...A wall of text is something that is frowned upon in most, actually virtually all Internet societies, including forums, chat boards, and Uncyclopedia. You should not make walls of text because it can get you banned anywhere unless it is a place that encourages walls of text. I highly doubt any place does support something so irritating and annoying, but anything can exist, but not really because unless you are in heaven then that can happen. But no one actually knows that was just a hypothesis, a lame one that is. Actually not really lame. You can create a wall of text supporting site, but you would be hated if you do that, so do not. But you can if you like, but I discourage that. Now on to the actual information of walls of texts. The wall of text was invented when the Internet was invented, but actually it was slow at that time. So whenever it became fast. But there would need to be some free or not free community for people, and that community would be able to have walls of text. But that community probably wouldn't have actually invented the wall of text. So basically, no one except God and Al Gore knows when or where or how the wall of text existed/was invented. Noobs probably invented, but probably not. Who knows. Walls of texts are usually filled with a lot of useless information and junk. Information and junk can be the same, but only if the information is junk or the junk is information. But who cares. The information/junk inside a wall of text are usually related to...
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...A wall of text is something that is frowned upon in most, actually virtually all Internet societies, including forums, chat boards, and Uncyclopedia. You should not make walls of text because it can get you banned anywhere unless it is a place that encourages walls of text. I highly doubt any place does support something so irritating and annoying, but anything can exist, but not really because unless you are in heaven then that can happen. But no one actually knows that was just a hypothesis, a lame one that is. Actually not really lame. You can create a wall of text supporting site, but you would be hated if you do that, so do not. But you can if you like, but I discourage that. Now on to the actual information of walls of texts. The wall of text was invented when the Internet was invented, but actually it was slow at that time. So whenever it became fast. But there would need to be some free or not free community for people, and that community would be able to have walls of text. But that community probably wouldn't have actually invented the wall of text. So basically, no one except God and Al Gore knows when or where or how the wall of text existed/was invented. Noobs probably invented, but probably not. Who knows. Walls of texts are usually filled with a lot of useless information and junk. Information and junk can be the same, but only if the information is junk or the junk is information. But who cares. The information/junk inside a wall of text are usually related to...
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...Architectural Layer Standards The CAD Layer Guidelines are organized as hierarchy. This arrangement accommodates expansion and addition 0f user-defined extensions to the layer list. Layer names are alphanumeric and use abbreviations that are easy to remember. This legibility is particularly important when CAD files are distributed among architects, consultants, and clients. Layer names consist of a Discipline Code-Major Group-Minor Group-Status Field. The format for the CAD Standard is as follows: Discipline Code Discipline is the primary method of classification for layer names. The discipline code provides a path back to the originator of the data and provides a logical categorization of CAD information. The discipline code is intended primarily to identify the author of the graphic information. Thus, a structural column placed by an architect would be A-COLS rather than S-COLS. The existence of both sets of information can in fact indicate the need for coordination. The Discipline Code is a one or two-character field with the second character either a hyphen or a user-defined modifier. The discipline codes are listed below. A Architectural M Mechanical C Civil P Plumbing E Electrical Q Equipment F Fire Protection R Resource G General S Structural H Hazardous Materials T Telecommunications I Interiors X Other L Landscape Z Contractor/shop Drawings Major Group The Major Group designation identifies the building system. This field must contain...
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...SULTAN QABOOS UNIVERSITY (29 Dec 2014 03:14 GMT) The Pedagogical Possibilities of Covering Gilman’s Wallpaper Karla J. Murphy In his introduction to The Pedagogical Wallpaper, Jeffrey Andrew Weinstock notes how the pedagogical diversity of Charlotte Perkins Gilman’s “The Yellow Wall-Paper” prompted him to collect essays for this book. He goes on to explain that “given the ubiquity of the text within various academic settings, I was also struck by the absence of attention to the text within pedagogical contexts. Despite the large (and steadily growing) body of criticism to the story, very little of it explicitly addresses its importance as a tool to facilitate learning or various ways in which to make use of the text in the classroom” (3). As a collection, Weinstock’s The Pedagogical Wallpaper contains informed, detailed, and diverse analysis that attempts to shore up the absence of “pedagogical possibilities” concerning Gilman’s transgressive short story (9). Among the contributors are a MOO space specialist, a Gilman scholar, a queer theorist, an existentialist, a formalist, and several reader/student-response theorists. Because each essayist presents a distinct critical perspective on Gilman’s text, each essay is likewise concerned with “how the narrative teaches and how to teach the narrative” (5). Thus, it seems to me that Weinstock’s The Pedagogical Wallpaper resonates with Pedagogy’s conviction that teaching is central to our work as scholars and educators, no matter what...
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...Annotated and Abbreviated List of Tompkins’ Literacy Instructional Procedures Morgan Lewis Grand Canyon University: RDG 512 June 17, 2015 Just as the needs of students vary teachers methods of instruction should vary. Meeting the literacy needs of students should be done through a wide variety of instructional strategies that meet the needs of students and meet the requirements of a balanced literacy program. The following information shares 12 instructional procedures to be used in a third grade classroom. The procedures are from the Tompkins’ Compendium shared in the text Literacy for the 21st Century: A Balanced Approach (6th ed.). Introduction Meeting the literacy needs of diverse students can be an overwhelming task. Teachers need to have well organized and well prepared lessons that allow students to focus on developing their literacy skills. Literacy lessons that include specific strategies designed to support literacy instruction through a variety of approaches leads to successful readers. The goal of each lesson is to increase student’s literacy success while supporting their literacy needs. To help support third grade literacy skills a teacher can use several, if not all, of the instructional procedures shared in Literacy for the 21st Century: A Balanced Approach by Gail E. Tompkins, 2014. Annotated and Abbreviated List of Tompkins’ Literacy Instructional Procedures ...
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...Assignment Two The news media only provides us with representations of reality. These representations are constructed by media conglomerates to manipulate our views on society; politics, international relations and current affairs. While the media is meant to be an objective source of information, it is important to remember that this information is filtered, watered down and often manipulated before reaching its audiences. After all, “one apprehends reality only through representations of reality... there is no such thing as unmediated access...” (Dyer 1993, p. 3, as cited byO'Shaughnessy & Stadler, 2005, p. p.77) This is done by ruling classes of society in order to ingrain dominant ideologies into cultural knowledge and thus maintain their governing status- the process of “hegemony”. The media both mirrors and shapes society- it is a “mechanism of mass control” (Flounders et al., 2000, p.89). The news, as an integral part of the media, does the same. Therefore it is important for us to remember that the image of our world shown by the media is only a portrayal, and not always objective or truthful. “The media define for the majority of the population what significant events are taking place, but, also, they offer powerful interpretations of how to understand these events.” (Stuart Hall, 1978, p. 426) In this quote, Hall states that media broadcasters, although providing important (newsworthy), accurate and up-to-date information to the public, are nevertheless...
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...change and develop so they become accommodating towards new cultures and religions? The story takes place in an English town in the 1950s. The name of the town is not mentioned because it is not important information. The xenophobia is namely the same all over the English country in the 1950s, so the writer does not have to tell the exact town to come out with her message. The plot in the text is distributed onto Amina's home and her school. She lives at the back of the shop in which her parents work every day and own. A large part of the text is also set in the school where Amina draws her pictures. The writer uses the school with its teacher and pupils as a comparison, so she can put the foreigner, Amina, up against the English people. In this way, the writer makes her message clearer. Amina is a Pakistani girl, who lives with her poor parents in England. She goes to an ordinary school where they one day have to draw paintings of Mary and baby Jesus. Amina draws Jesus and Mary with black skin because of her background and therefore the teacher does not want the picture to be on the wall in the classroom. Amina brings the picture home because the teacher tells Amina that her parents would love to see it. Her parents own a small store where they work all day long and thereby they do not spent much time being together with their daughter in...
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...to be typical of the era, described as Russian Modernism. The artist was born and raised in Uzbekistan, but ethnically Russian and trained in Kiev during the height of European Modernism. The piece is pencil on paper and is approximately five inches by seven inches. It is framed in a large, black frame with a thick, white mat approximately four inches in width. It hangs alone on a narrow section of wall and is well-lit. It can only be viewed on one side due to the frame and position on the wall. The drawing is a monochromatic, gray scale depiction of a group of four males. One, the bacha, is dancing while another, to the right, is playing a stringed instrument called the ghidjak. The ghidjak is “a type of spike fiddle played with a bow.” The other two appear to simply be onlookers. The dancer and player seem to be more important characters, because the others are overlapped by them. There is not much room for anything other than these four figures, but the artist incorporates much detail in the background, including a few objects that appear to be hanging on the wall. The drawing is representational, but not wholly naturalistic, as the...
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...In the Epic of Gilgamesh, Gilgamesh is credited with the building of the legendary walls of Uruk. An alternative version has Gilgamesh telling Urshanabi, the ferryman, that the city's walls were built by the Seven Sages. In historical times, Sargon of Akkad claimed to have destroyed these walls to prove his military power. Fragments of an epic text found in Me-Turan (modern Tell Haddad) relate that at the end of his life Gilgamesh was buried under the river bed. The people of Uruk diverted the flow of the Euphrates passing Uruk for the purpose of burying the dead king within the river bed. In April 2003, a German expedition claimed to have discovered his last resting place.[3] It is generally accepted that Gilgamesh was a historical figure, since inscriptions have been found which confirm the historical existence of other figures associated with him: such as the kings Enmebaragesi and Aga of Kish. If Gilgamesh was a historical king, he probably reigned in about the 26th century BC. Some of the earliest Sumerian texts spell his name as Bilgames. Initial difficulties in reading cuneiform resulted in Gilgamesh's making his re-entrance into world culture in 1872 as "Izdubar".[4][5] In most texts, Gilgamesh is written with the determinative for divine beings (DINGIR) - but there is no evidence for a contemporary cult, and the Sumerian Gilgamesh myths suggest that deification was a later development (unlike the case of the Akkadian god-kings). Over the centuries there was...
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...“Reagan 80s”, a Wall Street bull market and excess for the sake of excess. During this decade, the economy was coming out of a severe recession after 1982 and it exploded shortly thereafter. It seemed out of nowhere, people were getting rich by investing in the stock market. The 80’s was the decade of the corporate raiders. Powerful, money hungry investors would buy companies when their values were on the line and dismantle them, selling off the assets piece by piece and becoming filthy rich off of it. Clearly, these investors had to have had the education and long career in the financial industry in order to have the knowledge to pull off maneuvers like this. This whole idea of excess that ran rampant in the 80s leads us to ask the question “when is enough, enough?” This paper is going to compare and contrast the 1987 film Wall Street and the 1990 novel American Psycho. Out of both texts, there are common elements and themes found throughout. These themes include capitalistic greed, vanity and morality during the Reagan 80s. The paper will also touch on common perceptual elements seen throughout both texts, such as the perception of “yuppies” and the perception of Wall Street type professionals. After two successful books which detailed the life of rich, sexually ambiguous teenagers during the 1980’s, 27 year old Bret Easton Ellis developed a character that in some sick, twisted way can be relatable to by most people today. Patrick Bateman is a young Wall Street executive...
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...The first thing that ideal reader will notice is the title of the novella. The next two paragraphs will appreciate the title “Bartleby, the Scrivener: A Story of Wall Street” (Melville, 1). The title can be divided into three portions. The first part is the name of the main character, Bartleby. Almost all employees in the novella have no personal names but nicknames, such as Turkey, Nipper, and Ginger Nut. Bartleby, who has the only personal name in the novella, stands for the human. The second component of the title explains the job of Bartleby that he is responsible for reproducing text repetitively. Because the human need to be creative but copying text is not an innovative thing. Thus, the novella of a scrivener tells a non-human story....
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...Gilgamesh Passages Tablet I The tablet I passage from line 1 to 28 are significant because it talks about how he (Gilgamesh) was granted powers and with these powers such as knowledge, Anu granted him the totality of knowledge of all (line 4) describes how Anu the father of the gods gave Gilgamesh the power of knowledge. He built the city and raised its walls in all it magnificent splendors. He carved on a stone stela all of his toils, and built the walls of Uruk-Haven (Line 9-10). Also look at the wall which gleams like copper (?), inspect its inner wall, the like of which no one can equal (lines 11-12). These text describe the walls and how the city Uruk was built by a mighty being like Gilgamesh. This at the end describing the city and certain thing built by Gilgamesh such as the Temples, Gardens, and the league (probably referring to the ocean or body of water). Another passage from I is the 3rd passge from which the people of Uruk prayer to he gods. This passage shows how the people of Uruk don’t enjoy Gelgamesh as a king due to how he treats his people for ex. Gilgamesh does not leave a girl to her mother (?) The Daughters of the warrior, the bride of the young man (line 5-6). Gilgamesh is all powerful so no one can challenge him and he deemed as a bad King as how he treats his people like wild ox. The people get fed up with the treatment and they pray for the gods to make him his match (a zikru). All this so explaned in line 7 of the next passage. (Let them be a match...
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...1. Make sure I have covered all of the requirements! The majority of your essay should contain the following: o Process (how they make their work) o Concept, intent, and/or meaning behind their work. (Basically discuss what their work is about.) o Any movements and influences associated with the artist. (Who or what influenced the artists to make what they do.) o Historical context (when are they/did they make work, how is/was it viewed in those times versus now -- if applicable) o Other important details Lawrence Weiner – Cite one or two examples of their most difficult and/or well-known work. Lawrence Weiner is a conceptual artist that uses text and type-style (fonts) in places where the combination of – text, font, a small amount of...
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...role-plays, short texts, and grammatical structures – anything your students would find interesting. This task involves speaking, listening, reading and writing. It is an activity, which students enjoy as it is a race! Organising a running dictation • Choose a short text at the right level for your group or class. • Photocopy several examples of the text depending on the size of your class. Pin the examples up on the walls of the room where you are working. The challenge for each group is for them to reproduce a written form of the text you choose. • Explain that each group or pair must choose one person to write down a text. • Depending on the size of your groups, explain that the other members of the group will leave take turns to go and read the text you have pinned up on the wall. It is very important that only one person from each group is reading and memorising at any one time. • That person memorises as much as s/he can and then returns to the group to dictate what they have remembered to the other members of the group. The student chosen to do the writing must write down what it is said as accurately as possible. When the person reading and running has come to the end of what they have remembered, the next person in the group sets off. • Continue like this until the group has written down the whole version of the text. • The group that finishes first is the winner! Marking the written text Method...
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...In order to investigate masculinity I will explore three specific examples of media texts relating to the representation of men in ‘The Wolf Of Wall Street film trailer’, the ‘GQ magazine’ and the ‘Sam Smith CD cover’. The first media text I will look at is The Wolf Of Wall Street film trailer released in December 17 2013 by Paramount Pictures. The films storyline is about Jordan Belfort in 1987 (Leonardo DiCaprio) taking an entry-level job at a Wall Street brokerage firm then moving up in the world and becoming a billionaire. Throughout the film Jordan is presented as a dominant leader who has high control over the staff that works for him modelling them into himself to make them successful. He is presented in the trailer as a powerful and wealthy stereotype. This is reflected in the trailer when he Male representation in the film trailer is shown as iconic, money obsessed drug using, sex fanatics. The film trailer portrays men as money obsessed by repeatedly showing scenes with money whether it being strapped to a hooker or thrown off a boat. The use of money symbolises power in the film and presents what money can do to change a person’s life. In the trailer the men make reckless decisions and act abnormally. This is shown in the film trailer by the quick scenes and fast action shots. The speed of the different shots symbolises the frantic life the characters have. Another media text I analysed was the GQ magazine cover featuring Channing Tatum for December 2012. Throughout...
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