...When I was an 8th grader, I was blessed to be apart of the high school marching band. I remember back then, band camp used to be all day and we’d stay and eat lunch at the school instead of leaving and coming back. After lunch, Mr. Fisher would play videos of these professional marching bands. They were part of an organization called Drum Corps International. It’s like the NFL for marching band kids. The first show we watched was “Spartacus,” performed by Phantom Regiment. At the end of the show, the drum major is slayed and the rest of the show continues without the drum major. This was a big deal within the marching community. I didn't know it at the time, but by watching that one show, my life would forever be changed. Fast forward to Sophomore year and I made the decision I was going to march the following summer. Granted, my parents hadn’t necessarily said yes to me leaving for 3 months and living on a bus for the entire summer, but they did say I could leave for a weekend and see what it was all about. The first corps I auditioned for was Legends. They’re an open class corps based in Kalamazoo, Michigan. Auditions went well; I made friends, got a callback, was able to keep up with all the audition pieces, but something just didn’t feel right. They didn’t feel like home....
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...Creative Spark Talk Analysis July 20th, 2013 For this assignment I chose to review Stefon Harris’ “There are no mistakes on the bandstand” TEDTalk. After review I found the concepts and narrative to be very applicable to the business realm as well as daily life. Stefon presented many different ideas and opinions to the process of creativity that are normally lost in typical creativity examples. From what I gathered, Stefon is a musician, a vibraphonist to be exact. While I am not familiar with what a vibraphonist is, I assume it focuses mainly on instruments such as the xylophone and similar instruments. Stefon is not who I would have expected as a guest on TEDTalks but his perspective is refreshing. I viewed Stefon’s on YouTube which showed the video to have been posted in December of 2011. This talk was very interesting because it used jazz music as the example to creating something organic and fresh. The driving point of the presentation was that perceived mistakes are commonly viewed as problems when in reality they should be not be seen as mistakes but as a shift in the mainstream thought process. Creativity comes in many forms so what one person sees as a mistake can instead be seen as a new way of continuing. Commonly, creativity is stifled due to perceived problems with the thought process and non-conformity is extinguished. We view these non-conformers as hiccups generally which eventually wears on a person’s creativity and ends when that person no longer wants...
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...Through narrative therapy a counselor can help clients gain access to preferred story lines about their lives and identities taking the place of previous negative and self-defeating narratives that destroy the self. Presented in this paper, is an overview of the Narrative therapy and the Social Construction Model and several facets of this approach including poststrucuralism, deconstructionism, self-narratives, cultural narratives, therapeutic conversations, ceremonies, letters and leagues. A personal integration of faith in this family counseling approach is presented and discussed also in this paper. NARUMI AMADOR’S FAMILY CONSELING APPROACH Introduction Narrative therapy is found under the Social Construction Model. Using the Narrative approach, the therapist will not be the central figure in the therapeutic process, instead he will be influential to the client, helping him/her internalize and create new stories within themselves to draw new and healthier assumptions about who they are. This process enables clients to distract from focusing on the negative narratives which defined their past, redefining their lives into future positive stories. Narrative therapists define the problem as the problem instead of defining the client as the problem. The therapy process begins redefining the problem, externalizing it and getting it out in the open. The narrative therapist uses the questioning technique and creates alternative narratives to connect...
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...Westerns are stories of life and adventure in the American West a time period and way of life everyone should reflect on. Dances with Wolves(1990) is one of the most truth brought forward Westerns of our time, as it explores the ending of the Civil war and the embarks on the New Frontier that ultimately changed the way of life for most all Native Americans. This film is compiled with drama, love, loyalty, courage, and racism all with lasting impact on its audience. Directed by Kevin Costner in a simple cinematographic technique that allows the audience to experience the characters every move. This movie was written by Michael Blake and directed by Kevin Costner who also is the lead actor throughout the film. Other actors include Mary McDonnell, Graham Greene, Rodney Grant, and Floyd Red Crow Westerman. The story starts with a wounded Civil War soldier about to have his foot amputated when he makes an attempt at his life by stealing a horse and running recklessly across the open battlefield nearly getting shot. The build from this scene is that the soldiers fighting see his act of desperation and encouragement and a distraction and use the fact that the enemy is so focused on shooting him off his horse that they never see the final attack coming. The end of this scene Kevin Costner throws up his arms and glides with the horse like they were one in a full gallop and is deemed a hero and the general not only gives him the horse(Cisco) but also lends his personal surgeon to save his...
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...invention Commercial Break!!: Creative Play With Media Influence Purpose: Works well to introduce a personal visual media paper, or other media analysis paper, because it encourages students to think critically about their childhood experiences with TV, etc in a personal, creative way. The exercise may become an early paper draft, or simply stimulate their thinking about the programs and commercials they have watched, and how these media affected them. Description: Students will write creative narratives about a childhood TV experience, then trade papers with another classmate, who will assess the program, the narrator, and then complete the narrative with a commercial break description suited to the program and audience. You may want to have your own example written up to read to them before each step, just to get them thinking about what’s possible. Suggested Time: 20 minutes to a full class period Procedure: Ask the class what their favorite shows were as kids: cartoons, sitcoms, even documentaries. You may want to bring in a few stills or uTube clips to project (in a tech class), as a memory jogger (ex. The Cosby Show, Ren & Stimpy, etc). Once you’ve discussed a nice variety of TV programs, ask the class to freewrite for 5-10 minutes (however long you wish to tell them) in first-person P.O.V. about their experience watching a show like these as a kid. They should be specific and detailed, writing whatever comes to memory about what’s going on in the program and their thoughts/reactions/and...
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...own journey of personal development to earn the title leader (Whitmore 2012). The need for governance has mainly increased the pressures on organisations to have aspiring leaders with the skills needed for their fields of interest. This is supported by The Open University (on-line 2012) when it is suggested that clinical leadership is essential for service redesign, quality, innovation, productivity and prevention. It is recognised that in order to facilitate whole system approach in today’s National Health Service (NHS), leaders need to understand not only the people and culture they are trying to change, but also their own personality traits and how these may affect the process (Judge and Bono 2000, 754). In this regard a personal based analysis will be conducted, realising how far I have already gone concerning the developmental processes. I shall conduct a critical reflection (Gibbs 1988) of a personal leadership archaeology found in Appendix One. To facilitate the learning demonstrated two tools have been used; a full Myers-Briggs Type Indicator (MBTI) assessment has been completed, which allows a level of understanding by analysing individuals’ preferences as they make up a personality. Secondly the Belbin team role self perception inventory (BTRSPI) has been completed by both self and observer assessments used to consider my role within the team. The completion of these tools, and my personal archaeology will allow this assignment to focus on how my leadership style...
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...WAYLAND BAPTIST UNIVERSITY THE LIFE AND INFLUENCE OF IGNATIUS LOYOLA PAPER PRESENTED TO DR. GARY MITCHELL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR RLGN5354 SCHOOL OF RELIGION BY MARK D. RIGG PLAINVIEW, TX OCTOBER 15, 2015 THE LIFE AND INFLUENCE OF IGNATIUS LOYOLA Introduction This biographical research paper will focus on the life of Ignatius of Loyola. It is the intention of this writer to deal with three major concerns regarding this post-New Testament Christian personality. First concern: to provide some background and personal history. Next, to set forth the contributions of Ignatius and the significant impact he had on the Church in general among his contemporaries, right up to the present day. Finally, the writer will reveal how the life of Ignatius relates to and has personally influenced his own. Background and personal history Iñigo Lopez de Oñaz y Loyola, whom we know as St. Ignatius, was born the youngest of thirteen children in northeastern Spain in 1491. He was raised in a noble Basque family of high Catholic piety but lax in morals. His father had several children by another woman, and his grandfather's lawless behavior led to the top two floors of the Loyola castle being demolished by order of the crown. Iñigo hardly knew his mother, Marina Saenz de Licona. As was the custom of the time, “A few days after his birth Iñigo was handed over to a wet-nurse, Maria de Garin, wife of the blacksmith living in a cottage...
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...STUDIES IN PROFESSIONAL LIFE AND WORK Mike Hayler University of Brighton, UK Autoethnography, Self-Narrative and Teacher Education examines the professional life and work of teacher educators. In adopting an autoethnographic and life-history approach, Mike Hayler develops a theoretically informed discussion of how the professional identity of teacher educators is both formed and represented by narratives of experience. The book draws upon analytic autoethnography and life-history methods to explore the ways in which teacher educators construct and develop their conceptions and practice by engaging with memory through narrative, in order to negotiate some of the ambivalences and uncertainties of their work. The author’s own story of learning, embedded within the text, was shared with other teacher-educators, who following interviews wrote self-narratives around themes which emerged from discussion. The focus for analysis develops from how professional identity and pedagogy are influenced by changing perceptions and self-narratives of life and work experiences, and how this may influence professional culture, content and practice in this area. Autoethnography, Self-Narrative and Teacher Education Autoethnography, Self-Narrative and Teacher Education STUDIES IN PROFESSIONAL LIFE AND WORK The book includes an evaluation of how using this approach has allowed the author to investigate both the subject and method of the research with implications for ...
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...influenced by Italian Neorealism and classical Hollywood cinema. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm. "New Wave" is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary type style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end. It holds that the director is the "author" of his movies, with a personal signature visible from film to film. The informal movement was spearheaded by a handful of critics from Cahiers du cinema Jean-Luc Godard, François Truffaut, Eric...
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...question in Section A and the question in Section B. INFORMATION FOR CANDIDATES The number of marks is given in brackets after each question or part-question. You are reminded that assessment will take into account the quality of written communication used in your answers. JD*(S-2011 Higher) Turn over. 2 SECTION A 1. Of Mice and Men Answer part (a) and either part (b) or part (c). You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b) or part (c). (a) Read the extract on the opposite page. Then answer the following question: With close reference to the extract, show how John Steinbeck presents Curley here. [10] Either, (b) Steinbeck uses three specific settings on the ranch: the bunkhouse, the harness room and the barn. Choose one of these settings and show how it is important to the novel as a whole.[20] Or, (c) How is the character of Candy important to the novel...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...Comics as Archives: MetaMetaMaus Hillary Chute | University of Chicago Abstract: In the view of some critics, the form of comics is a locus of the archival, a place where we can identify an archival turn. Art Spiegelman’s Maus first and perhaps most forcefully established the connection between archives and comics. His groundbreaking work documenting his father’s experience in WWII Poland, where he survived internment in Auschwitz, is a visual narrative based on oral testimony that consistently heightens our awareness of visual, written, and oral archives, and where they interact, overlap, or get transposed one into the other. Hillary Chute recounts and interprets her collaboration with Spiegelman in the process of assembling MetaMaus, a book compiling interviews and archival materials on the making of Maus. MetaMaus, argues Chute, reflects the tension between different kinds of extant archives—oral, written, photographic—and the cross-discursive work of (re)building new archives that motivates Maus. Its defining feature is that it shows the materiality of Spiegelman’s archive; it is about the embodiment of archives. The subject of Maus is the retrieval of memory and ultimately, the creation of memory…. It’s about choices being made, of finding what one can tell, and what one can reveal, and what one can reveal beyond what one knows one is revealing. Those are the things that give real tensile strength to the work—putting the dead into little boxes. – Art Spiegelman (MetaMaus...
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...Memoir My first memory of kindergarten was this: dozens of tiny, petrified 5-year-olds being dropped off at their first day of school, and dozens of exhausted, overworked mothers consoling their weeping sons and daughters. I remember it vividly because, despite the terror and chaos, a single thought pervaded my mind, the thought that “these moms are not as pretty as my mom.” I wasn’t entirely biased, either. By North American standards of beauty, I was correct. Here was my mother, a rail-thin, blonde-haired, blue-eyed statuesque stunner, among a sea of frumpy women with visible wrinkles and tangles of black hair. And here I was, the daughter of this perfect specimen, the proud owner of a mother who was more “feminine”, more “womanly”, and therefore, I naively deduced, “a better mother”. In fact, although my vocabulary was fairly limited at the time, I believed her to be the epitome of all mothers. She looked, I told her that morning, “like a mom was supposed to look.” In interviewing my mother, she said that this was my “first brush with what it meant to be a girl.” Throughout kindergarten, I was labeled “weird”. I dug for worms, collected Pokémon cards (which was deemed a “boyish” activity), and none of my friends were girls. My teacher, a young woman who had just recently graduated from university, was often concerned for me, and thought that my lack of female friends would be detrimental to my developing of social skills, so she would often...
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...Ministry of Education of the Republic of Moldova State Pedagogical University “Ion Creangă” Foreign Languages and Literature Faculty English Philology Department DIPLOMA PAPER Figurative Language, Language Shaped by Imagination in Katherine Mansfield’s Short Stories Submitted by: the 4th year student Paşcaneanu Mariana Group 404 Scientific adviser: Tataru Nina Senior Lecturer Chişinău 2012 Contents INTRODUCTION 2 CHAPTER I: SHORT STORY AS A FORM OF FICTION 5 I.1.Common Characteristics of a Short Story as a Form of Fiction. Its Plot and Structure. 5 I.2. Figurative Language. Definition. Function. 9 I.3. Imagery – Language that Appeals to the Senses 11 I.3.1. Simile, Metaphor and Personification. 13 1.3.2. Symbol and Symbolism. 26 I.3.3 Allegory. 30 CHAPTER II: LANGUAGE SHAPED BY IMAGINATION IN K. MANSFIELD’S SHORT STORIES 36 II.1. Figurative Language, Symbolism and Theme in "Her First Ball": 37 II.2. Katherine Mansfield – Techniques and Effects in A Cup of Tea. 41 II.3. Literary Colloquial Style in “Miss Brill” by K. Mansfield. 49 II.3.1. Lexical features—Vague Words and Expressions 49 II.3.2 Syntactical and Morphological Features 52 II.3.3 Phonological Schemes of the Figures of Speech 55 II.4. Simplifying Figurative Language in K.Mansfield’s Short Stories 60 CONCLUSION 64 BIBLIOGRAPHY 66 APPENDIX 70 INTRODUCTION Figurative Language is the use of words that...
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...STUDENTS’ PERCEPTIONS OF LEADERSHIP AND THE WAYS IN WHICH LEADERSHAPE INFLUENCES THE DEVELOPMENT OF STUDENT LEADERS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by David Dial A.B., Duke University, 2002 May 2006 TABLE OF CONTENTS ABSTRACT................................................................................................................................... iii CHAPTER 1 INTRODUCTION, STATEMENT OF THE PROBLEM, METHOLOGY, AND LIMITATIONS....................................................................................................................1 Statement of the Problem..................................................................................................1 Methodology .....................................................................................................................3 Limitations of Current Study ............................................................................................6 2 LITERATURE REVIEW ....................................................................................................8 Gender as a Factor for Leadership Growth.....................................................................10 Race and Leadership Development ...........................................
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