i n s p i t e of —Do I_ want to be l o v e d i n s p i t e o f? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | I wanted to be a p a i n t e r,says the n a r r a t o r of"See the Moon? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Or i s 1 8 3 i t j u s t... c a r p e t? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Out of what shadows does she come? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | What remains? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Where i s the f i g u r e i n the c a r p e t? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Who i s Sarah? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Whose Side Are You On? work_ojwhhx4m4jdb3hxf4xfjllecxy You s t i l l b e l i e v e i n s a i n t s?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | ( 27) Donald Barthelme,"Will You Tell Me?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | () L i e down? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | () S i t? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | ... And today? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | 1 1( 63) Joe Goldberg,"Hyperactive Ho- hum?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | 149 t h a t''s chaos can you produce chaos? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | 7) I no longer know where I am, what i s t h i s country? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | 79 P e r c e p t i o n and imagination? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | ? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | A program d i r e c t o r d e t a i l s the r a t i o n a l e of Who Am I? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | According to one n a r r a t o r,"Fragments are the o n l y form I t r u s t"("See the Moon?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | And he j o i n e d us, here i n the i m b r o g l i o("See the Moon?. |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | And i f he d i d, was i t r e a l l y as s i l l y as a l l t h a t? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Are n''t there important p a r t s of a l l us which must be, so to say, gazed past? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Are the seven men, i n your view, adequately characterized as individuals? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | At the station pond? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Barthelme as an avant garde a e s t h e t i c i a n-- w h a t c o u l d be more de r i g u e u r i n the s e v e n t i e s? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Borges appears i n person i n the r a i l r o a d c a r but i s t h i s the r e a l Borges? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | But a r e n''t we a l l, to some degree? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | But need the author be so r e t i r i n g? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Cohesive s t r a t e g y i s i m p o s s i b l e:"What i s-the s i t u a t i o n?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Did Krug r e a l l y glance a t> the prepared speech? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Do n''t you t h i n k t h a t would save time?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Do these i d e a s i n the program d i r e c t o r''s mind come from a l i f e- time o f Kierkegaard s c h o l a r s h i p? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Do you f e e l that the creation of new modes of hysteria i s a viable undertaking for the a r t i s t of today? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Do you l i k e the story so far? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Do you stand up when you read? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Do you? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Does Snow White resemble the Snow White you remember? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Does anyone? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | For example, Who wrote the poem, Pale F i r e? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | From an i n t u i t i v e understanding of the degraded depths of the human heart? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Has the work, f o r you, a metaphysical dimension? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | How should he know what should be i n c l u d e d i n h i s s t o r y? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | I mean you to your home, me to my home, a l l those o t h e r s to t h e i r own homes, c e l l s, cages? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | I s n''t t h a t an a c t o f communication? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | I suppose, the Father Serpent s a i d, t h a t the boon you wish granted i s the a b i l i t y to c a r r y out t h i s f o u l n e s s? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | I t may be c l e v e r but i s i t worth the t r o u b l e?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | In the further development of the story, would you l i k e more emotion() or less emotion()? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | In"See the Moon?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | May I come to your house? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Nabokov was asked,"Do you make a p o i n t of p u z z l i n g people and p l a y i n g 8 games w i t h readers? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Of course, I s a i d, what e l s e? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Or f o r f e a r of b o r i n g you: which? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Or f o r f e a r of b o r i n g you: which? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Or perhaps i n some other way? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Or, f o r g i v e me,''r e a l i t y''?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Q: Of S c h l e g e l? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | See him? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | T e l l me, B o r g e s, what i n t h e w o r l d c a n y o u know a b o u t h o o d l u m s?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | The n a r r a t o r of"See the Moon?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | The narrator''s troubled musings about the narrative rules( Is the novel a concealed book of essays, a disguised autobiography, a game?) |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | The night before Sonny had played his l a s t game of f o o t b a l l 16 A l l r i g h t, but how do you begin, what words do you use? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Thus?. |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | What does i t look l i k e, t h i s something b e t t e r? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | What gave us the i d e a t h a t t h e r e was something b e t t e r? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | What i s i t( twenty- five words or less)? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | What made us t h i n k we c o u l d escape t h i n g s l i k e bankruptcy, a l c o h o l i s m, being d i s a p p o i n t e d, having c h i l d r e n? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | What w i l l you do?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | What was the a l t e r n a t i v e?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | What would Barthes make of the f o l l o w i n g passage from"The Glass Mountain"? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | When a man w r i t e s he f e e l s r a t h e r 12 l o n e l y, and then he has to keep h i s s p i r i t s up, no?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Where d i d t h a t s u l k y n o t i o n come from? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Who Am I? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Who i s he? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Why have we been thrown here, and abandoned? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | Why, asks the bemused reader, i s the n a r r a t o r so i n s u l t i n g? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | You need n''t s h r i n k("See the Moon?" |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | that Paul i s the prince- figure? |
| work_ojwhhx4m4jdb3hxf4xfjllecxy | the present.-work, on a scale of one to ten, so far? |
| work_xdoebvg2xjdothtumetvtrbxyi | ! ” and he said, “ Yes, you love it? |
| work_xdoebvg2xjdothtumetvtrbxyi | 151 you kidding me? |
| work_xdoebvg2xjdothtumetvtrbxyi | 2) How do you get your instruments? |
| work_xdoebvg2xjdothtumetvtrbxyi | 4) Are there a lot of metal fans in Iran? |
| work_xdoebvg2xjdothtumetvtrbxyi | 5) How does your Persian culture and language influence your music composition? |
| work_xdoebvg2xjdothtumetvtrbxyi | 6) How has the internet affected metal in Iran? |
| work_xdoebvg2xjdothtumetvtrbxyi | 7) How does metal fit with Islam? |
| work_xdoebvg2xjdothtumetvtrbxyi | 78 3) How is metal perceived in Iran? |
| work_xdoebvg2xjdothtumetvtrbxyi | 8) Where do you practice? |
| work_xdoebvg2xjdothtumetvtrbxyi | 9) Where do you see metal in Iran in five years? |
| work_xdoebvg2xjdothtumetvtrbxyi | 9: Death- fuse band is not complete, not news from them and … 13: Why? |
| work_xdoebvg2xjdothtumetvtrbxyi | Are there tattoo artists? |
| work_xdoebvg2xjdothtumetvtrbxyi | But ten years ago there is no shopping, buy instrument, there is no drum set, there is no guitar, there is no everything, understand? |
| work_xdoebvg2xjdothtumetvtrbxyi | CHAPTER 9 ANALYSIS: METALHEADS IN IRAN Are there a lot of metalheads in Iran? |
| work_xdoebvg2xjdothtumetvtrbxyi | Do they disappear? |
| work_xdoebvg2xjdothtumetvtrbxyi | Do you ever perform for an audience? |
| work_xdoebvg2xjdothtumetvtrbxyi | Do you guys ask Sepultura or Air or Bjork why they do n’t sing in their native tongue? |
| work_xdoebvg2xjdothtumetvtrbxyi | Do you use any Persian rhythms or scales? |
| work_xdoebvg2xjdothtumetvtrbxyi | Do you use any traditional Persian instruments? |
| work_xdoebvg2xjdothtumetvtrbxyi | Elnaz: Why not DC? |
| work_xdoebvg2xjdothtumetvtrbxyi | Frail Life What have I done? |
| work_xdoebvg2xjdothtumetvtrbxyi | He wrote “ Roots? |
| work_xdoebvg2xjdothtumetvtrbxyi | How did you learn to play them? |
| work_xdoebvg2xjdothtumetvtrbxyi | How do you maintain them( strings, cables, drums, drumsticks)? |
| work_xdoebvg2xjdothtumetvtrbxyi | How has the metal scene changed from when Khatami was President to Ahmadinejad? |
| work_xdoebvg2xjdothtumetvtrbxyi | How many members? |
| work_xdoebvg2xjdothtumetvtrbxyi | I approached the guys and introduced myself and their eyes lit up and they said, “ Jeremy?! |
| work_xdoebvg2xjdothtumetvtrbxyi | I discussed this with 5grs as well and here is what they said: Jeremy: What about rhythms or scales? |
| work_xdoebvg2xjdothtumetvtrbxyi | I thought, “ Metal is illegal in Iran? |
| work_xdoebvg2xjdothtumetvtrbxyi | If so where, and how are the performances arranged? |
| work_xdoebvg2xjdothtumetvtrbxyi | If you buy one does it last forever? |
| work_xdoebvg2xjdothtumetvtrbxyi | In the West metal is seen as childish and rebellious, do people take metal seriously in Iran? |
| work_xdoebvg2xjdothtumetvtrbxyi | Is it the end, my friend? |
| work_xdoebvg2xjdothtumetvtrbxyi | Is this the consensus? |
| work_xdoebvg2xjdothtumetvtrbxyi | It has been established how metal music arrived in Iran, but why do Iranians like metal so much? |
| work_xdoebvg2xjdothtumetvtrbxyi | It ’s brutal, it ’s not for softies, right? |
| work_xdoebvg2xjdothtumetvtrbxyi | It ’s had the biggest effect on us!”422 Elnaz said, “ How has it not? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: But you can use it with a proxy right? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: How long does it last? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: I mean does it end? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: I mean how do you … in Iran how do people find each other? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: It does n’t work? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: Oh really? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: Soup? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: Why? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: Ya? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: hmmm … but would n’t three women turn you on three times as much? |
| work_xdoebvg2xjdothtumetvtrbxyi | Jeremy: ok, ok, so then … so three women coming to one voice and creates like, one sound, would n’t that be the same as one woman? |
| work_xdoebvg2xjdothtumetvtrbxyi | Kave, a musician who attended the concert said, “ Satanic concert? |
| work_xdoebvg2xjdothtumetvtrbxyi | Lyrically, do you prefer English or Persian? |
| work_xdoebvg2xjdothtumetvtrbxyi | Meraj: Satanist symbol, just to own … Jeremy: Can you get tattoos in Iran? |
| work_xdoebvg2xjdothtumetvtrbxyi | Now is the knife evil itself? |
| work_xdoebvg2xjdothtumetvtrbxyi | Ocean of Loneliness Like a fire in my soul Guts me like a black hole Ferocity and conviction I will be crushed like a toad"Man rooham ya ghobaar"? |
| work_xdoebvg2xjdothtumetvtrbxyi | Pooya: Yes like “ more ash ” you know “ if you pay more you can have more ” you know? |
| work_xdoebvg2xjdothtumetvtrbxyi | Pooya: Yes, in our country say something uhh … “ If you pay much you can have ash ” Do you know what this means? |
| work_xdoebvg2xjdothtumetvtrbxyi | She said: Elnaz: Can I ask you a question? |
| work_xdoebvg2xjdothtumetvtrbxyi | Sohrab: Exactly, because of piracy every Iranian is probably more up to date than even … Jeremy: Americans? |
| work_xdoebvg2xjdothtumetvtrbxyi | These are the questions that I created and used to conduct my interviews: 1) Tell me about you band? |
| work_xdoebvg2xjdothtumetvtrbxyi | This brings us to another interesting dichotomy, if music is lawful why are people in Iran being persecuted for it? |
| work_xdoebvg2xjdothtumetvtrbxyi | Umm, how about tattoos? |
| work_xdoebvg2xjdothtumetvtrbxyi | What distinguishes a metalhead in Iran( clothing, hair, tattoos)? |
| work_xdoebvg2xjdothtumetvtrbxyi | What is the most popular genre of metal in Iran? |
| work_xdoebvg2xjdothtumetvtrbxyi | What is the theme of your band? |
| work_xdoebvg2xjdothtumetvtrbxyi | What is this that stands before me? |
| work_xdoebvg2xjdothtumetvtrbxyi | What is your purpose or objective? |
| work_xdoebvg2xjdothtumetvtrbxyi | What would you do if you could not play music anymore? |
| work_xdoebvg2xjdothtumetvtrbxyi | What you wear, does n’t it? |
| work_xdoebvg2xjdothtumetvtrbxyi | Where do you see your band? |
| work_xdoebvg2xjdothtumetvtrbxyi | Where do you see yourself? |
| work_xdoebvg2xjdothtumetvtrbxyi | Who are they? |
| work_xdoebvg2xjdothtumetvtrbxyi | Why did you take my life? |
| work_xdoebvg2xjdothtumetvtrbxyi | Why do n’t you just say these things in like a more normal way? ” I was like “ This is metal! |
| work_xdoebvg2xjdothtumetvtrbxyi | Why marvel? |
| work_xdoebvg2xjdothtumetvtrbxyi | Why? |
| work_xdoebvg2xjdothtumetvtrbxyi | Why? |
| work_xdoebvg2xjdothtumetvtrbxyi | Why?! |
| work_xdoebvg2xjdothtumetvtrbxyi | Why?! |
| work_xdoebvg2xjdothtumetvtrbxyi | You want it? |
| work_xdoebvg2xjdothtumetvtrbxyi | “ Youth sub- Cultures in post- Revolutionary Iran. ” Global Youth? |
| work_xdoebvg2xjdothtumetvtrbxyi | “ Youth sub- Cultures in post- Revolutionary Iran. ” Global Youth? |
| work_xdoebvg2xjdothtumetvtrbxyi | “ Youth sub- Cultures in post- Revolutionary Iran. ” Global Youth? |
| work_uedjmuarsrftnpqwyswlnmp2su | , and when in front of the landscape he asks,But how was it painted?" |
| work_uedjmuarsrftnpqwyswlnmp2su | But what did you mean, when you asked if I had noticed about the background? |
| work_uedjmuarsrftnpqwyswlnmp2su | On the art encounter? work_uedjmuarsrftnpqwyswlnmp2su What do you mean?" |
| work_uedjmuarsrftnpqwyswlnmp2su | What do you mean? |
| work_uedjmuarsrftnpqwyswlnmp2su | ''― in favor of''what does it do?'' |
| work_uedjmuarsrftnpqwyswlnmp2su | ( p. 26) Did I accept the challenge of the artwork calling to me? |
| work_uedjmuarsrftnpqwyswlnmp2su | ), What is art education? |
| work_uedjmuarsrftnpqwyswlnmp2su | ), What is art education? |
| work_uedjmuarsrftnpqwyswlnmp2su | ), What is art education? |
| work_uedjmuarsrftnpqwyswlnmp2su | 150 Is there a ‘ self ’ as agent of desire? |
| work_uedjmuarsrftnpqwyswlnmp2su | 46 So why Deleuze? |
| work_uedjmuarsrftnpqwyswlnmp2su | 70 But what has been said about experience in relation to art and the aesthetic? |
| work_uedjmuarsrftnpqwyswlnmp2su | A critical introduction to What is art education? |
| work_uedjmuarsrftnpqwyswlnmp2su | A key aspect for me, is that throughout his work Deleuze asks the question, as Todd May( 2005) puts it;"How might one live?" |
| work_uedjmuarsrftnpqwyswlnmp2su | After art history, what? |
| work_uedjmuarsrftnpqwyswlnmp2su | And how do we actualize those potentials? |
| work_uedjmuarsrftnpqwyswlnmp2su | And how does he know if he''s had an encounter? |
| work_uedjmuarsrftnpqwyswlnmp2su | And so, how do I inquire the messy, relational experience of encountering art? |
| work_uedjmuarsrftnpqwyswlnmp2su | And so, what is then''experimentation''? |
| work_uedjmuarsrftnpqwyswlnmp2su | And the birds..."What do think of those beautiful animated birds in flight?" |
| work_uedjmuarsrftnpqwyswlnmp2su | And what about desire? |
| work_uedjmuarsrftnpqwyswlnmp2su | And what produces difference in the ocean? |
| work_uedjmuarsrftnpqwyswlnmp2su | At least, 149 just enough for desire to start circulating? |
| work_uedjmuarsrftnpqwyswlnmp2su | But 106 what could it mean to"accept the tutelage of perception"as asked by Merleau- Ponty( 2004, p.70)? |
| work_uedjmuarsrftnpqwyswlnmp2su | But in what way is this important? |
| work_uedjmuarsrftnpqwyswlnmp2su | But what about the vectors of deterritorialisation already part of the territory? |
| work_uedjmuarsrftnpqwyswlnmp2su | But what does one experiment with? |
| work_uedjmuarsrftnpqwyswlnmp2su | But what might be the form of expression? |
| work_uedjmuarsrftnpqwyswlnmp2su | Can arts- researchers go where artists go? |
| work_uedjmuarsrftnpqwyswlnmp2su | Can my experience of encountering, to borrow O''Donoghue''s( 2008) term, still be relevant in terms of research and to whom? |
| work_uedjmuarsrftnpqwyswlnmp2su | Can one extend or stretch the pleasure of the encounter over time, over repeated viewings? |
| work_uedjmuarsrftnpqwyswlnmp2su | Can one still be''encountering''after recurring visits and, like today, being enveloped for more than an hour in/ with the artwork? |
| work_uedjmuarsrftnpqwyswlnmp2su | Can the art encounter resonate in time, days or weeks after experiencing a work, can casually strolling in the gallery also be an encounter with art? |
| work_uedjmuarsrftnpqwyswlnmp2su | Deleuze asks himself the simple question:"Est- ce que ça me trouble?" |
| work_uedjmuarsrftnpqwyswlnmp2su | Does the encounter and experience of the View of Delft end the moment he turns away and decide to hop on a train? |
| work_uedjmuarsrftnpqwyswlnmp2su | Furthermore, I have stopped wondering about the meaning, now preferring to ask about the artwork:"how does it work if I connect with the piece?" |
| work_uedjmuarsrftnpqwyswlnmp2su | Furthermore, he challenges representation and the hegemony of Signifier/ Signified―or the''what does it mean? |
| work_uedjmuarsrftnpqwyswlnmp2su | Hence, I remember playfully unpacking Brook''s narrative prose by asking myself: how would one describe Brook''s encounter with View of Delft? |
| work_uedjmuarsrftnpqwyswlnmp2su | How Do I Fit This Ghost in My Mouth? |
| work_uedjmuarsrftnpqwyswlnmp2su | How can I meet them all? |
| work_uedjmuarsrftnpqwyswlnmp2su | How can these Brillo looking boxes be considered art, and indirectly: did aesthetic experience still exist? |
| work_uedjmuarsrftnpqwyswlnmp2su | How could I turn my back on such a unique opportunity to learn and discover? |
| work_uedjmuarsrftnpqwyswlnmp2su | How did I miss that? |
| work_uedjmuarsrftnpqwyswlnmp2su | How do I problematize my own 111 position as an historian and art museum educator with social and white privilege? |
| work_uedjmuarsrftnpqwyswlnmp2su | How is it that simple pieces of wood can now carry the weight of the past? |
| work_uedjmuarsrftnpqwyswlnmp2su | How many other storylines is the building trying to tell me, but I am not listening? |
| work_uedjmuarsrftnpqwyswlnmp2su | I have walked and strolled so many times before in Storeroom overture, why did I notice it only today? |
| work_uedjmuarsrftnpqwyswlnmp2su | I hear the elevator doors open and two visitors stumble onto the apparent chaos of everyday materials,"What is this? |
| work_uedjmuarsrftnpqwyswlnmp2su | In terms of immanent ethics, by that I mean the questions of"how might one live?" |
| work_uedjmuarsrftnpqwyswlnmp2su | Is it a recording? |
| work_uedjmuarsrftnpqwyswlnmp2su | Is there a contradiction, since I still appear as occupying an outsider perspective? |
| work_uedjmuarsrftnpqwyswlnmp2su | It was the last day, the last hour of the Geoffrey Farmer exhibition How Do I Fit This Ghost in My Mouth? |
| work_uedjmuarsrftnpqwyswlnmp2su | Methodology-21: What do we do in the afterward? |
| work_uedjmuarsrftnpqwyswlnmp2su | Not even pleasure? |
| work_uedjmuarsrftnpqwyswlnmp2su | Once the tutelage of perception is accepted, then what? |
| work_uedjmuarsrftnpqwyswlnmp2su | One might ask, why Gilles Deleuze? |
| work_uedjmuarsrftnpqwyswlnmp2su | One might ask: what is the relationship between my study on the art experience and desire as a producer of reality? |
| work_uedjmuarsrftnpqwyswlnmp2su | One of the most important questions posed by desire, write Deleuze and Guattari( 1983) is not"What does it mean?" |
| work_uedjmuarsrftnpqwyswlnmp2su | Or is there? |
| work_uedjmuarsrftnpqwyswlnmp2su | PURPOSE OF THE STUDY This dissertation research is an investigation into the art encounter; what does it mean to encounter art? |
| work_uedjmuarsrftnpqwyswlnmp2su | Relevant for what, one might ask? |
| work_uedjmuarsrftnpqwyswlnmp2su | Researching without representation? |
| work_uedjmuarsrftnpqwyswlnmp2su | She stands beside me, and with a nod, asks about my focused writing; a term paper? |
| work_uedjmuarsrftnpqwyswlnmp2su | So how to proceed? |
| work_uedjmuarsrftnpqwyswlnmp2su | So why Gilles Deleuze? |
| work_uedjmuarsrftnpqwyswlnmp2su | Strange, why placed so high? |
| work_uedjmuarsrftnpqwyswlnmp2su | The eloquent body gesture makes me curious; this is intriguing, what secret of the work might I be missing as I sit here comfortably? |
| work_uedjmuarsrftnpqwyswlnmp2su | Then a question arises; can it be claimed that all experiences are milieus enabling encounters? |
| work_uedjmuarsrftnpqwyswlnmp2su | Then if research is not about a secure knowing, what then? |
| work_uedjmuarsrftnpqwyswlnmp2su | Was it due to E.''s love of Chinese ink painting, my own fascination with the juxtapositions and layering of images and mediums? |
| work_uedjmuarsrftnpqwyswlnmp2su | Were there elements of escape or departure from my current assemblage towards other connections? |
| work_uedjmuarsrftnpqwyswlnmp2su | What about assemblage? |
| work_uedjmuarsrftnpqwyswlnmp2su | What about the encounter? |
| work_uedjmuarsrftnpqwyswlnmp2su | What am I witnessing? |
| work_uedjmuarsrftnpqwyswlnmp2su | What are singularities? |
| work_uedjmuarsrftnpqwyswlnmp2su | What can happen in the in- between, in the relation between the two? |
| work_uedjmuarsrftnpqwyswlnmp2su | What constitutes an ocean? |
| work_uedjmuarsrftnpqwyswlnmp2su | What does it do or in what way is it generative to think of the art encounter with the concept of desiring- assemblage? |
| work_uedjmuarsrftnpqwyswlnmp2su | What does the art encounter produce? |
| work_uedjmuarsrftnpqwyswlnmp2su | What does this imply? |
| work_uedjmuarsrftnpqwyswlnmp2su | What does this mean, and what are the implications? |
| work_uedjmuarsrftnpqwyswlnmp2su | What happened the moment I turned a corner and saw the monumental structure of stools? |
| work_uedjmuarsrftnpqwyswlnmp2su | What happens to a fallen branch or leaf? |
| work_uedjmuarsrftnpqwyswlnmp2su | What if art desires to be interpreted? |
| work_uedjmuarsrftnpqwyswlnmp2su | What insights can I bring forth on the art encounter? |
| work_uedjmuarsrftnpqwyswlnmp2su | What is curriculum theory? |
| work_uedjmuarsrftnpqwyswlnmp2su | What is philosophy? |
| work_uedjmuarsrftnpqwyswlnmp2su | What is the content or the state of things in my encounter with Farmer''s( 2015) Storeroom Overture? |
| work_uedjmuarsrftnpqwyswlnmp2su | What ’s the use of calling Deleuze a pragmatist? |
| work_uedjmuarsrftnpqwyswlnmp2su | What''s going on? |
| work_uedjmuarsrftnpqwyswlnmp2su | Whence comes it by that vast store(...) When has it all the materials of Reason and Knowledge? |
| work_uedjmuarsrftnpqwyswlnmp2su | Where does one look when viewing artwork in a museum? |
| work_uedjmuarsrftnpqwyswlnmp2su | Why Deleuze? |
| work_uedjmuarsrftnpqwyswlnmp2su | Why Deleuze? |
| work_uedjmuarsrftnpqwyswlnmp2su | Why Gilles Deleuze? |
| work_uedjmuarsrftnpqwyswlnmp2su | Why bring them in conversation? |
| work_uedjmuarsrftnpqwyswlnmp2su | Why do I like to go into this coffee shop and not into that other one? |
| work_uedjmuarsrftnpqwyswlnmp2su | Why have there been no great women artists? |
| work_uedjmuarsrftnpqwyswlnmp2su | Why my interest in this passage? |
| work_uedjmuarsrftnpqwyswlnmp2su | Why not compare Vermeer''s rendition with real life, especially if the seventeenth century were still as present as I suspected? |
| work_uedjmuarsrftnpqwyswlnmp2su | Why should my expectations of a numerical order dictate the orchestration of such a chorus of historical voices? |
| work_uedjmuarsrftnpqwyswlnmp2su | Writing about art experience or art as experience( Dewey, 1934) still begs the question;"What is experience?". |
| work_uedjmuarsrftnpqwyswlnmp2su | Yet how can this happen? |
| work_uedjmuarsrftnpqwyswlnmp2su | but rather"How does it work?" |
| work_yppx6jysffe23gqdmnc3ct625i | ( 2) What factors effect UNIFIL local engagement? |
| work_yppx6jysffe23gqdmnc3ct625i | 106 Bendana, ''From Peacebuilding to State Building: One Step Forward and Two Steps Back? |
| work_yppx6jysffe23gqdmnc3ct625i | 145 and a wink, you ca n’t be like, that you know? |
| work_yppx6jysffe23gqdmnc3ct625i | 275 Bendana, Alejandro,''From Peacebuilding to State Building: One Step Forward and Two Steps Back?,''Development, 48/3: 5- 15( 2005). |
| work_yppx6jysffe23gqdmnc3ct625i | 29 The Argument This thesis asks two main questions:( 1) How do peace operations influence their security environment? |
| work_yppx6jysffe23gqdmnc3ct625i | 64 Lacher, ''Iraq: Exception to, or Epitome of Contemporary Post-‐conflict Reconstruction?''. |
| work_yppx6jysffe23gqdmnc3ct625i | 66 Lacher, ''Iraq: Exception to, or Epitome of Contemporary Post-‐conflict Reconstruction?''. |
| work_yppx6jysffe23gqdmnc3ct625i | 78 Zunes, Washington''s Proxy War; Jones and Hart, ''Keeping Middle East Peace? |
| work_yppx6jysffe23gqdmnc3ct625i | 86 Bendana, ''From Peacebuilding to State Building: One Step Forward and Two Steps Back?''. |
| work_yppx6jysffe23gqdmnc3ct625i | 87 Falk and Bali, International Law and the Vanishing Point; Nasu, ''The Responsibility to React? |
| work_yppx6jysffe23gqdmnc3ct625i | And I have my own credibility, I ’ve been working with them a long time, you know? |
| work_yppx6jysffe23gqdmnc3ct625i | And the other guy welcomes you, “ Hi how are you? |
| work_yppx6jysffe23gqdmnc3ct625i | And then just try and say that it was human error you know? |
| work_yppx6jysffe23gqdmnc3ct625i | At the operational level – when I say operational level, I am talking about – you know we have 2 sectors? |
| work_yppx6jysffe23gqdmnc3ct625i | Barnett, Michael N., Hunjoon Kim, Madalene O''Donnell, and Laura Sitea,''Peacebuilding: What''s In A Name?,''Global Governance, 13/1: 35- 58( 2007). |
| work_yppx6jysffe23gqdmnc3ct625i | Bassil, Noah,''Israel: International Rogue?,''AQ: Journal of Contemporary Analysis, 81/1: 10- 16( 2009). |
| work_yppx6jysffe23gqdmnc3ct625i | Because I heard that you have a project of planting I do n’t know how many trees in the outskirts of the village? ”. |
| work_yppx6jysffe23gqdmnc3ct625i | Because it ’s quite demanding you know? |
| work_yppx6jysffe23gqdmnc3ct625i | Because then you are one- sided you know? |
| work_yppx6jysffe23gqdmnc3ct625i | Bellamy, Alex J.,''The Next Stage in Peace Operations Theory?,''International Peacekeeping, 11/1: 17- 38( 2004). |
| work_yppx6jysffe23gqdmnc3ct625i | But it can not collect the revenue of the supply because there was occupation you see? |
| work_yppx6jysffe23gqdmnc3ct625i | But, in the Sector East area, we have a lot of them – in Shebaa, in Kfar Shuba, so how to help the local authorities without violating our mandate? |
| work_yppx6jysffe23gqdmnc3ct625i | Can you explain to me, why UNIFIL soldier is taking photo for this bridge? |
| work_yppx6jysffe23gqdmnc3ct625i | Caplan, Richard,''Partner or Patron? |
| work_yppx6jysffe23gqdmnc3ct625i | Contributions of the Study This thesis asked the following questions:( 1) How do peace operations influence their security environment? |
| work_yppx6jysffe23gqdmnc3ct625i | Do you have any other proposal? ” I told him, “ No, we can not build this school ”. |
| work_yppx6jysffe23gqdmnc3ct625i | Even when they are going to make the medical visit, every week? |
| work_yppx6jysffe23gqdmnc3ct625i | Felix Da Costa, Diana, and John Karlsrud, Moving Towards Local- Level Peacebuilding? |
| work_yppx6jysffe23gqdmnc3ct625i | For example, how do civilians view their own agency within a peace operation? |
| work_yppx6jysffe23gqdmnc3ct625i | Fortna, Virginia Page, Does Peacekeeping Work? |
| work_yppx6jysffe23gqdmnc3ct625i | From both sides? |
| work_yppx6jysffe23gqdmnc3ct625i | Get the phones going you know? |
| work_yppx6jysffe23gqdmnc3ct625i | Goodhand, Jonathan, and Oliver Walton,''The Limits of Liberal Peacebuilding? |
| work_yppx6jysffe23gqdmnc3ct625i | He said “ What to do? |
| work_yppx6jysffe23gqdmnc3ct625i | He said, “ What is this organisation? ” I was joking with him! |
| work_yppx6jysffe23gqdmnc3ct625i | Helleiner, Eric,''Economic Liberalism and Its Critics: The Past as Prologue?,''Review of International Political Economy, 10/4: 685- 696( 2003). |
| work_yppx6jysffe23gqdmnc3ct625i | Here in Lebanon, if a car accident occurs and there are wounded people what do people do usually? |
| work_yppx6jysffe23gqdmnc3ct625i | How did we solve it at the end? |
| work_yppx6jysffe23gqdmnc3ct625i | How do we understand UNIFIL today in the context of the changes that have occurred in peacekeeping over the past twenty years? |
| work_yppx6jysffe23gqdmnc3ct625i | How to do it? |
| work_yppx6jysffe23gqdmnc3ct625i | How ’s the family? ” He takes 15 minutes just asking about them before you discuss anything just asking about your health and your family. |
| work_yppx6jysffe23gqdmnc3ct625i | I said, “ This is a Zionist organisation, why do you care what is this? |
| work_yppx6jysffe23gqdmnc3ct625i | I thought we would all be going home, why should a peacekeeping force be running around in an occupied area? |
| work_yppx6jysffe23gqdmnc3ct625i | I told a journalist: “ You know? |
| work_yppx6jysffe23gqdmnc3ct625i | I told him where will you put the solar system lamps? |
| work_yppx6jysffe23gqdmnc3ct625i | I told him, “ Are you crazy? |
| work_yppx6jysffe23gqdmnc3ct625i | Is n’t it? ” They said yes. |
| work_yppx6jysffe23gqdmnc3ct625i | It ’s an honour you know? |
| work_yppx6jysffe23gqdmnc3ct625i | Jones, Bruce, and Andrew Hart,''Keeping Middle East Peace? |
| work_yppx6jysffe23gqdmnc3ct625i | Kids with special needs, coming inside the classrooms with your pistol? |
| work_yppx6jysffe23gqdmnc3ct625i | LAF intelligence was there, I told them, is it possible to stay here in the winter on the street? |
| work_yppx6jysffe23gqdmnc3ct625i | Lacher, Wolfram,''Iraq: Exception to, or Epitome of Contemporary Post- conflict Reconstruction?,''International Peacekeeping, 14/2: 237- 250( 2007). |
| work_yppx6jysffe23gqdmnc3ct625i | Nasu, Hitoshi,''The Responsibility to React? |
| work_yppx6jysffe23gqdmnc3ct625i | Now how make other UN organisations involved? |
| work_yppx6jysffe23gqdmnc3ct625i | Now who got upset? |
| work_yppx6jysffe23gqdmnc3ct625i | Ok, why they are taking picture for my house? |
| work_yppx6jysffe23gqdmnc3ct625i | One of the officers summarised it thus: The Lebanese Government? |
| work_yppx6jysffe23gqdmnc3ct625i | Otherwise, they argue, why is UNIFIL not on both sides of the line? |
| work_yppx6jysffe23gqdmnc3ct625i | Right? |
| work_yppx6jysffe23gqdmnc3ct625i | See Fortna, Virginia Page, Does Peacekeeping Work? |
| work_yppx6jysffe23gqdmnc3ct625i | See? |
| work_yppx6jysffe23gqdmnc3ct625i | So I told a Member of Parliament, he is Hizbullah, “ Do you know this guy the mayor of this village? ”... |
| work_yppx6jysffe23gqdmnc3ct625i | So how to practice? |
| work_yppx6jysffe23gqdmnc3ct625i | So how to solve it? |
| work_yppx6jysffe23gqdmnc3ct625i | So people they know that, the Spanish, if they want to carry out patrols they should go to the border yes? |
| work_yppx6jysffe23gqdmnc3ct625i | So what the Principal did? |
| work_yppx6jysffe23gqdmnc3ct625i | So why do you need a park for? |
| work_yppx6jysffe23gqdmnc3ct625i | So you know basically the goats go for the greener side right? |
| work_yppx6jysffe23gqdmnc3ct625i | So you know we put a fence here like this around the area, so when the farmer comes in he ca n’t go any further you know? |
| work_yppx6jysffe23gqdmnc3ct625i | So you say, “ What do you want guys? |
| work_yppx6jysffe23gqdmnc3ct625i | The LAF could n’t come with us because they had no fuel you know? |
| work_yppx6jysffe23gqdmnc3ct625i | Then it really goes a long way in helping them.49[ H]ave you been to Shebaa? |
| work_yppx6jysffe23gqdmnc3ct625i | They are my friends, they like me a lot, and I told them: “ You ca n’t imagine how nice this story will be? ” And they did the story about it. |
| work_yppx6jysffe23gqdmnc3ct625i | They celebrate that he succeeded but what else? |
| work_yppx6jysffe23gqdmnc3ct625i | They have to live with these guys, you know how do you, on a day- to- day, at a working level, how do you do business you know? |
| work_yppx6jysffe23gqdmnc3ct625i | They said to me: “ Who told you to send this guy directly to this woman? |
| work_yppx6jysffe23gqdmnc3ct625i | This is as basic as it is, you know? |
| work_yppx6jysffe23gqdmnc3ct625i | This thesis asked the following research questions:( 1) How do peace operations influence their security environment? |
| work_yppx6jysffe23gqdmnc3ct625i | Very quickly …[I]f you ’re dealing with one crowd, you ca n’t say, “ Oh I ’ll look after you now ”[ winks], you know? |
| work_yppx6jysffe23gqdmnc3ct625i | We can look at building say a football ground – but is it being used by locals? |
| work_yppx6jysffe23gqdmnc3ct625i | We do n’t know why.32 28 Blanford, Nicholas, ''Whose Water Is It anyways? |
| work_yppx6jysffe23gqdmnc3ct625i | We will have the whole day with him, to tell him how we work, you see I am going to propose to them if they need training or you see? |
| work_yppx6jysffe23gqdmnc3ct625i | What factors effect UNIFIL ’s local engagement? |
| work_yppx6jysffe23gqdmnc3ct625i | What is the force up there? |
| work_yppx6jysffe23gqdmnc3ct625i | What we can help in solving this problem? |
| work_yppx6jysffe23gqdmnc3ct625i | What we do? |
| work_yppx6jysffe23gqdmnc3ct625i | Why the celebration? |
| work_yppx6jysffe23gqdmnc3ct625i | Why there are 3 containers on the roof of the school? |
| work_yppx6jysffe23gqdmnc3ct625i | Why they are taking pictures for this bridge? |
| work_yppx6jysffe23gqdmnc3ct625i | Why? |
| work_yppx6jysffe23gqdmnc3ct625i | Why? |
| work_yppx6jysffe23gqdmnc3ct625i | Why? |
| work_yppx6jysffe23gqdmnc3ct625i | With your pistol on your side? |
| work_yppx6jysffe23gqdmnc3ct625i | You ask the cow to stop going outside? |
| work_yppx6jysffe23gqdmnc3ct625i | You know the story ‘ Do n’t shoot the messenger ’? |
| work_yppx6jysffe23gqdmnc3ct625i | You know this hospital – this never working hospital? |
| work_yppx6jysffe23gqdmnc3ct625i | You know what the difference is? |
| work_yppx6jysffe23gqdmnc3ct625i | You know? |
| work_yppx6jysffe23gqdmnc3ct625i | You see, we just give them the project and we tell them we have this project, are you interested or not? |
| work_yppx6jysffe23gqdmnc3ct625i | You see? |
| work_yppx6jysffe23gqdmnc3ct625i | You see? |
| work_yppx6jysffe23gqdmnc3ct625i | You see? |
| work_yppx6jysffe23gqdmnc3ct625i | You see? |
| work_yppx6jysffe23gqdmnc3ct625i | You understand me? |
| work_yppx6jysffe23gqdmnc3ct625i | You want the help or you do n’t want it? ”. |
| work_yppx6jysffe23gqdmnc3ct625i | [ We say] “ Where are they still firing? ”,[ then they say] “ Well we stopped firing, but they started firing. |
| work_yppx6jysffe23gqdmnc3ct625i | and 2) What factors effect local engagement? |
| work_yppx6jysffe23gqdmnc3ct625i | and( 2) What factors effect local engagement? |
| work_yppx6jysffe23gqdmnc3ct625i | and;( 2) What factors effect UNIFIL local engagement? |
| work_yppx6jysffe23gqdmnc3ct625i | and;( 2) What factors effect UNIFIL local engagement? |
| work_yppx6jysffe23gqdmnc3ct625i | — — —,''Reconstructing Post- War Lebanon: A Challenge to the Liberal Peace?,''Conflict, Security& Development, 7/3: 457- 482( 2007). |
| work_yppx6jysffe23gqdmnc3ct625i | — — —,''Whose Water Is It anyways? |
| work_yppx6jysffe23gqdmnc3ct625i | “ Are you interested to have trees? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | ( i) Why does Shapiro think it is necessary to presuppose a background ontology for structuralism? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | ( ii) How does his background ontology differ from the absolute ontology of traditional set- theoretic foundationalism? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | (? 1879- 1891). |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 1.2.4 Which logic? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 1.3.1 Concrete vs. Abstract Structures So, what exactly does Benacerraf mean when he speaks of structures? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 104 What are we to make of all this? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 14 0.1 Set- theoretic reductionism and set- theoretic foundationalism But what does this mean? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 160 Second question: what is the point of reducing one part of mathematics to another? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 181 like their elements, dependent upon a particular context or theory for their existence? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 183 morphisms behave nothing like sets — so why understand them in these terms in the first place? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 2.3 A salt- free solution to the problem How might we arrive at such a solution? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 2.3.4 Shapiro on structures So, what are structures for Shapiro, exactly? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 2.4.5 No background ontology? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 2.5 Conclusion So, in the end, where do these two forms of structuralism leave us? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | 63[ Frege? 1879- 1891, 3]. |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | And what are these same evanescent Increments? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | And, besides, what exactly are numbers, in any case? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Are there, then, various and changing universes and systems? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Are we better off in our general understanding of the content of mathematics now than we were after the Frege- Hilbert debate? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Armed with this new definition, are we able to definitively rule out Julius Caesar as a member of the set of natural numbers? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But are concepts also self- subsistent for Frege? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But can we conclude still further that the Pythagorean theorem is therefore true? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But does his solution actually stop the regress? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But does it coincide with the sense of the word with the long established use? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But how are we to know which contexts are meaningful? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But how does he understand the notions of truth and falsity? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But how does one judge whether a logical analysis is correct? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But how exactly are objects related to the structures of which they are the elements? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But is this in fact the case? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But so what? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But what exactly was the basis of the truth of Euclid‘s geometry? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But what is meant here by correspondence, and how can such a correspondence give us truth? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | But which respect? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Do we dare treat Euclid‘s elements, which have exercised unquestioned sway for 2000 years, as we have treated astrology? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Does Benacerraf‘s view of the universality of logic commit him to the background ontology of set theory that the paper seeks to avoid? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Does algebraic structuralism fare any better? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Does the position of the algebraic structuralist offer us a significant advance beyond the impasse of the Frege- Hilbert debate? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | First question: what does it mean to reduce one part of mathematics to another? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | For in that case what ought we to do so as to decide whether something is true? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Frege asks ‗What do you mean by point? ‘ and by this question he means ‗To what does your term ‗point ‘ refer? ‘. |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Frege asks ‗What do you mean by point? ‘ and by this question he means ‗To what does your term ‗point ‘ refer? ‘. |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Given such an account, we would be able to generate a satisfactory answer to our guiding question, ‗what is mathematics about? ‘. |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | How are they determined, and how are they related? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | How are we to choose between the two options? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | How can we determine precisely which sets the natural numbers are? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | How do the various forms of reductionism act as foundations? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | How is this possible, given his previous account? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | How is this reduction accomplished? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | How then can we distinguish between the two in anything other than an ad hoc or idiosyncratic fashion? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | How, then, are we to understand Frege‘s move here? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | How, then, does Heck think that we can deny Frege‘s universalism? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | If geometry could not be characterized as the science of spatial objects, then what sort of a science was it? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | If geometry was not best understood as the idealized study of physical space, what then was its proper object? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | If natural numbers are sets, Benacerraf asked, well, just which sets are they? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | If they do not exist, does this leave us to treat mathematics as a contentless enterprise? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | In this dissertation thus far, I have focussed on the question: what is mathematics really about? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Instead of 62[ Frege? 1879- 1891, 3]. |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Is it true that there is no real content to notions like entity, object, and thing? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Let‘s tackle these in order 2.3.6 The necessity of a background ontology So, why do we need a background ontology in the first place? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | May not this, then, be possible for straight lines as for those other lines? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Numbers are sets? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | On the first, it asks us: what sorts of entities( other than objects) are abstract structures composed of? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | On what basis is this distinction made if not on some presupposition about the nature of object- hood? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Particularly pressing, from our point of view, are questions pertaining to the ontological status of such structures: do they exist or not? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Sets are real? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | So in what sense can the domain of quantification be restricted for Frege? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | So what exactly is going on here? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | So what is its basis for Benacerraf? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | So what is the difference? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | So what, then, is the problem with these notions? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | So where do we get into trouble and confusion? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | So why does Saccheri not take the opportunity to describe just this sort of alternative geometry? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | So, if mathematics is not about a single universe, either of sets or even of abstract structures, what is it about? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | So, what exactly is wrong with this picture? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | So, what is philosophically interesting about functors? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | That is, do concepts possess independent existence in the same way that Fregean objects do? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | The Velocities of evanescent Increments? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | The question thus arises: how are we to construe a sentence like ‗η is a concept ‘? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | There Berkeley famously derides the use of fluxions in the calculus: ―And what are these Fluxions? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Third set of questions: what do we mean when we speak of the foundations of mathematics? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | This is a large part of the reason why questions like ‗Is Pompey Magnus identical to the number 2? ‘ just don‘t make any sense. |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | This poses a pragmatic problem: how can mathematicians from disparate fields speak to one another? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Thus the relationship between second- and third- level concepts( falling into?) |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Well, is it Euclidean or non- Euclidean geometry that should get the sack? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What are such foundations meant to provide? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What does Shapiro mean when he uses the term ‗constitute ‘? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What does it mean for a place to be understood as an office? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What exactly is a category? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What exactly is it that we are applying, what is this ‗most general of disciplines ‘? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What exactly is set- theoretic reductionism and how does it relate to the desire to properly found mathematics? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What exactly was geometry? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What genus of objects did it study? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What is its function here? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What is the difference, exactly? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What reasons can he possibly have for sticking to his guns here? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What was geometry about? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What was the origin of his ‗faith ‘ in the primacy of Euclid‘s geometry? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What were the abstract structures which it seemed to be studying? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What, then, are they? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What, then, is their function? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What, then, must be our representation of space, in order that such knowledge of it may be possible? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | What, then, would be the basis for rejecting some disjunctive categories over others? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Where did we get on this merry- go- round, and how do we get off? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Which sets are the natural numbers really? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Why didn‘t something like the structural approach to geometry emerge in 11 th century Persia? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Why not eschew the universality so characteristic of set theory and instead allow for multiple distinct, disjoint ontologies? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Why should we accept his analysis at all? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Why shouldn‘t we simply adopt Hilbert‘s view? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Why were Khayyam‘s successors, too, reticent to embrace these other cases as consistent alternatives to Euclid‘s geometry? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Why? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Why? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | Why? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | With that stage- setting out of the way, we can now ask again: what exactly is a category? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | [ …] And yet what value could there be for us in the eternally unchangeable, which could neither be acted upon nor act on us? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | v Introduction What is mathematics about? |
| work_a3q3uy2ibjaaniqbnaq2rhwc3e | would the sentence ‗any square root of 9 is odd ‘ have a comprehensible sense at all if square root of 9 were not a concept with a sharp boundary? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Focus i n the T e a c h i n g o f W r i t i n g: On P r o c e s s o r P r o d u c t? work_k5bw4r2hwnhcrieuqvtm4cyxui What keeps the w o r l d from f l y i n g i n t o p i e c e s as i t s p i n s around?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Why Do You Do I t? work_k5bw4r2hwnhcrieuqvtm4cyxui ''What''s s a t i r e?'' work_k5bw4r2hwnhcrieuqvtm4cyxui - Can you do t h i s? work_k5bw4r2hwnhcrieuqvtm4cyxui -- b y community w r i t e r s? work_k5bw4r2hwnhcrieuqvtm4cyxui -- by community w r i t e r s? work_k5bw4r2hwnhcrieuqvtm4cyxui 1 No q u e s t i o n s on c l a s s s i z e? work_k5bw4r2hwnhcrieuqvtm4cyxui 22 Q u e s t i o n 3:Do you s e t d e a d l i n e s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 23 Q u e s t i o n 5:"Do you i n s i s t s t u d e n t s t r y w r i t i n g i n v a r y i n g g e n r e s?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 24 Q u e s t i o n 7:"Do you mark i n d i v i d u a l p i e c e s o f w r i t i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 27 Q u e s t i o n 10:"Do you p r e s c r i b e r e a d i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 27.8% Or, do the s t u d e n t s w r i t e what t h e y wish? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 3 CHAPTER 1 CREATIVE WRITING: SOMETHING DIFFERENT?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 31.5% 11.1% — do you mark i t? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 35.2% U s i n g o u t s i d e p u b l i s h e r s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 36 Q u e s t i o n 16:"Do you f e e l more d i r e c t i o n from the Depart- ment o f E d u c a t i o n i s needed f o r t h i s c o u r s e?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 37.0% 61.1% I f so — do you i n s p e c t i t? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 37.0% U s i n g the s c h o o l o f f s e t p r e s s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 7.4% Combination o f the two? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 74.1% 24.0% U s i n g s c h o o l d i t t o machines? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 8 CHAPTER 2 A SEPARATE COURSE: WHY BOTHER? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 8% Or, o n l y c a s u a l l y and s p o n t a n e o u s l y among i n d i v i d u a l s?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 81.5% 7.4% 9.3% Q u e s t i o n 4:"Do you i n s i s t s t u d e n t s mimic the form o f o u t s t a n d i n g w r i t e r s?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 9.3% Do you s e l l y o u r p u b l i c a t i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | 90.7% 9.3% I f so-- e v e r y p i e c e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | A SEPARATE COURSE: WHY BOTHER? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | A l l n u t, Benjamin W."Why Do You Do I t?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | An i s o l a t e d i n c i d e n t? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Are t h e r e s i g n s t h a t the s t u d e n t\-NO —> e n j o y e d d o i n g i t? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | As u s u a l? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | B u l l e t i n board? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | But does t h i s d i s t i n c t i o n w a r r a n t y a s e p a r a t e c o u r s e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | But how do you grade C r e a t i v e W r i t i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | C a r r, John C."Why Newspapers i n the J u n i o r High S c h o o l?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | C l a s s magazine? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Can you hear The s t u d e n t''s v o i c e coming through? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Courses from a U n i v e r s i t y Department o f C r e a t i v e- W r i t i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Courses i n methodology from a U n i v e r s i t y F a c u l t y o f E d u c a t i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do I c a r e i f my a u d i e n c e m i s r e a d s o r m i s j u d g e s me?." |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do any S e n i o r Secondary S c h o o l s i n y o u r d i s t r i c t o f f e r the c o u r s e W r i t i n g 11? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do s t u d e n t s d i s c u s s o t h e r s t u d e n t s''works? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do s t u d e n t s d i s c u s s o t h e r s t u d e n t s''works? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you f e e l more d i r e c t i o n from the Department o f E d u c a t i o n i s needed f o r t h i s c o u r s e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you f e e l more d i r e c t i o n from the Department o f E d u c a t i o n i s needed f o r t h i s c o u r s e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you have a c o u r s e d e s c r i p t i o n t h a t you use i n y o u r s c h o o l c o u r s e c a t a l o g u e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you have r e a d i n g s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you have r e a d i n g s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n s i s t on r e v i s i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n s i s t on r e v i s i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n s i s t on s i l e n c e i n y o u r c l a s s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n s i s t on s i l e n c e i n y o u r c l a s s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n s i s t s t u d e n t s m i n i c the form o f o u t s t a n d i n g w r i t e r s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n s i s t s t u d e n t s mimic the form o f o u t s t a n d i n g w r i t e r s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n s i s t s t u d e n t s t r y w r i t i n g i n v a r y i n g genres? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n s i s t s t u d e n t s t r y w r i t i n g i n v a r y i n g genres? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n s i s t t h a t s t u d e n t s keep a d a i l y j o u r n a l? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n s i s t t h a t s t u d e n t s keep a d a i l y j o u r n a l? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n v o l v e the s t u d e n t s i n o t h e r modes o f e x p r e s s i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you i n v o l v e the s t u d e n t s i n o t h e r modes o f e x p r e s s i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you know o f any a r t i c l e s o r books r e l a t e d t o the s u b j e c t o f t e a c h i n g C r e a t i v e W r i t i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you mark i n d i v i d u a l p i e c e s o f w r i t i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you mark i n d i v i d u a l p i e c e s o f w r i t i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you p r e s c r i b e r e a d i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you p r e s c r i b e r e a d i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you s e l l y o u r p u b l i c a t i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you s e t d e a d l i n e s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you s e t d e a d l i n e s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you use any t e x t s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Do you use any t e x t s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Does Anybody Need Reed and K e l l o g g Anymore? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Does y o u r c l a s s p u b l i s h a book? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Does y o u r c l a s s"p u b l i s h"a"book"? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Does y o u r c o u r s e r e v o l v e about a s e r i e s o f assignments? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Does y o u r c o u r s e r e v o l v e about a s e r i e s o f assignments? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Does y o u r s c h o o l o f f e r C r e a t i v e W r i t i n g 12? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Does y o u r s c h o o l o f f e r C r e a t i v e W r i t i n g 12? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Example? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Example? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Example?'' |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | F i n a l l y, what t e c h n i q u e d i d you f i n d f o r remembering the next time? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | GRAHAM: Not''l i f e,''but a b i r t h d a y p a r t y when you were t w e l v e, t h a t k i n d o f t h i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | How do y o u r senses respond? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | How do you r e a c t t o p e o p l e when you are s o r r o w f u l? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | How does a t e a c h e r go about i n i t i a t i n g such an environment? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | How does"i n t e n s e noonday heat"f e e l? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | How to go? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | How w i l l the work be r e c e i v e d? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I Q u e s t i o n Why was the v o l v e d w i t h the What went wrong? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I f one d o e s n''t l o o k f o r''correctness'', what does one l o o k f o r? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I f so — by the s t u d e n t s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I f so — by the s t u d e n t s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I f so — by the s t u d e n t s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I f so — e v e r y p i e c e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I f so-- as a p r e s c r i b e d p a r t o f the c o u r s e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I f so-- by the s t u d e n t s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I f so-- do you i n s p e c t i t? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I f so-- o n l y as a p r e s c r i b e d p a r t o f the c o u r s e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I f so-- what i s i t l a b e l l e d on the s t u d e n t s''t r a n s c r i p t s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | I t would c e r t a i n l y be b e n e f i c i a l t o have a P r o v i n c i a l j o u r n a l p u b l i s h e d( monthly?) |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Land, sea o r a i r? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | No.. 51.8% I f".so — do you i n s p e c t i t? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | O r a l r e a d i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Or h a v i n g d i s c o v e r e d p a r t o f y o u r s e l f, what guarantee do you have t h a t i t w i l l n o t change? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Or o n l y c a s u a l l y and s p o n t a n e o u s l y among i n d i v i d u a l s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Or, do the s t u d e n t s w r i t e what t h e y wish? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Or, o n l y c a s u a l l y and s p o n t a n e o u s l y among i n d i v i d u a l s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | P u b l i c a t i o n: end o r a n o t h e r b e g i n n i n g? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Q u e s t i o n 11:"Do you have r e a d i n g s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Q u e s t i o n 12: Yes 37.0%"Do you i n s i s t t h a t s t u d e n t s keep a d a i l y O p t i o n a l 9.3% j o u r n a l? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Q u e s t i o n 13:"Do you involve''''the s t u d e n t s i n o t h e r modes o f e x p r e s s i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Q u e s t i o n 14:"Do you use any t e x t s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Q u e s t i o n 15:"Does y o u r s c h o o l o f f e r C r e a t i v e W r i t i n g 12? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Q u e s t i o n 2:"Does y o u r c o u r s e r e v o l v e about a s e r i e s o f a s s i g n m e n t s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Q u e s t i o n 6:"Do you i n s i s t on r e v i s i o n?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Q u e s t i o n 8:"Do you i n s i s t on s i l e n c e i n y o u r c l a s s?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Q u e s t i o n 9:"Do s t u d e n t s d i s c u s s o t h e r s t u d e n t s''works? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Q u e s t i o n: Is t h i s a work t h a t s h o u l d be made p u b l i c? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | S t i l l-- t h e r e remains the unanswered q u e s t i o n — W h a t i s''C r e a t i v e W r i t i n g''? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | School paper? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | See T a b l e I. Q u e s t i o n 1: Yes 70.4%"Does y o u r c l a s s''p u b l i s h''a''book''? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Simply b e i n g a 39 w r i t e r? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | So how, on t h i s e a r t h, can a t e a c h e r e v a l u a t e C r e a t i v e W r i t i n g w i t h an i n d e l i b l e l e t t e r- g r a d e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Some Years 3.7% No 24.0% U s i n g s c h o o l d i t t o machines? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | T e a c h e r as t u t o r Where i s the t e a c h e r i n t h i s s t u d e n t- b u s y workshop? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | The p o i n t we c i r c l e d about was,''How do you f r e s h e n i d e a s i f n o t through language?'' |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | The q u e s t i o n asked here was''what do you mean by s a d l y?'' |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | U s i n g o u t s i d e p u b l i s h e r s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | U s i n g s c h o o l d i t t o machines? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | U s i n g the s c h o o l o f f s e t p r e s s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | W i l l i t a p o s i t i v e e x p e r i e n c e f o r the s t u d e n t i f i t i s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | What does such q u a l i f i c a t i o n c o n s i s t o f? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | What i s s u c c e s s i n C r e a t i v e W r i t i n g f o r each i n d i v i d u a l? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | What i s space?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | What r e v i s i o n s w i l l h e l p improve i t? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | What t a l e n t have I? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | What t e c h n i q u e s to use? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | What v e h i c l e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | What w r i t e r''s q u a l i t i e s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | When s t u d e n t s d i d n''t know what something was, they n a t u r a l l y asked:''What''s g r a f f i t i?'' |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Where does the c r e a t i v e p r o c e s s f i t? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Why e l s e do p u b l i s h i n g houses h i r e e d i t o r s to work w i t h p r o f e s s i o n a l a u t h o r s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Yes 16.7% I f so-- what i s i t l a b e l l e d on the s t u d e n t s''t r a n s c r i p t s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Yes 27.8% Or, do the s t u d e n t s w r i t e what they w i s h?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Yes 31.5% No 11.1% — do you mark i t? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Yes 35.2% U s i n g o u t s i d e p u b l i s h e r s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Yes 37.0% U s i n g the s c h o o l o f f s e t p r e s s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Yes 9.3% Do you s e l l y o u r p u b l i c a t i o n?" |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Yes 90.7% No 9.3% I f so--- e v e r y p i e c e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | Yes 96.3% I f so--( o n l y) as a p r e s c r i b e d p a r t o f the c o u r s e? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | a t t e n t i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | and What a r e the s e n s a t i o n s you f e e l from the p r i c k l e- g r a s s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | c o l l e a g u e a p p r o v a l? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | e n c o u r a g i n g comments? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | h i g h marks? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | i s i t r e a l? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | p u b l i c a t i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | r m- n m-? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | s e l f- s a t i s f i c t i o n? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | s t u d e n t s n o t i n- h i s work? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | — by community w r i t e r s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | — by community w r i t e r s? |
| work_k5bw4r2hwnhcrieuqvtm4cyxui | — do you mark i t? |
| work_diayjqyh2reffpwaap2xg7lj2a | & Mukhopadhyay, S.( 2003) ‘ What is Mathematics Education For? ’ The Mathematics Educator. |
| work_diayjqyh2reffpwaap2xg7lj2a | ( 2001) ‘ Mathematics for all: How do we get there? ’ Theory into practice. |
| work_diayjqyh2reffpwaap2xg7lj2a | ( 2002) Beliefs: a hidden variable in mathematics education? |
| work_diayjqyh2reffpwaap2xg7lj2a | ( 2002) ‘ What can education learn from the arts about the practice of education? ’ Journal of Curriculum and Supervision. |
| work_diayjqyh2reffpwaap2xg7lj2a | ( 2003) ‘ Is mathematics for all? ’ In Bishop A.J., Clements, M.A., Kertel, C.,& Kilpatrick, J. |
| work_diayjqyh2reffpwaap2xg7lj2a | ( 2004) Consulting pupils: what ’s in it for schools? |
| work_diayjqyh2reffpwaap2xg7lj2a | ( 2009) ‘ How do I influence the Generation of Living Educational Theories for Personal and Social Accountability in Improving Practice? |
| work_diayjqyh2reffpwaap2xg7lj2a | ( 2009) ‘ Participation in mathematics: what is the problem? ’ Improving schools. |
| work_diayjqyh2reffpwaap2xg7lj2a | ( a) Is the investigator receiving any financial or other reward connected with this project? |
| work_diayjqyh2reffpwaap2xg7lj2a | ( a) Will explicit consent need to be obtained from( or on behalf of) the informants? |
| work_diayjqyh2reffpwaap2xg7lj2a | ( b) How long before they take part in the investigation will informants''consent be sought? |
| work_diayjqyh2reffpwaap2xg7lj2a | 1) Would students be willing to share with me, the classroom teacher, their stories about learning mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | 10.Who are the dominant players in the stories? |
| work_diayjqyh2reffpwaap2xg7lj2a | 161 What is the story saying about past experiences with mathematics/ mathematics lessons/ learning/ assessment? |
| work_diayjqyh2reffpwaap2xg7lj2a | 2) Would the student stories about learning mathematics contain rich data that could help progress this research? |
| work_diayjqyh2reffpwaap2xg7lj2a | 3) Will a storytelling workshop be successful with students that have experienced a struggle in mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | 300 YES( e) Will informants''consent be requested: i) after they have been briefed in writing? |
| work_diayjqyh2reffpwaap2xg7lj2a | 316 9.What is the role of the adults in the stories? |
| work_diayjqyh2reffpwaap2xg7lj2a | 321 Eats in the exam and seems much happier? |
| work_diayjqyh2reffpwaap2xg7lj2a | 4 months later It was the day I found out my results, did the hard work pay off? |
| work_diayjqyh2reffpwaap2xg7lj2a | 4) Is the storytelling workshop transferable? |
| work_diayjqyh2reffpwaap2xg7lj2a | 5) Can sharing student stories about leaning mathematics promote a purposeful and positive change in practice for the mathematics classroom teacher? |
| work_diayjqyh2reffpwaap2xg7lj2a | 6) Can experience and intuition provide the foundations for a qualitative data analysis tool? |
| work_diayjqyh2reffpwaap2xg7lj2a | 6. Who are the people in the story? |
| work_diayjqyh2reffpwaap2xg7lj2a | 7.21 List of Questions Applied to My Data How do the students ’ stories represent school mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | 84 3.33 Are They True? |
| work_diayjqyh2reffpwaap2xg7lj2a | 9.21 On Beyond a Million: Interview with the Student( The researcher questions are in italic) Why did you call your story ‘ On Beyond a Million ’? |
| work_diayjqyh2reffpwaap2xg7lj2a | A quest for conceptual clarity and a comprehensive clarity. ’ Beliefs: A hidden Variable in Mathemaitics Education? |
| work_diayjqyh2reffpwaap2xg7lj2a | And where in the learning of school mathematics can you insert your culture, history, personality, and aspiration desires? |
| work_diayjqyh2reffpwaap2xg7lj2a | Any other relevant matters? |
| work_diayjqyh2reffpwaap2xg7lj2a | Are our representations valid? |
| work_diayjqyh2reffpwaap2xg7lj2a | Are the influences that cause this phenomenon located within Aisling ’s self? |
| work_diayjqyh2reffpwaap2xg7lj2a | Bamberg, M.( 2006) ‘ Stories: Big or small why do we care? ’ Narrative Inquiry. |
| work_diayjqyh2reffpwaap2xg7lj2a | Because it is important to keep calm Does this mean that sometimes you are not calm? |
| work_diayjqyh2reffpwaap2xg7lj2a | Beliefs: a hidden variable in mathematics education? |
| work_diayjqyh2reffpwaap2xg7lj2a | Bridge – is student clear on grades, expectations, how these changes take place and why? |
| work_diayjqyh2reffpwaap2xg7lj2a | Bridge- slight change of wording – what does she mean about the same? |
| work_diayjqyh2reffpwaap2xg7lj2a | Burton, L.( 1999) ‘ The Practices of Mathematicians: What Do They Tell Us about Coming to Know Mathematics? ’. |
| work_diayjqyh2reffpwaap2xg7lj2a | But, how can a mathematics teacher appreciate the contour and detail of each student? |
| work_diayjqyh2reffpwaap2xg7lj2a | Can you find ….? |
| work_diayjqyh2reffpwaap2xg7lj2a | Did you find it useful to write your mathematics story? |
| work_diayjqyh2reffpwaap2xg7lj2a | Do student stories provide rich data? |
| work_diayjqyh2reffpwaap2xg7lj2a | Do the stories have an influence on voice and identity? |
| work_diayjqyh2reffpwaap2xg7lj2a | Do they matter? |
| work_diayjqyh2reffpwaap2xg7lj2a | Do you think it is useful for a teacher to know a student ’s mathematical story? |
| work_diayjqyh2reffpwaap2xg7lj2a | Do you think it would be useful to maths teachers to read a student ’s story while they are teaching them? |
| work_diayjqyh2reffpwaap2xg7lj2a | Every researcher should ask ‘ what is the story I wish to tell ’ and ‘ who is the audience ’, and what is my purpose for telling this story? |
| work_diayjqyh2reffpwaap2xg7lj2a | Examples of skills include interpreting, proving and generalising and examples of problems would start the sentence with; How many ……? |
| work_diayjqyh2reffpwaap2xg7lj2a | Fairly quickly, I sat down next to Aisling, “ What is wrong? |
| work_diayjqyh2reffpwaap2xg7lj2a | Has confirmation been obtained that the informants required will be available? |
| work_diayjqyh2reffpwaap2xg7lj2a | Her original research questions were: how do children become aware of mathematics as part of their lives? |
| work_diayjqyh2reffpwaap2xg7lj2a | How and why do their attitudes towards mathematics, including their feelings and beliefs about mathematics, develop and evolve over time? |
| work_diayjqyh2reffpwaap2xg7lj2a | How can you bring the ‘ self ’ into the learning of mathematics and feel comfortable? |
| work_diayjqyh2reffpwaap2xg7lj2a | How do I treat her differently now that I have read her story? |
| work_diayjqyh2reffpwaap2xg7lj2a | How does the student appear to feel about mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | How does the student appear to feel about mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | How is it going, and what have I found out or learnt? |
| work_diayjqyh2reffpwaap2xg7lj2a | How is language used in the story? |
| work_diayjqyh2reffpwaap2xg7lj2a | How is language used in the story? |
| work_diayjqyh2reffpwaap2xg7lj2a | I ask myself what could cause this sadness; is it about mathematics in general or about school mathematics experiences? |
| work_diayjqyh2reffpwaap2xg7lj2a | I ask myself, can I do this with others in the class? |
| work_diayjqyh2reffpwaap2xg7lj2a | I can not help but worry about what happens if the mathematics is not overcome and rendered powerless? |
| work_diayjqyh2reffpwaap2xg7lj2a | I wanted to know whether learning mathematics was an uncomfortable memory for many people, and if it was, then I wanted to explore and understand why? |
| work_diayjqyh2reffpwaap2xg7lj2a | I worry that it might be closer to home, is it about my lessons and my delivery of mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | If the answer to question 11 was YES: i) is it likely that medical, therapeutic or other aftercare may be needed by informants? |
| work_diayjqyh2reffpwaap2xg7lj2a | If there is an objection to any data this will be considered and may result in that data being withdrawn? |
| work_diayjqyh2reffpwaap2xg7lj2a | If you had to sum up the main differences between mathematics in Pakistan and mathematics in England, what would they be? |
| work_diayjqyh2reffpwaap2xg7lj2a | In a nutshell, how can a school student bring a bit of themselves into the learning of mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | In reception: What is maths? |
| work_diayjqyh2reffpwaap2xg7lj2a | Is it useful for you to write your mathematical story? |
| work_diayjqyh2reffpwaap2xg7lj2a | Is she talking grades, mood, both? |
| work_diayjqyh2reffpwaap2xg7lj2a | Is that the impression you got from that because they were called an art school? |
| work_diayjqyh2reffpwaap2xg7lj2a | Is that what you tried to show? |
| work_diayjqyh2reffpwaap2xg7lj2a | Is there a social aspect involved in this story? |
| work_diayjqyh2reffpwaap2xg7lj2a | Is there any indication of cultural and social influences? |
| work_diayjqyh2reffpwaap2xg7lj2a | Is there evidence of taken- for- granted classroom practices? |
| work_diayjqyh2reffpwaap2xg7lj2a | Is this something this student lives with or has experienced in a mathematics classroom? |
| work_diayjqyh2reffpwaap2xg7lj2a | It was the day I found out my results, did the hard work pay off? |
| work_diayjqyh2reffpwaap2xg7lj2a | Leading on from that then when you came to England what was your first impression of mathematics in this country? |
| work_diayjqyh2reffpwaap2xg7lj2a | Leder, G.( 2008) ‘ Beliefs: What lies behind the mirror? ’. |
| work_diayjqyh2reffpwaap2xg7lj2a | Maths appears confusing- what specifically? |
| work_diayjqyh2reffpwaap2xg7lj2a | Might the study cause discomfort or distress of a mental or emotional character? |
| work_diayjqyh2reffpwaap2xg7lj2a | NO( b) Will anyone else receive any financial or other reward connected with this project? |
| work_diayjqyh2reffpwaap2xg7lj2a | Nardi, E.& Steward, S.( 2003) ‘ Is mathematics TIRED? |
| work_diayjqyh2reffpwaap2xg7lj2a | Perhaps is it more personal and about herself? |
| work_diayjqyh2reffpwaap2xg7lj2a | Pillow, W.( 2003) ‘ Confession, catharsis, or cure? |
| work_diayjqyh2reffpwaap2xg7lj2a | Probably when I was n’t interested at the time When was this? |
| work_diayjqyh2reffpwaap2xg7lj2a | Question 1: Is learning mathematics at school an uncomfortable memory for a number of my students and if so, what are the causes? |
| work_diayjqyh2reffpwaap2xg7lj2a | Question 2: Can mathematics teachers create a more approachable and effective interface between themselves and their students? |
| work_diayjqyh2reffpwaap2xg7lj2a | Questions: Would the students share their stories about learning mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | Revisiting my original research question ‘ is learning mathematics an uncomfortable memory for many people, and if so, why? |
| work_diayjqyh2reffpwaap2xg7lj2a | See leaflet( d) Will informants be given an opportunity to put questions to the investigator, arising from what they have been told? |
| work_diayjqyh2reffpwaap2xg7lj2a | So is this just a really unpleasant student who thinks she is better than everybody else, or is there more going on? |
| work_diayjqyh2reffpwaap2xg7lj2a | So what exactly do I consider to be narrative? |
| work_diayjqyh2reffpwaap2xg7lj2a | So what is so compelling about the story I am calling Amy? |
| work_diayjqyh2reffpwaap2xg7lj2a | Stem and leaf is science? |
| work_diayjqyh2reffpwaap2xg7lj2a | Teacher gives them a sweet? |
| work_diayjqyh2reffpwaap2xg7lj2a | The parents are portrayed as dominant, the teacher? |
| work_diayjqyh2reffpwaap2xg7lj2a | There were a number of questions that featured in my thinking and these were: What story is being told? |
| work_diayjqyh2reffpwaap2xg7lj2a | These were: where does the ‘ self ’ fit in learning school mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | This girl had clearly demonstrated minutes earlier that she could indeed answer the questions, what could possibly be the matter? |
| work_diayjqyh2reffpwaap2xg7lj2a | This raises questions surrounding the ‘ politics of the gaze ’( Finlay, 2002), who asked questions such as: Who benefits from our representations? |
| work_diayjqyh2reffpwaap2xg7lj2a | Title of programme: What is in the baggage children bring to the mathematics classroom? |
| work_diayjqyh2reffpwaap2xg7lj2a | To facilitate this process I tried to keep in mind three principle questions: Why have I chosen to do this? |
| work_diayjqyh2reffpwaap2xg7lj2a | Two weeks( c) What will informants be told as to the nature of the investigation? |
| work_diayjqyh2reffpwaap2xg7lj2a | Was that in the maths lessons? |
| work_diayjqyh2reffpwaap2xg7lj2a | Was this apparent shut down due to a comment made by one of her class mates, or perhaps a particular comment or display of body language made by me? |
| work_diayjqyh2reffpwaap2xg7lj2a | What about learning process to encourage mathematicians for the future? |
| work_diayjqyh2reffpwaap2xg7lj2a | What am I learning, and how does knowing this story improve my practice to this student and to mathematics learners in general? |
| work_diayjqyh2reffpwaap2xg7lj2a | What challenges you might ask? |
| work_diayjqyh2reffpwaap2xg7lj2a | What do our students think mathematics is and how do they feel when faced with what they perceive to be a mathematical problem? |
| work_diayjqyh2reffpwaap2xg7lj2a | What do the stories say about mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | What do the students stories represent mathematics as? |
| work_diayjqyh2reffpwaap2xg7lj2a | What emotions are displayed in this story? |
| work_diayjqyh2reffpwaap2xg7lj2a | What emotions are displayed in this story? |
| work_diayjqyh2reffpwaap2xg7lj2a | What happened to 1+1 and 2+ 2? |
| work_diayjqyh2reffpwaap2xg7lj2a | What happens to the next problem? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the role of Aisling ’s peers? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the role of adults in the story? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the significance of using the word million? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the story saying about learning( mathematics)? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the story saying about past experiences with mathematics/ mathematic lessons/ learning mathematics/assessment? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the story saying about power? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the story saying about the classroom discourse? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the story saying about the school? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the story saying about the teacher or teachers? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the story saying about the teacher or teachers? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the student doing by telling this story? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is the ‘ baggage ’? |
| work_diayjqyh2reffpwaap2xg7lj2a | What is ….? |
| work_diayjqyh2reffpwaap2xg7lj2a | What seems to be important in the world of mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | What seems to be important in the world of school mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | When did that change? |
| work_diayjqyh2reffpwaap2xg7lj2a | When do people become mathematicians and how do they know that is what they should call themselves? |
| work_diayjqyh2reffpwaap2xg7lj2a | Where does identity fit with this story? |
| work_diayjqyh2reffpwaap2xg7lj2a | Where does ‘ identity ’ fit with these stories? |
| work_diayjqyh2reffpwaap2xg7lj2a | Where in the learning of school mathematics can you insert your culture, history, personality, and aspirations? |
| work_diayjqyh2reffpwaap2xg7lj2a | Where will the study take place? |
| work_diayjqyh2reffpwaap2xg7lj2a | Who are the dominant players in the story, what is this saying about power? |
| work_diayjqyh2reffpwaap2xg7lj2a | Who can we research and when? |
| work_diayjqyh2reffpwaap2xg7lj2a | Who is the story for? |
| work_diayjqyh2reffpwaap2xg7lj2a | Why am I attracted by some stories, and how do I set up an analysis that is inclusive of all my students? |
| work_diayjqyh2reffpwaap2xg7lj2a | Why did you include this phrase? |
| work_diayjqyh2reffpwaap2xg7lj2a | Why exactly? |
| work_diayjqyh2reffpwaap2xg7lj2a | Why is this? |
| work_diayjqyh2reffpwaap2xg7lj2a | Why then is it commonplace to see people crumble in the face of a mathematical problem? |
| work_diayjqyh2reffpwaap2xg7lj2a | With algebra and square root of what? |
| work_diayjqyh2reffpwaap2xg7lj2a | Yes Was there a time in your life where you felt less positive about learning mathematics? |
| work_diayjqyh2reffpwaap2xg7lj2a | Yes Why? |
| work_diayjqyh2reffpwaap2xg7lj2a | after oral briefing? |
| work_diayjqyh2reffpwaap2xg7lj2a | and; How can I create a more approachable and effective interface between mathematics teachers and their students? |
| work_diayjqyh2reffpwaap2xg7lj2a | b) How would the storytelling workshop run in the classes of other mathematic teachers? |
| work_diayjqyh2reffpwaap2xg7lj2a | is there evidence of classroom practices? |
| work_diayjqyh2reffpwaap2xg7lj2a | to be obtained from or in respect of any of the informants? |
| work_diayjqyh2reffpwaap2xg7lj2a | – but, what and who is the building for? |
| work_7hath36sl5g5jjurucr5vlajsq | ! ” they shouted again, and louder “ Que?! |
| work_7hath36sl5g5jjurucr5vlajsq | ! ” “ Heard what? ” “ Well, ” he said, trying to compose himself, “ I was visiting Willie at his home in California. |
| work_7hath36sl5g5jjurucr5vlajsq | ! ” “ What are you talking about? ” I said. |
| work_7hath36sl5g5jjurucr5vlajsq | ( Becker, 1963, 1982; Murray, 1976) What combination of circumstances and events might prompt a rational young person to pursue occupational deviance? |
| work_7hath36sl5g5jjurucr5vlajsq | ( Gardner, 1995; 1999) What then does an education mean? |
| work_7hath36sl5g5jjurucr5vlajsq | ( Merriman, 1993) But they were n’t really Gypsies — were they? |
| work_7hath36sl5g5jjurucr5vlajsq | ( Schuetze, 2001) What then does an education mean to me? |
| work_7hath36sl5g5jjurucr5vlajsq | ( What is this magic place? |
| work_7hath36sl5g5jjurucr5vlajsq | ( Where are we?) |
| work_7hath36sl5g5jjurucr5vlajsq | ( what?!! |
| work_7hath36sl5g5jjurucr5vlajsq | . ” “ So, what ’s the good news? ” “ You ’re a free agent. |
| work_7hath36sl5g5jjurucr5vlajsq | 1 5 2 1940s American slang, from the Italian “ capisci? ” meaning “ do you understand? ”( also coppish, kabish, capeesh). |
| work_7hath36sl5g5jjurucr5vlajsq | 1 5 2 1940s American slang, from the Italian “ capisci? ” meaning “ do you understand? ”( also coppish, kabish, capeesh). |
| work_7hath36sl5g5jjurucr5vlajsq | 1 9 5 Imprisoned AIM activist Leonard Peltier( b.1944) 151 “ The blues? ” he squinted. |
| work_7hath36sl5g5jjurucr5vlajsq | 140 would n’t have heard a thing. ” Hmmnn? |
| work_7hath36sl5g5jjurucr5vlajsq | 145 of the United States? |
| work_7hath36sl5g5jjurucr5vlajsq | 160 “ You in charge? ” she inquired. |
| work_7hath36sl5g5jjurucr5vlajsq | 169 “ Got what? ” “ The key to playing Chuck tunes man! |
| work_7hath36sl5g5jjurucr5vlajsq | 171 “ Are you guys the band? ” “ Yes sir! ” we chirped, in respectful unison. |
| work_7hath36sl5g5jjurucr5vlajsq | 205 customers have complained. ” “ About what? ” “ It ’s not the music, ” he said. |
| work_7hath36sl5g5jjurucr5vlajsq | 209 fingers? ” “ Not exactly, ” she said. |
| work_7hath36sl5g5jjurucr5vlajsq | 5 8 Frank Zappa, 1966 “ Howzit goin’ guys? ” I said, giving it my full- on friendly best. |
| work_7hath36sl5g5jjurucr5vlajsq | 5. ” Indeed, he may well have, but that ’s not exactly the pedagogical point now — is it? |
| work_7hath36sl5g5jjurucr5vlajsq | 52 “ What ’s this? |
| work_7hath36sl5g5jjurucr5vlajsq | 55 Will precious social and extra- curricular opportunities be lost, especially if the high school years are reduced? |
| work_7hath36sl5g5jjurucr5vlajsq | 89 “ What you lookin ’ at? |
| work_7hath36sl5g5jjurucr5vlajsq | ? |
| work_7hath36sl5g5jjurucr5vlajsq | ? |
| work_7hath36sl5g5jjurucr5vlajsq | ? |
| work_7hath36sl5g5jjurucr5vlajsq | ? 1 9 6 Seventh Son of Seventh Son!? |
| work_7hath36sl5g5jjurucr5vlajsq | ? 1 9 6 Seventh Son of Seventh Son!? |
| work_7hath36sl5g5jjurucr5vlajsq | ? ” It was a Rock& Roll dream come true, being mobbed by fans — a bit scary perhaps, but great fun. |
| work_7hath36sl5g5jjurucr5vlajsq | And the ladies? |
| work_7hath36sl5g5jjurucr5vlajsq | And the times? |
| work_7hath36sl5g5jjurucr5vlajsq | And why did they write like that? |
| work_7hath36sl5g5jjurucr5vlajsq | And, what role does education continue to play in my ongoing life and career? |
| work_7hath36sl5g5jjurucr5vlajsq | Apparently he was First Nations from Haida Gwaii.6 8 Who knew? |
| work_7hath36sl5g5jjurucr5vlajsq | Are audio recordings descriptive? |
| work_7hath36sl5g5jjurucr5vlajsq | Are you on the radio? ” “ We ’ve got one out right now, ” I replied. |
| work_7hath36sl5g5jjurucr5vlajsq | Are you on tour? ” “ We were just at the Esquire Show Bar in Montréal. ” “ Oooh. |
| work_7hath36sl5g5jjurucr5vlajsq | Are you out of your fucking mind? |
| work_7hath36sl5g5jjurucr5vlajsq | Besides, what would I have said? |
| work_7hath36sl5g5jjurucr5vlajsq | Black or white? ” “ Absolutely! |
| work_7hath36sl5g5jjurucr5vlajsq | Blues stood as a definite statement from “ outside the system, ” but was it true protest music? |
| work_7hath36sl5g5jjurucr5vlajsq | But blues? |
| work_7hath36sl5g5jjurucr5vlajsq | But education experts? |
| work_7hath36sl5g5jjurucr5vlajsq | But five o’clock on a weekend afternoon? |
| work_7hath36sl5g5jjurucr5vlajsq | But on the telephone? |
| work_7hath36sl5g5jjurucr5vlajsq | But “ what if? ” is a mug ’s game. |
| work_7hath36sl5g5jjurucr5vlajsq | But, now what? |
| work_7hath36sl5g5jjurucr5vlajsq | Can blacks play klezmer? |
| work_7hath36sl5g5jjurucr5vlajsq | Can fictionalized data represent a form of truth? |
| work_7hath36sl5g5jjurucr5vlajsq | Can you perhaps help us out in that regard? ” 1 8 2 Written by Geoff Edington. |
| work_7hath36sl5g5jjurucr5vlajsq | Character coherence: Are the characters “ believable? ” Do their relationships “ play out? ” Is the dialogue “ realistic? ”( Ibid.) |
| work_7hath36sl5g5jjurucr5vlajsq | Character coherence: Are the characters “ believable? ” Do their relationships “ play out? ” Is the dialogue “ realistic? ”( Ibid.) |
| work_7hath36sl5g5jjurucr5vlajsq | Character coherence: Are the characters “ believable? ” Do their relationships “ play out? ” Is the dialogue “ realistic? ”( Ibid.) |
| work_7hath36sl5g5jjurucr5vlajsq | Chonka chonka chonka? |
| work_7hath36sl5g5jjurucr5vlajsq | Content coherence: Does the story “ hold up ” in comparison to other examples of its type or genre? |
| work_7hath36sl5g5jjurucr5vlajsq | Did n’t he just recently pass away? ” “ Yes. |
| work_7hath36sl5g5jjurucr5vlajsq | Did the system let me down? |
| work_7hath36sl5g5jjurucr5vlajsq | Did you ever have to make up your mind? |
| work_7hath36sl5g5jjurucr5vlajsq | Did you have fun? ” “ Were n’t no fun at all God dammit! ” he snorted. |
| work_7hath36sl5g5jjurucr5vlajsq | Did you see that shot? |
| work_7hath36sl5g5jjurucr5vlajsq | Do they need to be? |
| work_7hath36sl5g5jjurucr5vlajsq | Do you know it? ” “ I live two blocks away. |
| work_7hath36sl5g5jjurucr5vlajsq | Do you like the blues? |
| work_7hath36sl5g5jjurucr5vlajsq | Do you like to play the blues? ” “ Yes sir, ” I answered, pulling up a chair. |
| work_7hath36sl5g5jjurucr5vlajsq | Do you really have to go? |
| work_7hath36sl5g5jjurucr5vlajsq | Does wisdom increase with age? |
| work_7hath36sl5g5jjurucr5vlajsq | Elvis? |
| work_7hath36sl5g5jjurucr5vlajsq | Guys get married, settle down, have children, and the whole thing turns to shit. ” “ Are you serious? ” “ Very serious. |
| work_7hath36sl5g5jjurucr5vlajsq | Hash? |
| work_7hath36sl5g5jjurucr5vlajsq | Honesty and trust — Is the author being truthful in presenting data? |
| work_7hath36sl5g5jjurucr5vlajsq | How did it go? |
| work_7hath36sl5g5jjurucr5vlajsq | How might someone actually go about choosing the other side? |
| work_7hath36sl5g5jjurucr5vlajsq | How on Earth?! |
| work_7hath36sl5g5jjurucr5vlajsq | How then was something so contrary to established procedure be allowed to happen? |
| work_7hath36sl5g5jjurucr5vlajsq | How will they feel when their classmates start driving before they can? |
| work_7hath36sl5g5jjurucr5vlajsq | Hurt me? ” “ B b b. |
| work_7hath36sl5g5jjurucr5vlajsq | I figured it was about 50/50 that we ’d wind up some- where on the side of the highway in a bloody heap, or worse? |
| work_7hath36sl5g5jjurucr5vlajsq | If white blues is autonomous and self- authenticating[ as purported to be], why is black approval needed? |
| work_7hath36sl5g5jjurucr5vlajsq | If you turn your back on this opportunity and go home to your whining pregnant wife — your precious rock- star career is over. ” “ Really? |
| work_7hath36sl5g5jjurucr5vlajsq | In Cincinnati? ” “ Yeah, back in the 50s. |
| work_7hath36sl5g5jjurucr5vlajsq | Indeed, what role did K-12 education play in my decision to become a working musician? |
| work_7hath36sl5g5jjurucr5vlajsq | Informed consent — Have the real- life characters in ones story been told of their inclusion? |
| work_7hath36sl5g5jjurucr5vlajsq | It was like a scene from the movie On the Waterfront.1 5 3 Was my own professional association threatening me with physical violence? |
| work_7hath36sl5g5jjurucr5vlajsq | Just a little misunderstanding. ” “ What about? ” “ Oh nothing. ” “ What do you mean. |
| work_7hath36sl5g5jjurucr5vlajsq | Just like that? ” “ Maybe not right away. |
| work_7hath36sl5g5jjurucr5vlajsq | Learning how to play? |
| work_7hath36sl5g5jjurucr5vlajsq | Lock us in the brig? |
| work_7hath36sl5g5jjurucr5vlajsq | Me? |
| work_7hath36sl5g5jjurucr5vlajsq | Might that have played a role? |
| work_7hath36sl5g5jjurucr5vlajsq | Mother Theresa? |
| work_7hath36sl5g5jjurucr5vlajsq | Oh why oh why oh why? |
| work_7hath36sl5g5jjurucr5vlajsq | One or the other? |
| work_7hath36sl5g5jjurucr5vlajsq | Or not? |
| work_7hath36sl5g5jjurucr5vlajsq | Privacy, confidentiality, and anonymity — Might identifying characteristics of certain characters require masking? |
| work_7hath36sl5g5jjurucr5vlajsq | Q: What do you call a musician without a girlfriend? |
| work_7hath36sl5g5jjurucr5vlajsq | Rent? |
| work_7hath36sl5g5jjurucr5vlajsq | Say yes to one and leave the other behind? |
| work_7hath36sl5g5jjurucr5vlajsq | Sixteen years- old and living away from home? |
| work_7hath36sl5g5jjurucr5vlajsq | So, this is Canada, eh? |
| work_7hath36sl5g5jjurucr5vlajsq | So, what did I do? |
| work_7hath36sl5g5jjurucr5vlajsq | Soda? |
| work_7hath36sl5g5jjurucr5vlajsq | Structural coherence: Do the parts of the story “ hang together? ” 2. |
| work_7hath36sl5g5jjurucr5vlajsq | The Beatles? |
| work_7hath36sl5g5jjurucr5vlajsq | The Great White North? |
| work_7hath36sl5g5jjurucr5vlajsq | The Queen of England? |
| work_7hath36sl5g5jjurucr5vlajsq | The Stones? |
| work_7hath36sl5g5jjurucr5vlajsq | The commodification of everything? |
| work_7hath36sl5g5jjurucr5vlajsq | Them border guards took it — remember? ” “ Hmmn. |
| work_7hath36sl5g5jjurucr5vlajsq | Throw us overboard? |
| work_7hath36sl5g5jjurucr5vlajsq | Was I just simply favourably predisposed as a child, innocently attracted by its lurid sheen? |
| work_7hath36sl5g5jjurucr5vlajsq | Was I so much smarter than the rest? |
| work_7hath36sl5g5jjurucr5vlajsq | Was he kidding? |
| work_7hath36sl5g5jjurucr5vlajsq | We all did. ” “ In the black community? ” “ Sure, why not? |
| work_7hath36sl5g5jjurucr5vlajsq | We all did. ” “ In the black community? ” “ Sure, why not? |
| work_7hath36sl5g5jjurucr5vlajsq | Were it not better to forget Than to remember — and regret? |
| work_7hath36sl5g5jjurucr5vlajsq | What about me? |
| work_7hath36sl5g5jjurucr5vlajsq | What about the less well served, the ones that do n’t fit in — the ones flushed out the system ’s other end? |
| work_7hath36sl5g5jjurucr5vlajsq | What are these these racist assholes thinking? |
| work_7hath36sl5g5jjurucr5vlajsq | What do you call it? |
| work_7hath36sl5g5jjurucr5vlajsq | What do you think? ” He thought for a second, then looked up. |
| work_7hath36sl5g5jjurucr5vlajsq | What exactly do you mean? ” “ Well, according to them, it looks like two couples up there. ” “ And how is that a problem? ” “ W w. |
| work_7hath36sl5g5jjurucr5vlajsq | What exactly do you mean? ” “ Well, according to them, it looks like two couples up there. ” “ And how is that a problem? ” “ W w. |
| work_7hath36sl5g5jjurucr5vlajsq | What happened? |
| work_7hath36sl5g5jjurucr5vlajsq | What happened? ” 2 2 2 The Sunrise Hotel was purchased by the City of Vancouver in the 1990s, renovated, and turned into subsidized housing. |
| work_7hath36sl5g5jjurucr5vlajsq | What is the truth of simulation? |
| work_7hath36sl5g5jjurucr5vlajsq | What meaning does education hold for them? |
| work_7hath36sl5g5jjurucr5vlajsq | What part of London did you say your family was from? ” Well, believe it or not. |
| work_7hath36sl5g5jjurucr5vlajsq | What prompted his exceedingly hasty evaluation? |
| work_7hath36sl5g5jjurucr5vlajsq | What role did K-12 education play in my decision to become a working musician? |
| work_7hath36sl5g5jjurucr5vlajsq | What role did occupational deviance play with respect to the nature and quality of my latter- day engagement with higher education? |
| work_7hath36sl5g5jjurucr5vlajsq | What role does education continue to play in my ongoing life and career? |
| work_7hath36sl5g5jjurucr5vlajsq | What the hell is wrong with these people? ” “ Settle down Sonny, ” I said. |
| work_7hath36sl5g5jjurucr5vlajsq | What then is the meaning of an education? |
| work_7hath36sl5g5jjurucr5vlajsq | What was it like? ” “ Goodness no! ” he gasped, his face turning white. |
| work_7hath36sl5g5jjurucr5vlajsq | What were they going to do to us? |
| work_7hath36sl5g5jjurucr5vlajsq | What ’s going on? |
| work_7hath36sl5g5jjurucr5vlajsq | What ’s wrong? ” asked Geoff? |
| work_7hath36sl5g5jjurucr5vlajsq | What ’s wrong? ” asked Geoff? |
| work_7hath36sl5g5jjurucr5vlajsq | Where did I come in from? ” “ Yes sir. |
| work_7hath36sl5g5jjurucr5vlajsq | Where did you travel in from? ” The beer arrived, Albert grunted out a “ thank you, ” and the waitress wandered off. |
| work_7hath36sl5g5jjurucr5vlajsq | Where do you boys figure a guy could rent some muscle around these parts? ” Muscle? |
| work_7hath36sl5g5jjurucr5vlajsq | Where do you boys figure a guy could rent some muscle around these parts? ” Muscle? |
| work_7hath36sl5g5jjurucr5vlajsq | Where have you been keeping it? |
| work_7hath36sl5g5jjurucr5vlajsq | Who do you love? |
| work_7hath36sl5g5jjurucr5vlajsq | Who do you think you are? |
| work_7hath36sl5g5jjurucr5vlajsq | Who were these people anyway? |
| work_7hath36sl5g5jjurucr5vlajsq | Why? ” “ You wo n’t believe it! |
| work_7hath36sl5g5jjurucr5vlajsq | Will they be tempted into situations such as boy- girl relationships or smoking and alcohol use before they are ready to handle such issues? |
| work_7hath36sl5g5jjurucr5vlajsq | Will younger boys find girls to date? |
| work_7hath36sl5g5jjurucr5vlajsq | Women? ” “ It ’s very nice of you to offer, ” said Willie. |
| work_7hath36sl5g5jjurucr5vlajsq | Would you like to meet him? |
| work_7hath36sl5g5jjurucr5vlajsq | You have to be obsessed! ” “ Obsessed? ” “ Priorities man! |
| work_7hath36sl5g5jjurucr5vlajsq | [ And] what about the prom? ” My parents were n’t told about the strapping incident. |
| work_7hath36sl5g5jjurucr5vlajsq | he inquired, “ Quel est cet place magique? |
| work_7hath36sl5g5jjurucr5vlajsq | http://www.disabledsailingbc.org 216 “ Do n’t you know? |
| work_7hath36sl5g5jjurucr5vlajsq | is black. ” “ You ’re kidding? |
| work_7hath36sl5g5jjurucr5vlajsq | is it not?! |
| work_7hath36sl5g5jjurucr5vlajsq | or career. ” “ Really? |
| work_7hath36sl5g5jjurucr5vlajsq | the bandleader? ” I nodded tentatively. |
| work_7hath36sl5g5jjurucr5vlajsq | what do you think about the blues? |
| work_7hath36sl5g5jjurucr5vlajsq | ‘ Oh nothing? ’ ” “ Listen little buddy, ” he whispered, leaning forward. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Ai n’t you never seen a naked lady before? ” I froze. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Am I in some sort of trouble? ” Peering over from under his pince- nez spectacles, Principal Henderson4 8 motioned me into his office. |
| work_7hath36sl5g5jjurucr5vlajsq | “ And we ca n’t let that happen — can we? ” It ca n’t happen here! |
| work_7hath36sl5g5jjurucr5vlajsq | “ And what ’s your phone number? ” I borrowed a pen, and she wrote it on my shirt. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Any of you boys know how to play the blues? ” he grunted, slipping the guitar- strap over his shoulder. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Are you all right? ” she said, offering her hand. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Are you crazy? ” shot Willie. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Are you familiar with the English singer Long John Baldry? ” “ Certainly, ” he replied. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Are you lost? ” “ Yeah! ” piped an associate, “ Do you have an appointment? ” “ No, ” I said, barely managing a squeak. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Are you lost? ” “ Yeah! ” piped an associate, “ Do you have an appointment? ” “ No, ” I said, barely managing a squeak. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Are you sure you want to know the secret? ” inquired Bill, “ ‘ Cos once you do, you ’ll never be the same. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Can I help you gentlemen? ” she said, only partially opening the door to protect the star ’s privacy. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Can I help? ” “ Thanks, ” I replied, vainly trying to hide my embarrassment. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Can we? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Can you teach it to me? ” “ Wow! ” I thought. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Capiche?!! |
| work_7hath36sl5g5jjurucr5vlajsq | “ Charlie has a girlfriend? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Charlie? ” I blubbered. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Did I say something wrong? ” “ Oh no, ” she replied, collapsing into tears, “ It ’s nothing like that. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Did you go to his funeral? ” I inquired. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Do you have anything else to say? ”( taken as thinly veiled last chance to turn in my unknown accomplices). |
| work_7hath36sl5g5jjurucr5vlajsq | “ Do you think my friend over there could sit in? ” she said, gesturing towards her party. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Do you want to think about maybe postponing your start date? ” “ Bring it on, ” I said. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Doing anything later? ” “ Hell yeah! ” I said, all jacked- up and excited. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Get back to work! ” Why oh why oh why oh why? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Has anyone seen that promoter cat? ” he inquired, glancing around the crowded suite. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Have n’t you heard? |
| work_7hath36sl5g5jjurucr5vlajsq | “ He must be thirsty. ” “ What was that you were saying kid? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Hmmnn? ” I thought, from my vantage point stage- right, “ I wonder what ’s going on with them. |
| work_7hath36sl5g5jjurucr5vlajsq | “ How about this? ” I ventured, improvising on the spot. |
| work_7hath36sl5g5jjurucr5vlajsq | “ How was your first day of school in Canada dear? ” inquired Mum. |
| work_7hath36sl5g5jjurucr5vlajsq | “ How ’d it go? ” inquired seat- mate Doctor Fingers, enjoying a glass of red wine with his in- flight meal. |
| work_7hath36sl5g5jjurucr5vlajsq | “ How ’s it going? ” I inquired, blathering on like a curious schoolboy. |
| work_7hath36sl5g5jjurucr5vlajsq | “ How ’s it going? ” I said. |
| work_7hath36sl5g5jjurucr5vlajsq | “ I could n’t possibly have. ” “ Why not? ” 3 0 2 The Disabled Sailing Foundation of B.C. |
| work_7hath36sl5g5jjurucr5vlajsq | “ I just heard it on the radio way back and dug it. ” “ You used to listen to country music radio? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Is everything okay? ” I said. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Is that you? ” “ Yes, ” he chuckled. |
| work_7hath36sl5g5jjurucr5vlajsq | “ It ’s an island? ” I declared with schoolboy confidence, “ off the coast of Cornwall? ” Life was good in London. |
| work_7hath36sl5g5jjurucr5vlajsq | “ It ’s an island? ” I declared with schoolboy confidence, “ off the coast of Cornwall? ” Life was good in London. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Not your type? ” 1 5 8 Featuring singer- songwriter Lou Reed on lead vocals. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Où sommes- nous? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Pardonnez- moi. ” “ There ’s been a death threat. ” “ You ’re kidding? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Perhaps you ’d like to share it with the class? ” “ No Miss, ” I replied, rather wishing it would simply disappear. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Que?!! |
| work_7hath36sl5g5jjurucr5vlajsq | “ Qu’a- t- il dit? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Really? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Really? ” countered Bill. |
| work_7hath36sl5g5jjurucr5vlajsq | “ So, where ’s he off to now? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Something wrong? ” “ It ’s your God damned Canadian border guards. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Tea? |
| work_7hath36sl5g5jjurucr5vlajsq | “ The kids are all grown up, and two of them have moved out. ” 224 In truth? |
| work_7hath36sl5g5jjurucr5vlajsq | “ The last guy did n’t last too long, you know? ” “ Yeah, I heard. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Undercover pigs. ” “ Are you pigs? ” inquired the head Indian, leaning forward. |
| work_7hath36sl5g5jjurucr5vlajsq | “ We ’re here to protect you, not bust you. ” Taking the police at their word(? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Weed? |
| work_7hath36sl5g5jjurucr5vlajsq | “ What are you going to do? |
| work_7hath36sl5g5jjurucr5vlajsq | “ What did I do? ” I wondered to myself. |
| work_7hath36sl5g5jjurucr5vlajsq | “ What did you and your friends do today dear? ” she inquired. |
| work_7hath36sl5g5jjurucr5vlajsq | “ What do you mean I ’m not good enough?! |
| work_7hath36sl5g5jjurucr5vlajsq | “ What do you mean?! |
| work_7hath36sl5g5jjurucr5vlajsq | “ What if I play both gigs? |
| work_7hath36sl5g5jjurucr5vlajsq | “ What ’d I do? ” said Geoff, feigning innocence. |
| work_7hath36sl5g5jjurucr5vlajsq | “ What ’s a Wog? ” “ Well Linny, ” he replied, not wishing to appear irredeemably prejudiced. |
| work_7hath36sl5g5jjurucr5vlajsq | “ What ’s the matter kid? ” I inquired at dinner. |
| work_7hath36sl5g5jjurucr5vlajsq | “ What ’s the matter? ” I said, feigning disappointment. |
| work_7hath36sl5g5jjurucr5vlajsq | “ What ’s up Mr. Benton? ” I inquired. |
| work_7hath36sl5g5jjurucr5vlajsq | “ What ’s up man? ” said the bass player. |
| work_7hath36sl5g5jjurucr5vlajsq | “ When do we start? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Where do you think you ’re going? ” I kept quiet, not wishing to cause a scene. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Which one of you is the bass- player? ” Jack nodded. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Who are you, and what are you doing around here? ” “ Well, ” I mumbled, “ we were just wondering if you liked the blues. ” “ What? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Who are you, and what are you doing around here? ” “ Well, ” I mumbled, “ we were just wondering if you liked the blues. ” “ What? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Who are you? ” I mumbled, clumsily trying to pull myself into vertical alignment. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Who was there? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Whose is it then?! |
| work_7hath36sl5g5jjurucr5vlajsq | “ Why? ” “ ’ Well. |
| work_7hath36sl5g5jjurucr5vlajsq | “ Would you be the one to deny a true son of Albion3 1 4 his rightful chariot home? |
| work_7hath36sl5g5jjurucr5vlajsq | “ Would you boys like something to drink? ” she inquired maternally. |
| work_7hath36sl5g5jjurucr5vlajsq | “ You do n’t remember me, do you? ” he said. |
| work_7hath36sl5g5jjurucr5vlajsq | “ You see, the English education system is far superior to our colonial brand. ” “ What should we do then? ” she inquired. |
| work_7hath36sl5g5jjurucr5vlajsq | “ You the new guy eh? ” he said, through characteristically clenched teeth. |
| work_7hath36sl5g5jjurucr5vlajsq | “ You ’re kidding?! |
| work_7hath36sl5g5jjurucr5vlajsq | ” 3 1 4 The ancient name for the island of Great Britain, from the Latin albus( meaning “ white? |
| work_5exozb2y6bgklpbgnoprj2ptxa | But,the student raises her voice,"is that really fair?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | Can you translate this sentence for me? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do you mind,the professor continues politely,"iffor the rest of your talk you do not use the term"non- white"to refer to us?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | How can this keep happening here? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How should I talk to my daughter about this? |
| work_5exozb2y6bgklpbgnoprj2ptxa | I was wondering if you might need any help in your house, maybe a maid, or cook, or nanny? |
| work_5exozb2y6bgklpbgnoprj2ptxa | It? work_5exozb2y6bgklpbgnoprj2ptxa So tell me, Jacyntha,"he began,"why would a woman possibly want to lead the country, and why on earth should we let her?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | What are you talking about? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What do you mean? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What the hell is wrong with us? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Why are all the black kids sitting together in the cafeteria? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Would anyone like to respond to this? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Would you like to watch the movie about Fort Langley first, or perhaps try your hand at panning for gold? |
| work_5exozb2y6bgklpbgnoprj2ptxa | ''By Joy Ko#aM) What do I remember of the evacuation? |
| work_5exozb2y6bgklpbgnoprj2ptxa | ( Murray, 2000, 103) A: For me to do this? |
| work_5exozb2y6bgklpbgnoprj2ptxa | ( Rizvi, 1994, p. 66) How do we get where we want this to take us? |
| work_5exozb2y6bgklpbgnoprj2ptxa | )? |
| work_5exozb2y6bgklpbgnoprj2ptxa | , What do we remember of the evacuation? |
| work_5exozb2y6bgklpbgnoprj2ptxa | 10 1̂ rt I: 11 Chapter I Witnessing Historical 3nd PecjggogicaJ 5p3ce: A personal and conceptual journey Mapping |
| work_5exozb2y6bgklpbgnoprj2ptxa | 105 I found myself lingering on Bridget''s"M^vcrC?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | 105- 106)? |
| work_5exozb2y6bgklpbgnoprj2ptxa | 108 Chftpte? |
| work_5exozb2y6bgklpbgnoprj2ptxa | 424, 558)"Do you know what this exhibit is about?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | 66"How does it feel,"I ask a guide,"to work here?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | 95 Chapter VII:"y © U G f o D t Ml 9%l<2Gp cfoiDg it": 1?gi? |
| work_5exozb2y6bgklpbgnoprj2ptxa | : interior monologue, cops in the head, image theatre)? |
| work_5exozb2y6bgklpbgnoprj2ptxa | : interior monologue, cops in the head, image theatre)? |
| work_5exozb2y6bgklpbgnoprj2ptxa | ? |
| work_5exozb2y6bgklpbgnoprj2ptxa | ? |
| work_5exozb2y6bgklpbgnoprj2ptxa | A HUGE AMOUNT OF PEOPLE DISCRIMINATE AGAINST THE PEOPLE IN EAST VANCOUVER, BUT HOW DO WE PROVE THEM WRONG? |
| work_5exozb2y6bgklpbgnoprj2ptxa | A P P I W A U A N THt flOP 44 What do-1 rem&mher of the/ e*/a<>uxxttim/? |
| work_5exozb2y6bgklpbgnoprj2ptxa | A n d is n''t that better than not tackling them at all? |
| work_5exozb2y6bgklpbgnoprj2ptxa | A woman from the group- a parent, a teacher perhaps? |
| work_5exozb2y6bgklpbgnoprj2ptxa | A worthy project, certainly, but in whose memory, and whose name? |
| work_5exozb2y6bgklpbgnoprj2ptxa | ARE Y O U READY? |
| work_5exozb2y6bgklpbgnoprj2ptxa | And me? |
| work_5exozb2y6bgklpbgnoprj2ptxa | And the teachers in these scenarios? |
| work_5exozb2y6bgklpbgnoprj2ptxa | And their school, how should we map that? |
| work_5exozb2y6bgklpbgnoprj2ptxa | And then so many questions: How do we stop the children on the cart from disappearing into a misremembered past? |
| work_5exozb2y6bgklpbgnoprj2ptxa | And what good would the middle ground be i f it did not succeed in changing the system? |
| work_5exozb2y6bgklpbgnoprj2ptxa | And whose answers should the teacher decide are"RCCURRTE"? |
| work_5exozb2y6bgklpbgnoprj2ptxa | And, after navigating the twisting halls of theory and inquiry, what answers would I find? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Are they in resistance yet? |
| work_5exozb2y6bgklpbgnoprj2ptxa | But how do I tell you, now, what power that moment held for all of us in the room? |
| work_5exozb2y6bgklpbgnoprj2ptxa | But where w i l l the money come from? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Can I make"the teaching of the aesthetic experience"my"pedagogic creed"( Greene, 1994, p. 133)? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Could we call this your first experience of coming up against a border? |
| work_5exozb2y6bgklpbgnoprj2ptxa | D i d any comments surprise you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | D i d anyone come close to feeling empathy for his or her character? |
| work_5exozb2y6bgklpbgnoprj2ptxa | D i d anyone come close to feeling empathy for his or her character? |
| work_5exozb2y6bgklpbgnoprj2ptxa | D i d you ever get a chance to tell them your feelings? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Debrief by discussing the complexities of each character''s choice- how do we allow cops to operate in our heads? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Debrief by discussing the complexities of each character''s choice- how do we allow cops to operate in our heads? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Did it make you see or feel things differently? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Did it make you see or feel things differently? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Did you ever get a chance to tell them your feelings? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Did you get what you wanted? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do I tell you what happened, lay out the rules of the exercise, who moved where, who stood where, who spoke what? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do oral histories from these groups exist as public documents? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do they encourage the action, or lead the characters to make different actions? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do they encourage the action, or lead the characters to make different actions? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do we include participants''comments because they are articulate, neat and quotable and thus enhance our argument and our work? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do we use our art to help question and change the monstrous system? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do we want the students we teach to study the past, or to remember and respond to it? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do we witness ourselves as resisting or perpetuating these teachings? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do you ever pass a school, particularly those brick boxes from the middle of the last century, and think how 16 closely they resemble prisons? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do you have any other questions, comments or reflections? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do you have any other questions, comments or reflections? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do you see the area differently after participating in the lesson? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do you see the residential school experience differently after participating in the lesson? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do you think this unit should be taught in other schools? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do you think this unit should be taught in other schools? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do you understand any of these concepts better after completing the unit? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Do you understand any of these concepts better after completing the unit? |
| work_5exozb2y6bgklpbgnoprj2ptxa | EVEN WALK INTO A STORE WITHOUT BEING STEREOTYPED AS SOMEONE WHO''S GOING TO STEAL SOMETHING? |
| work_5exozb2y6bgklpbgnoprj2ptxa | For whose nation? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Get what, exactly? |
| work_5exozb2y6bgklpbgnoprj2ptxa | H o w did it feel? |
| work_5exozb2y6bgklpbgnoprj2ptxa | H o w did making that image and saying that line make you feel? |
| work_5exozb2y6bgklpbgnoprj2ptxa | H o w did they use it? |
| work_5exozb2y6bgklpbgnoprj2ptxa | H o w did you feel? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Had I lost my teaching touch, after two years in graduate school? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Had we just unwittingly stumbled into the chasm between academic theory and classroom reality? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Has this happened for you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Has this happened for you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Have I internalized the very language and structures I seek to change? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Have you ever been able to go wherever you wanted, speak to whomever you chose, ask for whatever you needed? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How can I bring you into that room, that moment, that space- or should I even try? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How can I create new words to define my re/ searching? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How can our practice bear witness to their experiences in a meaningful way? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How can they be used in ways similar to these units? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How can we connect some of these questions and answers to the key concepts of the unit, or the drama games from the previous class? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How can we encourage our students to safely become the event, to enter into it as fully as they can? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How can we encourage them to see themselves not only as lifelong learners, but as lifelong witnesses? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How can you connect this character''s struggle to modern discussions of oppression or discrimination in Vancouver and Canada? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How can you connect this character''s struggle to modern discussions of residential schooling? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How could I bring you, the reader, into each experience as fully and engagingly as possible? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did embodying their responses or questions surrounding these issues effect their ability to relate to and grapple with them? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did it challenge or inspire you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did it challenge or inspire you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did it feel to play someone with intentions other than your own? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did making that image and saying that line make you feel? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did this exercise affect you and your understanding of the unit''s concepts or issues? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did this exercise affect you and your understanding of the unit''s concepts or issues? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did you feel... and how can you connect these feelings to a concept? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did you feel? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did you feel? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did you resolve the conflict? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How did you resolve the conflict? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How do I relate to a"national"memory?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | How do they make you feel? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How do we develop an understanding that racism is"a system of advantage based on race"( Tatum, 1997, p. 7) that houses whiteness 69 at its very core? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How do we do this? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How do we learn- and teach- listening in such a way that would get us to that place? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How do we navigate the murky, treacherous waters of race and racism in the classroom? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How does learning from this resource compare to learning from other resources, such as videos or textbooks? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How does learning from this resource compare to learning from other resources, such as videos or textbooks? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How does this exercise get us closer to the experience of empathy? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How does this exercise get us closer to the experience of empathy? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How easy was it to listen to or block out the cops''voices? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How far could, or did, or should, the students go? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How is it to know oneself as privileged or subalterned by history and its imposed borders? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How many of us ever actually cross-1 mean really transgress, in mind and body and soul- a border? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How might they have perceived immigrants? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How might they have used this power( economically, legally, socially)? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How much did the children know about what was happening to them? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How old were you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How should I account for- or be accountable for- the differences in classroom climates and student engagement? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How"do we negotiate a safe place for our art within a system that feels monstrous and immutable? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How, then, were the students in the project becoming literate? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How? |
| work_5exozb2y6bgklpbgnoprj2ptxa | How? |
| work_5exozb2y6bgklpbgnoprj2ptxa | I WANT TO HELP AND FIGHT BUT WHO''S GOING TO BELIEVE THAT I TRULY WANT TO?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | I made some polite rejoinder and he asked me-"Do you speak Hindi?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | I want to ask them more questions- Are we just tourists here, taking this visit in like any other stop? |
| work_5exozb2y6bgklpbgnoprj2ptxa | If those"voices"could be specific people or characters, who would they be? |
| work_5exozb2y6bgklpbgnoprj2ptxa | If those"voices"could be specific people or characters, who would they be? |
| work_5exozb2y6bgklpbgnoprj2ptxa | If we do not allow ourselves to speak, how do we learn? |
| work_5exozb2y6bgklpbgnoprj2ptxa | If you could speak to someone who worked in a residential school, what would you want to say? |
| work_5exozb2y6bgklpbgnoprj2ptxa | In the First Nations Studies 12 class, were the aboriginal males made to feel like token speakers for all First Nations? |
| work_5exozb2y6bgklpbgnoprj2ptxa | In the Social Studies 11 class, did I show more empathy in witnessing the testimonies, or more confidence in facilitating student responses? |
| work_5exozb2y6bgklpbgnoprj2ptxa | In the games, who had it? |
| work_5exozb2y6bgklpbgnoprj2ptxa | In the games, who lived with it? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Introducing Image Theatre( 5 minutes) a) What do you see? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Introducing Image Theatre( 5 minutes) c) What do you see? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Is it emblematic of the infancy of Canadian race history as a subdiscipline? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Is it evidence of the lack of sophistication of historians generally about matters of race? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Is telling, then, not an action, not an experience in itself? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Is there a middle ground"( Murray, 2000, p. 103)? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Is this the fabled"third space"of which Bhaba speaks? |
| work_5exozb2y6bgklpbgnoprj2ptxa | J: And most of your teachers are of that background as well? |
| work_5exozb2y6bgklpbgnoprj2ptxa | J: So if we want to improve our practice, where do we look, who do we turn to''? |
| work_5exozb2y6bgklpbgnoprj2ptxa | J: So what is multicultural education like at your school''? |
| work_5exozb2y6bgklpbgnoprj2ptxa | J: So when you have conversations with other teachers, do you talk much about this stuff- social justice or anti- racism work"? |
| work_5exozb2y6bgklpbgnoprj2ptxa | M: Is the genuine and lasting presence of Drama in any school anything less than an act of reform? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Me? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Mind if I see your license and registration?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | NOW? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Possible questions may include: • H o w does hearing Mary''s story today make you feel? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Possible questions may include: • How does hearing these stories today make you feel? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Possible questions/ ideas could include: • H o w can we connect the words to the drama games? |
| work_5exozb2y6bgklpbgnoprj2ptxa | She said,"Why not?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | T h e w o r d s y o u j u s t r e a d, w h a t d o they m e a n to y o u? |
| work_5exozb2y6bgklpbgnoprj2ptxa | The first? |
| work_5exozb2y6bgklpbgnoprj2ptxa | The/ V&mivUcm/1n^tCtute/: VubUxyfwvxcly,"publCo"vn&tnoriefr? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Then the headlines,"four white kids for one Jap- is it fair?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | They, these students waiting for me to teach them something, what do they remember? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Things I have said in the same classes: •"God, were n''t those people just playing the race card, to complain like that?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | W h o m would you want to meet? |
| work_5exozb2y6bgklpbgnoprj2ptxa | W h y does it stand out for you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | WHY ARE WE HILL UVING LIKE THIS? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Was I read by that class''s students of colour as ally or enemy? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Was this unit a mere pipe dream or real possibility? |
| work_5exozb2y6bgklpbgnoprj2ptxa | We can begin by asking ourselves and our students the same questions Hamilton poses when she writes,"who then, is the"we"of the nation? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What changes would you make? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What changes would you make? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What could I or should I have done differently? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What did it mean to you to have it or not have it? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What did you do? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What did you want your character to do? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What do I remember of the evacuation? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What do I remember of the evacuation? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What do these words make you see? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What do you think is the one thing a person might miss most when they are in prison?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | What effect has listening to these real life memories had on your understanding of the residential school experience? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What effect has listening to these real life memories had on your understanding of the urban experience? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What happened? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What happened? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What happened? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What happens then? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What happens to those falsely segregated or united by a nation and its imagined borders? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What image were you making? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What image were you making? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What insights does this give you into the kinds of choices people make? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What is to stop the testimonies of Behind Closed Doors from"guest speaking"to a First Nations Studies class? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What links can we make? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What made you do what you did, in the end? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What power might they have had to control who lived near them? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What questions would I be able to ask of myself and my work within the reflective spaces of academia? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What role could this approach play in future senior secondary humanities courses? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What was inside the drama games for you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What were you doing( leading or following)? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What were you thinking of when you said that line? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What were you thinking of when you said that line? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What would you want to say to him or her? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What"voices"did you hear in your conscience- what did they want you to do? |
| work_5exozb2y6bgklpbgnoprj2ptxa | What"voices"did you hear in your conscience- what did they want you to do? |
| work_5exozb2y6bgklpbgnoprj2ptxa | When did you last live beyond the barriers of geography, or the boundaries of knowledge? |
| work_5exozb2y6bgklpbgnoprj2ptxa | When we look across a border, what do we really see- of the other and of ourselves? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Where have you stood, my friends? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Where was this world, for you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which concepts still feel unclear to you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which concepts still feel unclear to you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which concepts would you like to explore in more detail? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which concepts would you like to explore iri more detail? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which game was it( struggle, hypnosis or west side story)? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which of the characters in today''s telling do you think faced the most difficult choice, and the most complicated internal"voices"? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which of the characters in today''s telling do you think faced the most difficult choice, and the most complicated internal"voices"? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which one can you relate to the most? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which ones? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which ones? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Which"cop"did you find the most realistic and convincing? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Who shared it with you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Who took that photograph, and why? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Who was the person? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Who was the person? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Who were the"West Enders"? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Whst Next? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Why did I stay with that word? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Why does it stand out for you? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Why include the Canadian space in this discussion? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Why should a story only be told for entertainment, and not to provoke or empower? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Why? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Why? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Why? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Why? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Why? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Would a diagram 104 h e l p, a m a p, w i t h a r r o w s a n d c i r c l e s a n d footnotes to t e l l y o u h o w it felt? |
| work_5exozb2y6bgklpbgnoprj2ptxa | Writing the TOoroent: frustrations of writing about performance How can I write about the performative? |
| work_5exozb2y6bgklpbgnoprj2ptxa | and people saying,"Japs are killing Americans, so what difference does it make if 4 Canadian boys shoot 1 Jap?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | and should we even wish such a thing? |
| work_5exozb2y6bgklpbgnoprj2ptxa | and so I want to ask you how would you define the term literacy? |
| work_5exozb2y6bgklpbgnoprj2ptxa | but then, i f I had known all I know now, would the crisis had happened, would the learning be as rich? |
| work_5exozb2y6bgklpbgnoprj2ptxa | doing, what? |
| work_5exozb2y6bgklpbgnoprj2ptxa | fCndtng^ a/ definition/ cyfwhCte^ie^ What exactly is whiteness and its attendant privilege? |
| work_5exozb2y6bgklpbgnoprj2ptxa | he asked, and proceeded to say in Hindi what in English amount to"Do you want to fuck with me?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | highly diverse, low income schools)? |
| work_5exozb2y6bgklpbgnoprj2ptxa | i Free Expression# 2: If you could speak to a residential school survivor today, what would you want to say to them? |
| work_5exozb2y6bgklpbgnoprj2ptxa | responding Just what exactly is storytelling, anyway? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • Does it challenge previous conceptions you may have had o f residential schooling? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • Does it challenge previous conceptions you may have had of the area? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • H o w did you experience agency in the games, either through your own actions or those o f others? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • How does Drama as a mode of educational inquiry facilitate this intervention and discourse? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • W h y should we study stories from the past? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • What does it make you think about how East Vancouver became the place it is today? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • What does it make you think about school, or childhood? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • What is oppression? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • What is power? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • What links can you draw between residential schooling and contemporary First Nations issues? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • What links can you draw between the historical development of East Vancouver and today? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • What other experiences of oppression or injustice within Canada''s borders might senior secondary students be unaware of? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • What role did the drama games and exercises have in getting you to think about all this? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • What would an extended version of this unit- sixteen lessons over a semester, for example- look and play out like in senior secondary curricula? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • Why should we study stories from the past? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • actually worked with one another to solve problems? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • came to expect diversity rather than conformity in their classrooms? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • felt free enough to admit that they had problems? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • had a say in the social polices they were asked to implement? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • were able to choose when and with whom they wished to collaborate? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • were encouraged to be reformers, even rebels, and given the necessary supports for their efforts? |
| work_5exozb2y6bgklpbgnoprj2ptxa | • were treated like professionals rather than children? |
| work_5exozb2y6bgklpbgnoprj2ptxa | •"Can we really call whites who acted in the past racist-/ mean was n''t it a different context back then?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | •"My family has been here four generations, surely that counts for something?" |
| work_5exozb2y6bgklpbgnoprj2ptxa | •"My father came here from Greece, he did n''t fit in either, could n''t speak any English, so does he get lumped in with the privileged whites?" |