...follow us. They trailed along, quacking, butting their heads into our legs, click-clacking their little webbed feet down the cement pathway. Finally fed up, my grandmother spun around and faced them. "Leave us alone, you needy ducks!" she shouted. "Go home! Your parents must be worried sick." When the ducks wouldn't leave, my grandmother started hitting them on their heads with the plastic bag of hamburger buns. It was funny. If you'd known my grandmother, how defined by hardship her life was, you would have found this incident even funnier. My father, who knew his mother's struggles all too well, had to lean against a tree because he was laughing so hard. Sweet mercy, there is nothing like humor to ease the soul. If you've got a funny story, poem, or essay of your own, here are some places that might be a good fit. Enjoy! THE ALARMIST is a fresh, new, dark, funny and twisted printed literary magazine published biannually. It’s not about trying to prove how clever or well-read you are, mind – we’re not the Paris Review. We want to buck the modern trend, and tickle and entertain with what we publish. ASININE POETRY is the journal of asinine poetry, a quarterly publication of asinine poetry, poetry that is, shall we say, asinine. To wit: Not necessarily bad; mostly kinda funny. BARTLEBY SNOPES is an online literary magazine with several goals in mind. We want to publish the best new fiction we can find. We want to give the many writers out there an opportunity to publish...
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...On The Road – Langston Hughes “On the Road” is a short story which focuses on the difficult integration of an African-American boy called Sargeant. Through the story, he tries to find a place to stay for the night but faces racial discrimination. At first, he goes to a house but unfortunately the owner, Mr. Dorset shuts the door and does not want to hear about Sargeant’s story. He then turns himself to a church but the doors are locked, so he knocks the door down and the church finally falls down. After that, he dreams about walking with Jesus and ends up very confused in jail. In the story, the major theme is racism and it is expressed by the writer through literary techniques and devices such as symbolism and imagery. At the beginning of the story, Sargeant is walking on a cold night of winter and does not notice the snow. He does not even see the white and flaky snow falling against the night. When Mr. Dorset shuts the door, it represents how he is not accepted and it demonstrates how he is unwelcome from the white people. At that point, he starts sensing the snow. It means that he begins to feel the oppression of the whites on him. Consequently, it is easily remarkable that Langston Hughes wanted the snow to represent racism and racial discrimination. As the story goes on, Sargeant finds himself in front of a church and would like to enter by the door to have a place where to sleep for the night. Sargeant tries to step through the door and enter the church but white...
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...no doubt influenced by their parents’ musical backgrounds. Charles traveled for work taking his family with him sometimes. It was during one of these times that Pete heard the banjo for the first time. This would become Pete’s signature instrument. (Schrager Lang and Simon 1). The banjo would become popular because of Pete’s use of it. (Miller and Shahriari 487). Charles Seeger was a political man and was involved with the union activism that took place in the university classical music department of all places. He promoted the radical Industrial Workers of the World at Berkley and was fired for his pacifism in 1918. (1). Pete would follow in his father’s footsteps with his political beliefs as well as his love for music. When Pete was a young boy, he would read about American Indians and how the members of the tribe would share everything so that everyone was taken care of and no one was left to fend for themselves. Pete’s early beliefs on how a country should be run was adopted by the books he read. He was a self-proclaimed communist and at 19 he joined the Young Communist League. Pete attended Harvard for a short time, but dropped out and went to New York City to work for Alan Lomax at the Archives of American Folk Music. (2). He would get an education on the history of folk music and various artist. It was during this time that Pete organized the Almanac Singers. The group included himself, Lee Hayes, Millard Lampell, Sis Cunningham, Sonny Terry, and Brownie McGhee. Woody...
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...Chaplin, 2005). Having been born into poverty, Chaplin’s rise to fame and riches was tremendously difficult, and in no small part due to Chaplin’s revolutionary approach to cinema and comedy specifically. Chaplin redefined the comedy genre by bringing intelligence and sophistication to what was otherwise a slap-stick dominated field (Charlie Chaplin, 2005). Chaplin achieved this through refining the conventions of filming, extensive character development, portraying gender roles realistically, bringing attention to real world modern issues, and extensive levels of trickery, both in sound and filming. Chaplin’s success is also due, in no small part, to his iconic character: The Tramp. Chaplin was an early adopter and he made his movies in a time when the idea of movies was still relatively new. Though there were other directors, the conventions of movies had yet to be defined and each director would bring what they thought was proper movie techniques to the screen. Chaplin understood the effects of certain camera techniques, and he used this knowledge to his advantage (Mast, G., & Kawin, B., 2011, 107-110). He would use the camera to trick the audience; they would be expecting one thing to happen, but another, more hilarious event would occur. For instance, in The Immigrant Chaplin establishes a shot where there are many people leaning over the edge of a boat seasick. Chaplin is one of these characters, however, though we are supposed to believe he is also seasick, it is revealed...
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...Beckett’s Three Dialogues the key to his oeuvre In 1949, Samuel Beckett wrote a series of conversations between himself and a friend, George Duthuit. In these conversations, named Three Dialogues, Beckett and Duthuit discuss the works of three contemporary artists, Pierre Tal Coat, Andre Masson, and Bram van Velde. Three Dialogues was published in the second Transition, an experimental literary journal, and was written by Beckett and edited by George Duthuit. The history of the Three Dialogues is very important because prior to 1965, Three Dialogues was only ever published in fragments, aside from the original publication. These fragments were often placed out of context and looked as though they had been written in support of artist Bram van Velde. This lack of full publication lead to the piece being under examined and sometimes not fully understood. Over the years many critics have suggested that the Three Dialogues offers a special access to Beckett’s work, that they act as a key to his oeuvre. Some critics view the dialogues as the end of Beckett’s aesthetic development, some view it as a blue print for his following works, while others see it as a credo or manifesto like piece. Overall, weather you view it as the key, or merely another work, Three Dialogues definitely hints at, and sets up the future for Beckett’s collection of works. Three Dialogues foreshadows future structures, makes a template for character duos and dialogue, and most importantly sets up the overriding...
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...stop at a stream for the evening, deciding to go to the ranch in the morning. Lennie, who loves to pet anything soft, has a dead mouse in his pocket. George takes the mouse away from Lennie and reminds him of the trouble Lennie got into in the last town they were in — he touched a girl's soft dress. George then reminds Lennie not to speak to anyone in the morning when they get to the ranch and cautions Lennie to return to this place by the river if anything bad happens at the ranch. When he has to take the dead mouse away from Lennie a second time, George chafes at the hardship of taking care of Lennie. After calming his anger, George relents and promises Lennie they will try to find him a puppy; then he tells Lennie about their dream of having a little farm where they can be their own boss and nobody can tell them what to do, where Lennie will tend their rabbits, and where they will "live off the fatta the lan'." Lennie has heard this story so often he can repeat it by heart. And George emphasizes that this dream and their relationship make them different from other guys who don't have anyone or a place of their own. They settle down and sleep for the night. The next morning at the ranch, the boss becomes suspicious when George answers all the questions and Lennie does not talk. George explains that Lennie is not bright but is a tremendous worker. They also meet Candy, an old swamper with a sheep dog; Crooks, the black stable hand; the boss' son Curley, who is an amateur boxer...
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...gore, torture, vicious animals, monsters, zombies, cannibals, and serial killers. Conversely, movies about the supernatural are not necessarily always horrific.[2] Contents [hide] 1 History 1.1 1890s–1920s 1.2 1930s–1940s 1.3 1950s–1960s 1.4 1970s–1980s 1.5 1990s 1.6 2000s 2 Sub-genres 3 Influences 3.1 Influences on society 3.2 Influences internationally 4 See also 5 References 6 Further reading 7 External links [edit]History [edit]1890s–1920s See also: List of horror films of the 1890s, List of horror films of the 1900s, List of horror films of the 1910s, and List of horror films of the 1920s Lon Chaney, Sr. in The Phantom of the Opera The first depictions of supernatural events appear in several of the silent shorts created by the film pioneer Georges Méliès in the late 1890s, the best known being Le Manoir du diable, which is sometimes credited as being the first horror film.[3] Another of his horror projects was 1898's La Caverne maudite (aka, The Cave of the Unholy One, literally "the accursed cave").[3] Japan made early forays into the horror genre with Bake Jizo and Shinin no Sosei, both made in...
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...Communicating Design Research Knowledge: A Role for Ethnographic Writing Lois Frankel Concordia University & School of Industrial Design, Carleton University, Canada lois_frankel@carleton.ca Abstract: The recent use of ethnographic field research methods in design research practice reflects the growing interest of designers in the expressive Design researchers have not, however, exploited ethnographers to report their findings, but instead and cultural im pact of the artifacts they create. the "thick description" methods used by prefer to apply the results of design-driven ethnographic research directly to the development of new product concepts. This paper proposes that ethnographic representation methods , including innovative visual representations, offer untapped potential for design research reporting, not just field of historical design. Te in term s of facilitating com munications during the mpts by designers to make sense of the broader the potential of ethnographic design process, but also as a record of ongoing atte representation methods for design. Keywords: Ethnography in design, Ethnographic writing, Ethnographic representation st projects by design students show 1. Introduction Ethnography is often viewed as a specialized area within reveal and preserve cultural knowledge, using methods such the larger activity of cultural anthropology, seeking to as interviewing or cultural submersion to discover important values. Since design is also a profession...
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...GRE VERBAL MADE EASY (MAMA EASY) Page 1 PREFACE This “made easy” has been prepared to meet the requirements of those GRE aspirants, who find it very difficult to learn isolated(unrelated) words. It is true that its very tough to learn isolated words. This guide might help you to prepare in easier way by using groups of “related” words. I prepared this to meet my own requirements during my preparation for the GRE on sep 6, 2002. My friend Balaji.R has played an EQUAL role in preparing this file. It is with his full consent that I am uploading this file on the net. This file is a result of our hard work for 47 days(Jun 01 2002 to July 17 2002)..This guide has helped me a lot. So I thought it “might” help others as well. Thats why I am uploading this. BTW, for those of you who are curious to know, My GRE score is 2200 (V-690, A-710, Q-800). Thanks goes to Prof.James of datamatics coaching centre, Chennai. Because, this file is actually a soft copy of what he teaches in class(Of course, its NOT my work. I only typed out whatever prof.James spoke.. Thats all). I know that there are some inadvertent mistakes in this file. Kindly excuse me for that. HOW TO USE THIS FILE: 1) First of all, if you are a datamatics student this file might be extremely useful. For others, it might be helpful, only if you are prepared to work very hard. 2) Please get a hard copy of this file. Print it out. Get it hard bound.(Thats what I did). This helps because you can write some sentences formed...
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...LVMH: King of the Luxury Jungle SEPTEMBER 2009 Profit from temporary W&S woes to bag the stock at discount prices LVMH is the strongest player in the luxury goods industry, a giant in an industry where fixed costs make scale paramount; the only "two-legged" balanced player, leading with mega-brands in both Leather Goods and Wines & Spirits; enjoying stable group EBIT margins as a consequence Champagne consumer demand weakness, de-stocking and oversupply in 2010 are well understood; W&S concerns have depressed the stock close to 20-year trough multiples and in the same range of smaller and more volatile hard luxury players and other peers; an opportunity in our view On top of LVMH's unrivaled industry position, markets seem to under-appreciate cost-saving opportunities, brand-portfolio rationalization, higher FCF from lower W&S inventory investment, above-average mega-brands' results or support from first-mover EM inroads In a medium-term growth environment, LVMH has the chance to be a key consolidator in the luxury goods industry: a mega-merger with CFR would be a strategic master stroke, placing it ahead of any M&A counter move by competitors SEE DISCLOSURE APPENDIX OF THIS REPORT FOR IMPORTANT DISCLOSURES AND ANALYST CERTIFICATIONS LVMH: KING OF THE LUXURY JUNGLE 1 Portfolio Manager's Summary We have few doubts about the opportunity of investing in LVMH for the medium to long term. We expect "winners will continue to win" in the luxury industry...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...T H E S I M P L E PAT H T O C O O K I N G L I K E A P R O , L E A R NING ANY THING, AND LIVING THE GOOD LIFE TIMOTHY FERRIS S Published by Houghton Mi in Harcourt Boston | New York 2012 Produced by 49316_CH00_FM_p001t015_092012_NB.indd 3 9/25/12 10:27 AM 49316_CH00_FM_p001t015_092012_NB.indd 4 9/25/12 10:27 AM PUBLISHER’S DISCLAIMER The material in this book is for informational purposes only. Since each individual situation is unique, you should use proper discretion, in consultation with a health-care practitioner, before undertaking the diet and exercise techniques described in this book. The author and publisher expressly disclaim responsibility for any adverse e ects that may result from the use or application of the information contained in this book. NOTICE ON FOOD HANDLING This book is about cooking; it’s not a food processing and handling manual. I strongly encourage you to read and follow the established safe food processing and handling guidelines available through the USDA, FDA, and Department of Health and Human Services, including: foodsafety.gov fsis.usda.gov fda.gov/food/foodsafety NOTICE ON INTERNET RESOURCES My full curriculum is within the covers of this book. For those of you who want to “go beyond” in your research, I have provided links to Internet resources. My team and I have worked to check that these links are accurate and point to resources available when this book was released for publication. But Internet resources...
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...Begin Reading Table of Contents Copyright Page For Charlotte—why we got together —D.H. + M.K. In a sec you’ll hear a thunk. At your front door, the one nobody uses. It’ll rattle the hinges a bit when it lands, because it’s so weighty and important, a little jangle along with the thunk, and Joan will look up from whatever she’s cooking. She will look down in her saucepan, worried that if she goes to see what it is it’ll boil over. I can see her frown in the reflection of the bubbly sauce or whatnot. But she’ll go, she’ll go and see. You won’t, Ed. You wouldn’t. You’re upstairs probably, sweaty and alone. You should be taking a shower, but you’re heartbroken on the bed, I hope, so it’s your sister, Joan, who will open the door even though the thunk’s for you. You won’t even know or hear what’s being dumped at your door. You won’t even know why it even happened. It’s a beautiful day, sunny and whatnot. The sort of day when you think everything will be all right, etc. Not the right day for this, not for us, who went out when it rains, from October 5 until November 12. But it’s December now, and the sky is bright, and it’s clear to me. I’m telling you why we broke up, Ed. I’m writing it in this letter, the whole truth of why it happened. And the truth is that I goddamn loved you so much. The thunk is the box, Ed. This is what I am leaving you. I found it down in the basement, just grabbed the box when all of our things were too much for my bed stand drawer. Plus I thought...
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...A ∑ E= This eBook is downloaded from www.PlentyofeBooks.net mc 2 PlentyofeBooks.net is a blog with an aim of helping people, especially students, who cannot afford to buy some costly books from the market. For more Free eBooks and educational material visit www.PlentyofeBooks.net Uploaded By $am$exy98 theBooks 1 Begin Reading Table of Contents Newsletters Copyright Page In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the author’s intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at permissions@hbgusa.com. Thank you for your support of the author’s rights. To the real Deeby with many thanks Why were you born when the snow was falling? You should have come to the cuckoo’s calling, Or when grapes are green in the cluster, Or, at least, when lithe swallows muster For their far off flying From summer dying. Why did you die when the lambs were cropping? You should have died at the apples’ dropping, When the grasshopper comes to trouble, And the wheat-fields are sodden stubble, And all winds go sighing For sweet things dying. Christina G. Rossetti, “A Dirge” Contents Cover Title Page Welcome Dedication Epigraph Prologue Three Months Later Part One 1 2 3 4 5 6 7 Part Two 1 2...
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...2196, South Africa Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England Copyright © 2012 by Junot Díaz All rights reserved. No part of this book may be reproduced, scanned, or distributed in any printed or electronic form without permission. Please do not participate in or encourage piracy of copyrighted materials in violation of the author’s rights. Purchase only authorized editions. Grateful acknowledgment is made to reprint an excerpt from My Wicked Wicked Ways. Copyright © 1987 by Sandra Cisneros. Published by Third Woman Press and in hardcover by Alfred A. Knopf. By permission of Third Woman Press and Susan Bergholz Literary Services, New York, New York, and Lamy, New Mexico. All rights reserved. The following stories have been previously published, in a slightly different form: in The New Yorker, “The Sun, the Moon, the Stars,” “Otravida, Otravez,” “The Pura Principle,” “Alma,” and “Nilda”; in Glimmer Train, “Invierno”; and...
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