text:
from __future__ import absolute_import

import os

import psycopg2

from test_helpers import bases, mixins, postgres

class WhenCreatingTemporaryDatabase(bases.BaseTest):

    @classmethod
    def configure(cls):
        super(WhenCreatingTemporaryDatabase, cls).configure()
        cls.database = postgres.TemporaryDatabase(
            host='localhost', user='postgres', password=None)

    @classmethod
    def execute(cls):
        cls.database.create()

    def should_create_database(self):
        conn = psycopg2.connect(**self.database.connection_parameters)
        conn.close()

    def should_save_database_information(self):
        self.assertIn(self.database, postgres._temporary_databases)

class WhenCreatingTemporaryDatabaseWithOptions(bases.BaseTest):

    @classmethod
    def configure(cls):
        super(WhenCreatingTemporaryDatabaseWithOptions, cls).configure()
        cls.database = postgres.TemporaryDatabase(
            host='localhost', user='postgres', password=None)

    @classmethod
    def execute(cls):
        cls.database.create(encoding='SQL_ASCII', lc_collate='C', lc_ctype='C')

    def should_create_database_with_options(self):
        conn = psycopg2.connect(**self.database.connection_parameters)
        try:
            self.assertEqual(conn.encoding, 'SQLASCII')
        finally:
            conn.close()

class WhenCreatingTemporaryDatabaseWithoutParameters(
        mixins.EnvironmentMixin, bases.BaseTest):

    @classmethod
    def configure(cls):
        super(WhenCreatingTemporaryDatabaseWithoutParameters, cls).configure()
        cls.set_environment_variable('PGHOST', 'somewhere.com')
        cls.set_environment_variable('PGUSER', 'someone')
        cls.set_environment_variable('PGPORT', '12345')

    @classmethod
    def execute(cls):
        cls.database = postgres.TemporaryDatabase()

    def should_use_environment_variables(self):
        self.assertEqual(
            self.database.connection_parameters,
            {
                'host': os.environ['PGHOST'],
                'port': os.environ['PGPORT'],
                'user': os.environ['PGUSER'],
                'password': None,
                'database': None,
            }
        )

class WhenCreatingTemporaryDatabaseWithoutParametersOrEnvVars(
        mixins.EnvironmentMixin, bases.BaseTest):

    @classmethod
    def configure(cls):
        super(
            WhenCreatingTemporaryDatabaseWithoutParametersOrEnvVars,
            cls).configure()
        cls.unset_environment_variable('PGHOST')
        cls.unset_environment_variable('PGUSER')
        cls.unset_environment_variable('PGPORT')

    @classmethod
    def execute(cls):
        cls.database = postgres.TemporaryDatabase()

    def should_use_default_values(self):
        self.assertEqual(
            self.database.connection_parameters,
            {
                'host': 'localhost',
                'port': '5432',
                'user': 'postgres',
                'password': None,
                'database': None,
            }
        )

class WhenCreatingTemporaryDatabaseAndExportingEnv(
        mixins.EnvironmentMixin, bases.BaseTest):

    @classmethod
    def configure(cls):
        super(WhenCreatingTemporaryDatabaseAndExportingEnv, cls).configure()
        cls.unset_environment_variable('PGHOST')
        cls.unset_environment_variable('PGUSER')
        cls.unset_environment_variable('PGPORT')
        cls.unset_environment_variable('PGDATABASE')
        cls.database = postgres.TemporaryDatabase()
        cls.database.create()

    @classmethod
    def execute(cls):
        cls.database.set_environment()

    def should_export_pghost(self):
        self.assertEqual(
            os.environ['PGHOST'], self.database.connection_parameters['host'])

    def should_export_pguser(self):
        self.assertEqual(
            os.environ['PGUSER'], self.database.connection_parameters['user'])

    def should_export_pgport(self):
        self.assertEqual(
            os.environ['PGPORT'], self.database.connection_parameters['port'])

    def should_export_pgdatabase(self):
        self.assertEqual(
            os.environ['PGDATABASE'],
            self.database.connection_parameters['database'],
        )


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The stage is set, as a student's eyes light up as she sees two 'characters' peek their heads through the curtain. The realm of reality seems to disappear from the classroom as the puppets tell their own stories of their journeys and adventures. Allowing children to play is important for several reasons. Play allows children to: learn the skills necessary to effectively participate in their world, it provides children with natural opportunities to engage in concrete and meaningful activities that enhance physical, language, social, and cognitive development, and it increases their knowledge and understanding of self, others, and the physical world around them.
The stage is set. A student"s eyes light up as she sees two "characters" peek their heads through the curtain. Then, without missing a beat, one of the characters begins "talking" to the other. "Hey, Freddy. Want to hear a story?" One of these characters has various colors of stripes going left to right across its body, with a green cotton ball on the top of its head for hair, and two little buttons (one purple, one blue) for eyes. As the character opens it"s "mouth," the students notice a red button that seems to be the tongue of the character. The other "character" looks different. It is all white except for the hair which seems to be a yellow koosh ball, with two little buttons (one green, one blue) for the eyes, and where the "mouth" should be, an orange button.
The realm of reality seems to disappear from the classroom as the puppets tell their own stories of their journeys and adventures. The puppets talk about the dragons they have fought, the princesses they have saved, how the wolf tried to blow their house down, how kings and queens lived happily ever after, and how Little Red Riding Hood made it to grandmother"s house safely. The play ends, and suddenly, students are brought back in to the world of reality. They are excited, and want to create their own puppet that "talks" and tells stories.
Within the classroom element, teachers are mandated to follow a specific pacing guide and schedule throughout their day. Although this idea may have its advantages (staying on task, engagement of students, and moving ahead within the curriculum), there are also disadvantages. Children in the current generation do not utilize their imagination as previous generations. The world of internet, texting, and video games has taken over. Students are not able to tell you what is happening within the state in which they live in, or their own city, but they can tell you the newest acronyms for talking on a cell phone, the hottest new video game, or where to find the most expensive sneakers.
Within this curriculum, I intend to bring out the child that we have within our classrooms. A pacing guide and a schedule are good to have, but they are, after all just a guide. I am going to show through my lessons how a teacher will be able to stay on schedule by pacing with their specific grade curriculum, and to have fun while doing so.
Teachers whom feel the need to be strict and never smile or have fun with their students need to get down on their children"s level. Teachers need to learn to play with their children: dress up, wear funny glasses, wear strange looking shoes. The more a teacher becomes a "student" within their own class, the more fun he or she will have teaching.
The unit will be presented in 5 stages. Stage 1: The teacher will begin to read stories using a puppet. Stage 2: The teacher will begin discussing, modeling, and demonstrating the various elements of literature through various children"s books. Stage 3. The teacher will explain the character roles and their importance within a play or story. Stage 4. Puppets will be created for the play, bringing a sock to "life" by adding buttons, colored cotton balls, and a mouth. Stage 5. The teacher begins explaining, modeling, and demonstrating how to have a performance based on the play or book that was read.
I teach 2nd grade in a very diverse school; our students come mainly from Mexico; some are refugees from other countries. Our school is also a partial Magnet school with a Learning Immersion and TD scholars. Students that choose to go to our school do not necessarily live in the nearby neighborhood. Due to the lottery of the magnet program, students are often bussed in from further away. We also have a high population of English as a Second Language (ESL) with their native language being either Hmong or Spanish.
However, my specific classroom consists of ELL students, African American students, EC students, ADD students, ADHD students, and speech students. For this reason, this curriculum unit will be focused on getting all students engaged and participating no matter their reading level or learning disabilities. Implementing Readers Theater and puppets into literacy will allow all students to have "fun with literacy" and learn too.
Being a child at heart, when someone walks into my classroom they are greeted with an abundance of stuffed animals. I have what you would call a kid friendly classroom. I allow my students to work with the stuffed animals during class, sit with them during class discussions, and even take them home for sleepovers. How many educators would actually trust our new generation with personal items? Not many. However, I believe that all students need to feel comfortable in a classroom, and if that means holding onto a stuffed animal to gain the confidence to speak up in class, so be it.
Allowing children to play is important for several reasons. Play allows children to learn the skills necessary to effectively participate in their world, provides children with natural opportunities to engage in concrete and meaningful activities that enhance physical, language, social, and cognitive development, and it increases their knowledge and understanding of self, others, and the physical world around them.
Let"s discuss physical development for a moment. Play allows them to investigate and manipulate the objects around them for a better confidence. Children that may come into the classroom with little or no confidence will begin to increase their confidence through the implementation of puppets. Puppets allow scholars to "talk" and discuss topics that they may be too afraid to talk about. Students will respond to the puppets because it's not them talking but the puppet.
Language development through play will also be increased. They will begin to take the role of the puppet or character, thus falling into the world of fantasy. The more children play with stories, the more sophisticated their language will become. Vocabulary that may be at a minimum at the start of an academic year, will be ten times that by the end of the year.
Social development of play allows for children to learn the importance of getting along with one another, and how to be friends. Children learn how to share, manners, how to be kind, how to express their feelings, and how to resolve conflicts safely.
Recently, common core standards have been passed and now all educators must work with these new standards instead of the old standards. The advantage of the common core is that the standards are simplified, more direct, and less wordy for both educators and students. The common core standards focus on preparing students for college and their readiness in reading. The common core focuses on the following aspects: key ideas & details, craft & structure, integrating knowledge & ideas, and leveled reading for all scholars so that they are able to participate within class discussions.
The disadvantage of the common core, at least when literacy is involved, is the vagueness. With the "old" standards, there were specific objectives for the reading skills, and there were specific objectives for the reading strategies. However, the new standards do not "tell" or even suggest which standard to utilize within your lesson.
Along with the new common core state standards (CCSS) to be implemented into lessons, educators also need to prepare students for their 21st century skills. 21st century skills for students and educators are focused on the following 5 topics: Core Subjects, Learning Skills, 21st Century Tools, 21st Century Context, New Assessments that Measure 21st Century Skills.
This unit is intended for a 2nd grade class with a teacher that is not afraid to step "outside of the box" with his / her students. This unit will work with immersion classes, talent development classes, class with a high population of ELL scholars or EC students, and with students that may have specific learning disabilities (OHI, speech, ADD, ADHD). With the implementation of puppets, read aloud theater, and performances, any child will be able and wanting to participate.
The materials for this unit are simple and easy to get a hold of. Each child will need a tube sock, two different size buttons, yarn, and colored cotton balls; all can be found at your local dollar store. To make the sock puppet, first have students to choose a "puppet" hand. Have them to put the sock on, and with a marker, place a dot where the two eyes will go, where the "hair" will go, and a dot for the tongue. If you are an educator that has high parent volunteers, ask them to sew two buttons onto the sock (where the child placed the two dots). If you do not have parents who can volunteer, and you do not want to take the time to sew on all the buttons, craft glue works just as well. Take time out of your busy schedule to have students either choose colored yarn or cotton balls to create the hair.
The length of this particular unit depends on 3 factors. 1) if the teacher is willing to step out of his/her box and allow the students to respond to stories through the utilization of sock puppets, 2) how often you implement your own puppet into your lessons, and 3) how well the students "buy into" the idea of responding and playing to literature through puppets. As I have said several times before, this unit is meant for any classroom, and any type of student; both with and without learning disabilities.
Are you willing to step outside of your comfort zone?
Each educator has their own box that they feel comfortable in because it"s safe. In this unit, educators need to come out of there safe box and try something new and different. Instead of being over your students, get down to their level, use your own imagination, and have fun with your students. We, as educators, get more and more mandates every year, take time out to become a child again, build a personal relationship with your students, act out plays, and just have fun. Are you sticking to the pacing guide? Yes. Are you still teaching the core standards? Yes. Are you presenting the material in a boring and routine way? No!
Are you willing to use a puppet?
The more you implement your own puppet that you created within your lessons, the more you students are going to buy into the whole idea. If you introduce the strategy of using puppets within the classroom, but only use yours once or twice, your students aren"t going to want to use one themselves. The idea of using a sock puppet will become childish, boring, and may end up doing more harm than good within your class.
Do you want your students to build confidence?
As I have mentioned before, the utilization of puppets will help your quiet students to speak up within your class, and participate in class or group discussions. This will be a great vocabulary boost for your special education and ELL students.
So what do you do if you have a student that thinks sock puppets are for babies or they are too old to play with puppets? You will most likely get this reaction from the boys in your room, as they will relate sock puppets to dolls, and boys don"t play with dolls; they are too rough and tough for that. This is when you give your boys the option to make flannel board characters or stick characters.
With a flannel board character, you will need a few extra items (a little more costly but worth it.) You will need flannel of various colors and sizes, a piece of poster board to make the stage, and little people die cuts of various sizes. Allow the boys to create clothing for their characters, and glue them to the little people die cut. Then have the boys to create the stage through using left over flannel board, or make it easy and buy green for grass, and blue for a sky, and if you choose, brown to create a tree. With the flannel board "stage" and characters completed, have the boys to tell their own stories and journeys on the board.
With stick characters, again, you will need some extra materials (die cut little people, construction paper, and popsicle sticks). Allow the boys to create clothing for their characters in one of two ways, either color the clothing right on the little people die cuts, or have them to use construction paper. Crayons will be cleaner; however, construction paper will be more creative. Again, you may want to create the "stage" on poster board; adding a sky, grass, and maybe a tree. With the stick characters and the "stage" completed, have the boys to tell their own stories and journeys on the board.
Stage 1 – the teacher will begin to read stories using a puppet.
There is no better way to get students excited and engaged to want to learn than to "act like a child" yourself. Choose your favorite childhood book, practice reading the story with your own puppet that you have created, then have the puppet tell the story to the students without the book. If you really want to "play" with your students, change your voice to match the character in the book. For some, this idea may be to far out of your own comfort zone, however, your students will really enjoy this "new" side of you.
Stage 2: Discussing, modeling, and demonstrating the various elements of literature through various children's books.
Working with puppets within class is one thing, however, on the End of Grade assessments; there will not be questions on how long it took to create a puppet or how much practice to make the puppet "talk." Therefore, we as educators need to model through various works of children"s literature the elements that make up a story. Elements may include: fairytales, folktales, characters, setting, plot, different points of view, conflict and resolution.
Folktales – stories that have been passed down and changed from generation to generation. Objects or things "talk" that normally do not, and there is always a lesson or a moral to learn in the end.
Characters – these are the people or things that "act" or have a part within the story, fairytale, folktale, or play.
Setting – where the story takes place. The setting could be outside, inside, in the mountains, or another country.
Plot – what the story is about and how the characters will respond to the various events.
Different points of view – is the story being told from 3rd person (they, them, often a name is used) or 1st person ( I, we, us).
Conflict and resolution – was there a problem in the story and if so, how did the character solve the problem?
Stage3: Explaining the character roles and their importance within a play, or story.
There are several character roles within a play: the narrator, the main character, secondary characters, and the minor role characters. The narrator is the one who gives the background of the play, and tells the audience what the characters are thinking. The characters are the people in the play who perform. Within the role of characters, there are three smaller roles: main characters, secondary and small role characters. Main characters, also known as the protagonist or hero, has the lead part. There may also be a villain, or bad guy, called the antagonist. Secondary characters are ones that are necessary to populate the story and make it believable. They play a supporting role rather than a central role in the story. Minor role characters are the ones that have maybe one or two lines, but wouldn"t make a difference to the play if they were taken out of left in.
Stage 4 – Creating the puppets for the play, being able to bring a sock to "life" by adding buttons, colored cotton balls, and a mouth.
During the literacy block or workshop time, allow students to choose a tube sock to begin thinking about how they would like to create their puppet. Provide a wide variety of different color and size buttons, several different colors and textures of yarn, numerous cotton balls of color and size, markers, and most importantly, imagination. Students may choose either one or two buttons as eyes, and either yarn or cotton balls for hair. Students may choose to have their puppet represent one of the characters in the actual story or play they will be reading today, or may choose to make the puppet look like themselves. Either way, encourage your students to be expressive and not to rush through to complete their puppet.
Stage 5- Explaining, modeling, and demonstrating how to have a performance, based on the play or book that was read.
This is probably the most difficult and most important stage of the unit. Before you allow your students to start practicing reading and putting on plays with sock puppets, students must understand how to make their own hands talk. Have your students practice saying simple words, phrases, and sentences using only their hand, and trying to time their own hand movements with the words. This is not as easy as it sounds. From experience, one of three things normally occur: 1) students will begin talking, and forget to move their hands, 2) students begin talking, and their hands move too fast, or 3) students begin talking, and their hands have a delayed reaction. Take time to model how to use your hand to talk, and time words correctly. For example: if you want to demonstrate how to say apple, then say the first syllable (ap) and open your hand; then say the second syllable (ple) and close your hand. With two syllable words, the puppets mouth will open on the first syllable and close on the second. With three syllable words, the puppets mouth will move much more: in the word together, the puppets mouth will open on the first (to), close on the second (get) and open on the last (her).
there was a new curriculum adoption or you changed grade levels. You read the story everyday during your literacy block, discuss it, and interact with the selection by answering questions or completing graphic organizers. How much fun is that really for you and your scholars?
Here are some classroom strategies to break up the monotony within your everyday lessons: Puppets, Readers theater, Performances, Videos, Mark West to visit ( he is a know puppeteer), How to put on a play.
Puppets – there are a variety of puppets that can be used: hand, finger, popsicle, paper bag. Using puppets allow students to leave the realm of reality and dive head first into fantasy and imagination. As with any stage performer, the puppet should generally face the audience; but may turn to one side or the other. There are times when a puppet does turn its back to an audience just like an actor, however, remind your students that you want their puppets to "talk" to their peers, and not turn away.
Readers Theater – this is great to assign specific roles for students, allows all students to participate, and to use the puppets that were created for the specific play. This is also a great strategy to implement for practice with fluency and expression when reading. Drama, as I am beginning to discover within my own classroom, is not only fun and natural for children, it also encourages emotional growth, motivation, and engagement. And one form of drama, known as Reader's Theater, has been found to be particularly effective in building fluency for strugglers. Reader"s theater is also a great way to discuss problems or concerns within your classroom. One of the hottest topics to use reader"s theater with is bullying. More often than not, your students will, as mine do, respond to a character talking to them about the importance of why bullying is bad, rather than an educator or guidance counselor.
Performances – creating a stage within a classroom can be as easy as putting two desks together with a sheet over so you cannot see the "actors" behind with their puppets and script. If you want a more "realistic" stage, use a chart stand with a sheet and separate the middle to make curtains.
Videos – www.discoveryeducation.com is a great site to show what plays look like when they are performed. There are short and long plays on this site, along with the realization that boys / men sometimes had to play the role of a girl / woman because females were not aloud to partake in plays.
Mark West to visit ( he is a known puppeteer) – To get students really excited about using puppets within the classroom, I would ask Mark to come and put on a small performance for your students. However, as Mark teaches classes at UNCC, you will need to email him and ask when and if he is available to come into your class.
the words in the story. Timing mouth movements on a sock puppet to the words in a story will take some practice.
The more classroom activities you have hiding up your sleeve, the more your students will respond not only to you as a teacher, but to the story in which you are reading. Every educator knows that school is supposed to be about learning and gaining the knowledge you will need for the future, but that can be done with implementing "fun" things as well. These activities can be substituted for a literacy block or placed within your independent work time (workshop) block.
Here are some activities that I have implemented within my classroom and my students love to do: puppets, Readers Theater, and game show.
TSWBAT: create puppets to create a character in a story.
During the literacy block or workshop time, allow students to choose either the paper bag or a tube sock to begin thinking about how they would like to create their puppet. Students may also choose either one or two buttons as eyes, and either yarn or cotton balls for hair.
Students who choose the paper bag as their puppet already have a "mouth" to work with, however, those scholars that choose the tube sock with need to be inventive to form a mouth.
like themselves. Either way, encourage your scholars to be expressive with their puppets and not to rush through to complete their puppet.
Depending on the "make up" of your classroom, you may have early finishers that are ready to begin reading a story or play, and begin working with the character"s mouth to mimic the words that are being read. Early finishers should have several Readers" Theater plays to choose from to not only practice work with their newly made puppet, but to practice their fluency as well.
TSWBAT: create flannel board puppets for a character in a story.
Have your students to choose a little people die cut, and a piece of flannel for the clothing. Have the student to create the clothing for their flannel person. You may want to cut the clothes for them, or have pants and shirts already drawn out on the flannel pieces. This will save time and wasting flannel due to mistakes. Once the students have their clothing for their flannel person, have them to glue the clothing onto their little die cut person and let it dry.
Students may choose to have their flannel puppet/character to represent one of the characters in the actual story or play they will be reading that day, or may choose to make the puppet look like themselves. Either way, encourage your scholars to be expressive with their puppets and not to rush to finish.
Depending on the "make up" of your classroom, you may have early finishers that are ready to begin reading a story or play, and begin working with the character"s mouth to mimic the words that are being read. Early finishers should have several reader"s theater plays to choose from to not only practice work with their newly made puppet, but to practice their fluency as well.
TSWBAT: create stick puppets to represent a character in a story.
Have your students choose a little people die cut, and either crayons or construction paper to create the clothing. If your students choose crayons, then have them to simply color the clothing onto their little die cut person. If your students choose construction paper, again, you may want to save time and frustration by already have clothing drawn out for them. Students that choose the construction paper, have them cut out the clothing and glue onto the little person. Then have your students to get one popsicle stick and glue the stick to the back of the little person die cut.
Students may choose to have their stick puppet o represent one of the characters in the actual story or play they will be reading that day, or may choose to make the puppet look like themselves. Either way, encourage your scholars to be expressive with their puppets and not to rush to finish.
TSWBAT: see how a "stage" for a reader"s theater is created, and how an actual play is performed.
You would need to explain, model, and demonstrate how to make the puppets "come alive" through timing the mouth movements of the puppet with the words in the story. Timing mouth movements on a sock puppet to the words in a story will take some practice.
Creating a stage within a classroom can be as easy as putting two desks together with a sheet over so you cannot see the "actors" behind with their puppets and script. If you want a more "realistic" stage, use a chart stand with a sheet and separate the middle to make curtains.
After you have performed for your students, set up several desks without the blankets, and allow them to practice their reader"s theater play in preparation for performing for their classmates. Remind students that timing the puppets mouth movement with the actual words on paper will take some time.
In this activity, teachers and students will go through each step of the process listed below and begin to gain an understanding of how reader"s theater actually works.
Choose a script. Choose a prepared script, or have kids choose a book from which to develop a script. To begin, make a list of all the nursery rhymes, folk tales, and fairy tales the students know on the board. After you have created your list, have your students practice reading in small groups until they know all the words. Once you feel your students are ready, have them to choose a group (or you may want to do this for them) and practice reading the script again.
Adapt the script. If adapting, kids identify speaking parts (including narrators) and break down the story into dialogue. Adaptation of the scripts will need to be done for your "high flyers" and your EC/ELL students. Your high flyers may need a script that has a more difficult vocabulary. Your EC/ELL students will most likely need an easier script so they do not become frustrated.
Assign Parts. Kids might try out different parts to get a feel for them, and then choose their roles themselves. No matter the reading or academic ability, each one of your students should be given a part within the script. The part may be as small as the narrator, or as large as the main character. Your goal is to make all your students enjoy working with their characters, want to perform for their classmates, but most importantly, participate and strengthen their reading ability.
simply going over the words. For the first few times, you may want to go ahead and complete the highlighting for your students; this will save time, mistakes, and frustration.
Perform. The cast reads the play aloud for an audience, often made up of parents or younger students. First practice putting on the skit for the rest of the class. Once your students become comfortable with this, have them perform for another class. Gradually make the audience larger until you and your students feel they are ready to perform for parents, guardians, and administration.
TSWBAT: practice, read, and perform their reader"s theater skit with confidence.
This activity is a great way to assign specific roles for students, allowing all students to participate, and to use the puppets that were created for the specific play. This is also a great strategy to implement practice with fluency and expression when reading.
Those that have trouble with site words should be given the easiest readers theater (a story they may already know even). In some cases, with the lower students, it may be easier to ask them to re-tell the story of: The Three Little Pigs, or Red Riding Hood. Allow these students to become confident with a play they already know and have experience with, and then have them work up to actually "reading" a script or play.
The book 25 Fun Phonics Plays for Beginning Readers would be a great resource to utilize, as it reinforces your scholars on: short and long vowel sounds, consonant blends, and consonant digraphs. It is fairly inexpensive, and adds pictures to go along with the play. Again, implementing this particular set of reader"s theater will allow your lower students to build the confidence and skills they need to read more difficult and lengthier texts.
analysis skills to decode words within given texts. As an educator, only you will be able to recognize if your students should begin with the book 25 Fun Phonics Plays for Beginning Readers or if you would be able to simply go to the internet and pull of reader"s theater plays. All students, no matter their ability, can use reader"s theater to reinforce fluency practice.
www.teachingheart.net is just one of the many websites for readers theater. These plays are easily accessible, printable, and free! Some plays on this website are longer than others; remember, you will need a copy for each student within the group. Not only does this site give you a wide selection of plays, but resources for you to use within the classroom.
High Flying Scholars – with your "high flyers" you have a little more "play" when it comes to reader"s theater. Although it would take some time on the teacher"s part, the reading curriculum implemented within the classroom could be used as a reader"s theater. Teachers would turn in the weekly selection into a play, and have students read that. However, if the selection, words, and vocabulary are too easy, check out the material in third grade.
TSWBAT: have a discussion in the form of a game show to discuss the topic / selection for the week through the implementation of puppets.
You are the host, and your students become the people in the audience talking and debating about the selection you have read for the week. As educators, we know that some students will not have the confidence needed to participate in this; however, this is where the puppets that students made have made come into play.
2) Chanko, Pamela. (2009). 25 Fun Phonics Plays for Beginning Readers.
zone and have fun within the classroom.
6) Goldman, Laurence. Child's Play: Myth, Mimesis, and Make Believe.
Every little girl likes to play dress up. Good resource for imagination.
Good for adding global skills into the classroom.
Great place for reader"s theater, puppet ideas, and much more.


United States Army Seal Lapel Pins from the White House Gift Shop are often worn by Army retirees, veterans, family members, friends, and supporters of soldiers to show a sign of membership or dedication. Wearing military service pins on the lapel on your jacket or on your hat says a lot with meaning that derives from the distinguished history and mission of the USA. Dimensions: 7/8", brass, baked enamels, protective finish.
My experiences with The White House Gift Shop have been excellent. Rachel, my sales person, is knowledgeable, friendly, accommodating, flexible and puts my needs and desires first. I have been very pleased with the products. I purchased too many of a particular item and had no problem returning the pins or exchanging them. I recommend The White House Gift Shop.


text:
Q: How to have comparison with CASE in SQL WHERE
    CASE
        WHEN @TypeFatt <> -1
            THEN docAM.typCIGA = @TypeFatt
            ELSE docAM.typCIGA > @TypeFatt
    END

The error is

Incorrect syntax near '='

Why?
Thanks for your help

A: It's generally better to use regular AND/OR constructions instead of case expressions in the WHERE clause:
WHERE (@TypeFatt <> -1 AND docAM.typCIGA = @TypeFatt)
   OR (@TypeFatt = -1  AND docAM.typCIGA > @TypeFatt)

redpajama_set_name: RedPajamaStackExchange


rkjm inspired me by posting her Board of Prison Break, so I decided to post my corkboard!
Click on it for a bigger version, obviously.
... don't even ask why there's a picture of Aaron Eckhart there, I don't even know. I've never seen him in anything. It's mostly to fill space.
None of my pictures overlap, because I am psycho about that sort of thing. The angles are just so and the pins pushed in just right so that it is really the antithesis of a corkboard.


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[ARCHIVED] Southeast Tourism Society selects Southern Invitational as a 'STS Top 20 Event'
Southeast Tourism Society has named Southern Invitational Truck and Tractor Pull one of the STS Top 20 Events in the Southeast for February 2018. This is a first time nomination for the event that has a long history in Murfreesboro.
The Truck and Tractor pull has been taking place at the Tennessee Miller Coliseum since 2006. The event is produced by Southern Motorsports Promotions as an invitation only pull. In 2018, competitors traveled from Wisconsin and New York to participate in this great event. The local attendance for this indoor tractor pull is always outstanding and the community certainly sees an influx of visitors during the annual event.
"We are thrilled to see the Truck and Tractor Pull recognized," says Barbara Wolke, Senior Vice President of the Rutherford County Convention and Visitors Bureau. "We are thankful that this event is held right here in the heart of Tennessee and look forward to many more years of great competitors visiting from around the country."
"The Top 20 Festival and Event Program is celebrating 34 years of spotlighting the best festivals and events in the Southeast. Our goal is to provide well-deserved accolades for the dedicated event organizers and additional media exposure for their events," said Monica Smith, president and CEO of the Southeast Tourism Society. "The Southeast offers so many unique, year-round, opportunities for attendees to create memories and support an industry that is an economic generator for its community."
About the Southern Invitational Truck and Tractor Pull
In 2005, Joe Wamble and David Holbrook set out to create an indoor truck and tractor pull that would be centrally located in the South. Since 2006, the annual event has been held each February at the Tennessee Miller Coliseum in Murfreesboro, Tennessee. The event is produced and promoted by Southern Motorsports, also based out of Murfreesboro. Learn more at www.SouthernMotorsports.net
About Southeast Tourism Society
STS, founded in 1983 and headquartered in Atlanta, Ga., is a non-profit organization dedicated to promoting tourism to and within 12 states – Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia and West Virginia.
City Snow & Ice Preps with Raymond Hillis on "The Insider"
The Center for the Arts presents 'RENT' Feb. 10-26
City Manager appoints Sam Huddleston as Assistant City Manager
Mayor McFarland recognizes Murfreesboro Transit Operator Marlene Belcher with STARS Award
City and MTE finalize "property swap" for planned parkland and economic development prospects
Public Infrastructure Road Projects highlighted on City interactive webpage
Council Oks Design Contract for WastAway biogas facility solid waste solution
City prepared for winter ice and snow
2023 MWRD-CA Community Baby Supply Drive Kick Off has started!!
City closes on $3.26 million sale of land for Notes Live Development
City of Murfreesboro has notified Republic Services of new contaminated spring on Stones River
Murfree Spring Boardwalk closed to public for repairs
VA Golf Course to close when lease expires Dec. 31
MTSU News: BERC's Tracking Tennessee's Economy website earns national 2022 AUBER Award
City Council approves appointments to Community Investment Trust Board of Trustees
Mayor, City urge residents to join 'Nobody Trashes Tennessee' campaign
MTSU News: MTSU kicks off yearlong celebration of Murphy Center 50th anniversary

redpajama_set_name: RedPajamaCommonCrawl


Boxes arrived in the map department recently, a donation of material from our friends at Cambridge University Library. When opened they revealed their contents, 945 German 1:25,000s, all from between 2003 to 2007.
so this new intake will bring our set more up to date as well as filling in some of the gaps in our holdings.
smaller than those produced by the Ordnance Survey.
The series, 'Topographische Karte 1:25,000' is stored at C22 (15d), and is indexed.
This entry was posted in Uncategorized on 18 October 2012 by michaelathanson.


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The Shrewsbury and Telford Maternity Scandal – recommendations made to improve maternity services across England
How do we improve maternity services in light of the Shrewsbury and Telford Maternity Scandal?
The Ockenden Maternity Review led by Senior Midwife Donna Ockenden was commissioned in 2017 by the then Health Secretary Jeremy Hunt to investigate maternity services at Shrewsbury and Telford Hospital NHS Trust, following concerns raised by the parents of two babies, Kate Stanton-Davies and Pippa Griffiths, who died under their care.
A preliminary report was released on 10th December 2020 at the request of Nadine Dorries MP, the Minister of State for Mental Health, Suicide Prevention and Patient Safety, to make immediate recommendations to improve safety in maternity services across England.
The review has identified 1862 families where avoidable harm may have been caused to mothers and babies as a result of the care provided by the Trust between 2000 and 2019. These include stillbirths, neonatal deaths, maternal deaths, HIE Grades 2 and 3, and other severe complications in mothers and newborn babies. The preliminary report is based on the findings of the first 250 cases with the full report expected in 2021. It is thought to be the largest inquiry relating to a single service in the history of the NHS.
The review identified a number of 'emerging findings and themes' which formed the basis of the recommendations for Local Actions for Learning and Immediate and Essential Actions to improve maternity services at the Trust and across all maternity units in England. These include robust pathways for management of women with complex pregnancies, risk assessment at each antenatal contact, improvement in the monitoring of fetal wellbeing and ensuring women have access to sufficient and accurate information to enable informed consent. It is made clear that these recommendations are to be implemented and that Trusts, regulators and professional bodies must work collaboratively to do so, as "to do nothing is not an option".
Following publication of the report, Nadine Dorries announced in Parliament a plan for an "early warning system" to detect and prevent future maternity care scandals, and for the introduction of a "core curriculum" of training to be introduced for all midwives, doctors and Obstetricians. She described the Ockenden report as "fundamental in how it's going to reform maternity services across the UK going forward".
The findings of the report are not surprising to those of us who work with families that have suffered avoidable harm as a result of failings in maternity care. The sheer number of cases is shocking but is likely to be the tip of the iceberg as Shrewsbury and Telford are not the only Trust failing to provide adequate maternity care. Earlier this year, maternity services at Nottingham University Hospitals Trust were rated as 'inadequate' by the Care Quality Commission, and a previously unpublished report from 2017 was released to the BBC which identified serious failings at North Devon Healthcare NHS Trust. Sadly, this is unlikely to be the last "maternity scandal".
The report is a testament to the tenacity and bravery of the families who have shared their stories to provoke meaningful change in maternity services and prevent any other family suffering as they have done. It is encouraging that the Government have responded swiftly to the report and it is hoped that the introduction of the early warning system and the core curriculum will bring about positive change to ensure the safety of all women and babies in maternity care.
If you have concerns in relation to the care you or your child received at Shrewsbury and Telford Hospitals or at any other hospital across the country, please contact us for a free review of your claim.
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PREVMEET THOMAS & ISABEL DEAKIN AKA SPIDER-MAN AND WONDER WOMANNEXT#Petebones completes the Winter Wonderwheels challenge 2020 with an incredible 189.6km!


Handblown glass. Made with pride in the San Francisco Bay Area.
"Glass is one of the hardest and most dynamic materials on earth. It should be used often and with pride."
Rocket GlassWorks was founded in 2014 by Glassblower Sam Schumacher. With a deep understanding and affinity for the natural tendencies of the medium, RGW offers a wide variety of glass objects for sale. We believe that glass should be functional, and it should be used.


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High strength alloy for corrosion applications in heat transfer equipment, vessels, piping, etc., and all applications where tantalum's physical properties are desired at a higher strength level than pure tantalum, and better corrosion resistance in HCl and H2SO4 acids.
NRC® ETA TANTALUM metal products are used where purity and or ductility of the tantalum metal is more important than strength or grain size. Consequently, their primary applications are in sputtering, nickel based superalloys, explosion bonding of liners for corrosion resistance, medical, and ordnance applications. All grades meet ASTM requirements.


Brettnee & Jason is no ordinary couple, they are one of those fun-loving; fashion-forward couples that's not afraid to let their personal style shine. The couple said "I Do" at the historic G. Fox & Co. Building in Hartford, CT, which is known for its architecture and grew to become one of the city's largest dept stores in the 20th century.
BridalStyle: Edgy | Brettnee is a makeup artist with incredible fashion sense, her personal style is all black with studs, spikes or skulls somewhere on her with one or more of her tattoos showing.
GroomStyle: Preppy | You can easily find Jason wearing a button down shirt, blazer, bowtie with camouflage pants.
The inspiration for their wedding colors came from a photo that Brettnee saw with purple roses against a teal wall.


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The booming Zhongshan District is ready to welcome your business, too.
Spaces Hung Sheng IFC is Taipei's fresh and vibrant working environment. Whether you're looking for office space, a meeting room, or just a place to plug in your laptop and work, you'll feel right at home. Our super-fast, unlimited WiFi ensures you can work quickly and efficiently, while the rich community of like-minded professionals are ready to shake your hand. Just plug into our energy and watch your world accelerate.
Situated in the booming Zhongshan District, Spaces Hung Sheng IFC is an exclusive workplace that offers everything under one roof. The eye-catching building makes for a good first impression, while our tailored service takes care of the rest. Spaces Hung Sheng IFC is connected to MRT Nanjing Fuxing subway station, while the closest bus station – Nanjing and Longjiang intersection is 100m away.
Why Choose Spaces Hung Sheng IFC.
100m from the bus station.
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Nanjing and Longjiang intersection 100m away.


Steve McClaren criticised England's lack of quality after his side were booed off Old Trafford after slumping to a dismal 1-0 friendly defeat against Spain last night.
A second-half goal from Barcelona's Andres Iniesta consigned England to a defeat which means McClaren's side go into the vital European Championship qualifier against Israel in Tel Aviv next month having lost twice and failed to win in their last four games.
The under-pressure England manager admitted he could understand the jeers.
He said: 'It is disappointing to lose and I can understand the reaction. We don't like losing football matches, especially this one being the last one at Old Trafford. We finished it on a low. It was a hard game and we lost it.
McClaren, however, insisted it had been a difficult preparation with key players dropping out with injury.
He said: 'We came and had two days which were disrupted with players going. To be honest that is not an excuse, but a reason. We had six or seven players missing who would have been in the starting line-up.
'You are bound to lack cohesion and we did. Nobody is blinded to the fact that we lost the quality in the final third that wins football matches. Playing a good final ball let us down and we lost to a very good goal from Iniesta.
McClaren praised the form of Kieron Dyer and the displays of goalkeeper Ben Foster and defender Jonathan Woodgate as 'three positives' while admitting Shaun Wright-Phillips started brightly but faded.


text:
Thanks, Jeff (from the Overwatch Team)
The world can always use more heroes, and I'm pleased to say Jeff Kaplan is one of them.
Jeff Kaplan. Image Credit: GamesBeat
I've spent countless hours toiling away in front of CRTs, monitors, and HD TVs playing video games, but I've never amounted to anything more than a player. Sure, I've dabbled in the competitive scene for games like Super Smash Bros., and have watched and supported fandom events like Games Done Quick. But most of my existence as a gamer is through a product-consumer relationship.
Games are my media of choice. The combination of tactile feedback with engaging, hours-long narratives and oftentimes heavily orchestrated music beats out sitting down and binging a Netflix show, or listening to a newly released album on repeat. Usually, my connection to the games I play is based on the time spent playing them. All of the deaths and respawns, rage quits and fist pumps create my journey as a gamer, from my humble days of failing to beat the water (err… Mega Mack) in Sonic 2, to admiring the shiny, graphical coat of my PS5 games.
In most respects, Overwatch is just another game I've played. Like so many other titles I purchased it on a whim, enticed by the character design on the box art (physical media for life, by the way). And despite being a team-based multiplayer game, I played Overwatch like so many other titles, typically off mic with a bunch of random players like any game of Call of Duty or Smash online.
Strangely enough, when I heard the news that Jeff Kaplan, the face of the Overwatch Team for the last five years, would be leaving Blizzard, my heart sunk and I had a glaring realization.
Jeff is a huge reason why I love Overwatch.
To the best of my knowledge, Jeff, at least the developer we watched explain and explore Overwatch, isn't too different from me. He was born in New Jersey and had a background in writing. More importantly, despite being credited as a game designer and director on projects at Blizzard, he isn't a technical wizard so often associated with game development.
In other words, Jeff is a gamer.
Over the last five years, fans have been treated to 50 Overwatch Developer Updates. Hosted on the Play Overwatch YouTube channel, these videos, usually between five and 15 minutes in length, saw Jeff, from the Overwatch Team, chatting about the newest changes and fixes that players could look forward to.
Typically dressed in a t-shirt or hoodie with an Overwatch logo, each of the videos followed the same course. "Welcome back everyone, this is Jeff, from the Overwatch team. Today we're going to be talking about…" and insert the latest news. Unlike the status quo for highly-manicured talking head videos on YouTube, the developer updates lacked any noticeable sort of jump cuts or edits. Jeff was a straight shooter, talking uninterruptedly about the game without any sort of pause or stutter.
The community of course, most notably YouTuber dinoflask, took the Jeff updates and turned them into community memes, chopping up various words and phrases to hear Jeff dish out a collective spanking to the sometimes-toxic Overwatch community, or creating a public database of players ready to be doxxed.
Kidding aside, these updates stood in contrast to standard video game PR procedures. In many ways, these videos posed Jeff as a fellow gamer chatting about the latest news in his favorite game. There were no cinematic sequences of high-octane action or calls to purchase loot boxes or battle passes. The strategy was akin to an Overwatch fireside chat, tallying up the changes and updates in language easily understood by casual fans and pro players alike.
As one of those casual players, I couldn't be happier with the approach. Despite pouring 1,800 hours into Overwatch, I've never watched an entire professional match. (There was one time Overwatch was on ESPN and I watched for a little while as something of an, "I was there for that" moment, but I quickly turned it off when I realized the commentator controlled camera was not working for me.)
Jeff's updates were approachable, if at times a tad dry, perfectly suited to the dad-like aura the community bestowed upon him (some fans affectionately called him "Papa Jeff"). In 2017 he recognized his odd role in the videos while reflecting on the dinoflask parodies. "I mean, I am this middle-aged, awkward nerd with 0 points in charisma and really don't belong on camera in any way, shape or form," he said on Reddit during his Ask Me Anything Q&A.
And yet he returned time and time again, delivering the Overwatch digest as only he could. He even did so after admitting that he was a "platinum player," who he thinks "could get to diamond if I played competitive more." In Overwatch, platinum sits just a tier above gold, which is where the majority of players, and yours truly, compete.
In most cases, there is a disconnect between game developers and their fans. Masahiro Sakurai of Super Smash Bros. fame has plenty of meme-worthy moments in his own developer updates, but he can also be seen controlling two, opposing characters with two controllers at the same time like he's typing on a keyboard. People who make games are usually viewed as gods of their games — and rightly so.
Jeff, by contrast, felt more like a casual player than any developer I can think of in recent memory. His passion for the game was always apparent, but never strayed into the annexing, hardcore fandom that could drive lower skilled players (like me) away. Like the game itself, which features a diverse cast of characters from all walks of life, Jeff helped Overwatch become an inclusive, safe space regardless of how you preferred to play.
I don't know if I'll take to another set of Overwatch developer updates delivered by anyone but Jeff himself. So for now, I'll just say thanks to Jeff, from the Overwatch team, for reminding gamers that you don't have to be "MLG Pro" to enjoy a game. You just have to have a little bit of fun.
GG, Jeff.
Martha Welsh
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To Ban or Not to Ban: February 2020
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Why Wordle Is So Addictive
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GameDev Protiops: How To Improve Your Indie Game's Pacing


text:
© 2018 Lightning Bolt Productions | Privacy Policy
12811 Glades Rd. Boca Raton
jessie@lightningbolttheatre.com
THIS PRODUCTION HAS BEEN CAST. CHECK BACK SOON FOR MORE AUDITIONS AND GET YOUR TICKETS TO SEE HAIR.
We are so incredibly excited to announce our summer show of Lightning Bolt's 2018/2019 season!! We can't wait to return to the stage and we'd love for you to audition to be part of it! This Non-Equity Audition will take place on May 15th from 6:30-9:30 PM (with a possible callback May 19th from 1-4 PM). Actors will be compensated for performances.
CHARACTER BREAKDOWN:
CLAUDE (Rock Baritone/Tenor. Late Teens. All Ethnicities): The most beautiful beast in the forest. Smart, attractive male, with a playful side; a lover of life and the picture of a young man next door of the 60's. Strong actor. Berger's best friend, recently drafted whose only valuable possession, other than his freedom, is his hair. A charismatic leader that women adore, boys emulate, and men will follow into the breach. A man of conscience who struggles with the conflict of what his heart tells him is right and what the authorities around him lead him to believe.
GEORGE BERGER (Rock Baritone/Tenor. Late Teens. All Ethnicities): A social activist recently banished from high school. An unrestrained animal. He knows what is right and sticks to it no matter the consequence. The leader of the tribe. High energy, athletic, wild. Strong presence and, though he may be a young man, he is looked up to.
SHEILA (Rock Alto/Belter. Late Teens. All Ethnicities): A second semester student and passionate protester from NYU who lives with Berger and Claude, aspires to spread love. Loves Berger. The most intelligent of the tribe. Wants to change society through peaceful protest. Not necessarily perfect on the outside, but must have a strong voice and presence.
JEANIE (Alto. Late Teens. All Ethnicities): A follower, not a leader. Incredibly sweet, understands Claude better than anyone. Wise, passionate, creative woman, who is pregnant with the tribe's baby. She has taken every drug, and takes care of the tribe. Strong actress to play comedic and dramatic scenes.
CRISSY (Mezzo. Late Teens. All Ethnicities): A flower child mourning a lost love - the youngest female of the tribe. Sings "Frank Mills".
DIONNE (Alto/Mezzo Belt. Late Teens. African American): Sassy and lots of fun. Great with comedy and ad-lib vocals.
HUD (Soul/Rock Baritone/Tenor. Late Teens. African American): Speaks his mind and hopes you can keep up with him. High energy, spiritual performer with a strong voice and presence. A true tone setter that is a natural on stage in any situation.
WOOF (Rock Baritone/Tenor. Late Teens. All Ethnicities): May not want to admit it but he is gay. A young animal. High energy, versatile performer. Must be a natural with comedy. Looks up to Berger and Mick Jagger... in many ways.
TOURIST COUPLE (All Ethnicities): Two male performers with strong comedic timing. One must be willing to appear as a believable woman, while the other is her miserable husband. Will double as tribe.
TRIBE (Various Vocal Ranges. All Ethnicities): This is not a "chorus", as the entire cast is a true ensemble. Tribe members sing many featured songs including "Aquarius", "Black Boys", "White Boys", "Walking In Space", "Electric Blues", etc, and pay many roles in the show including the PRINCIPAL, MOTHER, FATHER, HISTORICAL FIGURES, and more. Energetic, creative performers with heart and passion.
Due to the subject matter of the show, we will not be accepting auditions from anyone who will not be 18 by the time the show opens. Please keep in mind that the nudity in Hair is not required in this particular production, so please don't let that keep you from auditioning. We will not have anyone do anything they are uncomfortable with.
The show will take place at West Boca Performing Arts Theater from July 26th at 7:00 PM, 27th at 7:00 PM, 28th at 2:00 PM, August 2nd at 7:00 PM, 3rd at 7:00 PM, and 4th at 2:00 PM.
If you would like to audition, you can come to the in person audition or submit a video. In person auditions are by appointment only! Please prepare 32 bars of a song that shows off your vocal range, musical theater songs preferred, you are permitted to sing from the show. Bring sheet music, an accompanist will be provided. No "a cappella" auditions will be accepted. Make sure to bring your headshot and resume. If you are unable to attend and are planning to send a video submission, we ask that if you know that you are also unable to attend our callbacks on May 19th that your video submission is of you singing a song from Hair. Please include your headshot and resume in the email. You must get your video submission in by May 15th at the very latest!
Audition Onstage Studios Address:
1200 Clint Moore Rd suite 13, Boca Raton, FL 33487


Need to practice Dividing Fractions?! Students will work through mixed numbers divided by mixed numbers, only through this activity. Add the coloring part in and kiddos will have a great activity to complete! Best part - print ready activity! Print it off and hand out to your students, ready to go!


In 2011, there were 786 cars for every 1000 people in the United States. In 2012, there were 33,561 highway deaths due to traffic accidents, an increase of over 1,000 fatalities from the year before.
While many of these auto accidents were due to hazardous driving conditions, numerous resulted from the inattention of other drivers. Most personal injury claims from traffic accidents are due to the guilty party texting, eating, talking on a cell phone, or handling personal hygiene routines while driving.
These claims are often in tricky moral territory, as many accidents happen during high risk surgeries that were simply unavoidable. When an injury occurs due to a surgeon's honest attempt to correct a more serious problem, it doesn't always seem fair to punish the physician.
However, certain medical malpractice cases are quite easy to conclude. When a physician or a surgeon gives improper care or false information to a patient due to their own incompetence, there is a little excuse. If an injury was caused due to a healthcare professional being impaired on the job by alcohol or drugs, then the medical malpractice case is cut and dry.
With most jobs, there is a chance of becoming injured during the course of performing daily work activities. For situations in which the victim had a workplace accident and was injured in the workplace through no fault of their own, a personal injury suit is a valid option.
Whenever a personal injury claim is filed, the victim must determine the amount of damages they wish to receive. Often, this means calculating healthcare costs, loss of income costs, any property damage costs, and often remuneration for emotional and mental damages, as well as the pain and suffering experienced.
For assistance in determining this amount or for any other help with your personal injury suit, contact Brock and Stout Attorneys at Law. Our Andalusia personal injury attorneys know exactly how to handle these types of cases. Contact us for help!


Exactly a month after we said our goodbyes to the participants, the lecturers, the organizers, the chai-waala - Jaggu and the handout-waala - Shyam, I sit here trying to summarize what I experienced in the 4 weeks that I spent at FTII and NFAI. Yes, I learnt a whole lot, we watched about 70 movies…but it is the overall experience that made it all worth it. Getting abstract, am I? Well, that is one thing I have certainly picked up from the course. Abstractness can be found in the simplest things (movies, scenes, shots) and the most abstract movies can be described by a profound yet simple one-liner.One write-up is not enough to narrate what was imparted, processed and retained in that one month. So, in this post, I will just give a gist of what the course was all about, a laundry list of the movies we saw, etc.
As you would know from the schedule below, very broadly, the course content can be categorized into lectures and screenings. The mystery of mise-en-scéne was unraveled. And accept it or not, melodrama too has theory. There was a lot of history and technicalities like editing, cameramanship, and sound design. Many lecturers inspired awe because of their knowledge about the topic at hand, and the passion for movies that their eyes conveyed. Of course there was also the mandatory school-childlike nicknaming of lecturers, the irresistable complaining about rambling professors, and the inevitable skipping of classes that followed.
The choice of screenings was designed to cover all genres and geographical regions, as many classics as possible, and most of the legendary directors. Along with the task of covering this huge range there was an obvious attempt to have some connection with the lecture topic of the day. My favorite example is watching Citizen Kane after the day's lectures on "visual composition" and "camera techniques".
When I took off for the course, little did I know that what I would remember most fondly would be the relationships that I made in my time there. My sort-of "statement of purpose" in the application form mentioned 'introduction to technicalities of film-making' and 'exposure to world cinema'. And while those two purposes were sufficiently satisfied, it's the wide variety of people that I met, that I am still in awe of.
There were 72 registered participants literally from all around the country. In fact, we had a film-maker from Sri Lanka amongst us. To say that they were from varied backgrounds would be an understatement. From anthropologists to documentary film-makers, from people involved in mainstream feature films to a Priest, from people working on advertisements to an art historian, from a biochemist to a mathematician turned professor who is working on the connection between science fiction and theology. I would like to say: name it and we had it.
Hi Geetha, am glad you liked the write up. Hope I described what you do appropriately :). Your comments are more than welcome...it would be great to have a discussion here.
Thank you Filmer! Have no clue how that happened, because the links were working when I had posted the article. Anyways, have fixed it.
After refusing two job offers and getting myself all set for this course, I received a mailer saying I was not selected for the course. Maybe I'm too young or I don't know, the reason was never mentioned. I finally found work at a website as a journalist.
I'm really looking forward to the forthcoming posts!
posted 11 years, 9 months ago Arcopol has posted 2 comments and has rated 0 movies. See Arcopol's page for more details.
Hey Acropol, Congratulations on your job!! Which site do you write for?
At the course, I don't think there were too many people under 25. Thanks for stopping by.
I write for Indiantelevision.com, based in Mumbai.
We recently hosted the News Television Awards in Delhi and we do the Indian Telly Awards as well.
I write about the advt industry, TV channels and more!
@siddharth, i don't remember exactly but i think around a month before the start of course.
Well, mira...The rooms are 'alright' clean. the loo was reasonably clean in the room that i stayed in.
Anyway, you are having such a good time outside or with new friends you have made, in the room that the 'state' of the room won't matter!
aaah, i got a room in the TV hostel (it is bang opposite FTII where classes are conducted) and those rooms had attached bathrooms. Don't know about the hostels in the FTII campus.
well, siddharth this is the only one i know about.
Well siddharth, they do not tell us why they have selected a particular movie. Also, unfortunately, very few movies actually had time reserved for follow-up discussions.
you are having such a good time outside or with new friends you have made, in the room that the 'state' of the room won't matter!
I am Suhani from Pune. I am applying for Film Appreciation Course for this June. I have a query. In the application form there is a box at the last page for Statement of Purpose which should be at least of 1000 pages , however the space is not enough to write 1000 words . Should I write it on separate page and attach it ?
posted 5 years ago Suhani Sharma has posted 1 comments and has rated 0 movies. See Suhani Sharma's page for more details.
@Suhani Though I am no authority, I'd think it should be fine to attach separate pages.
Hello Can you give me tips to fill the form to get into the course successfully?
posted 4 years, 1 month ago Geo Sebastian has posted 1 comments and has rated 0 movies. See Geo Sebastian's page for more details.
@Geo I'd say be honest and let your passion for films show. Though, you must know I have no clue what the criteria is.


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The statue of Francis Scott Key, who is known for writing "The Star-Spangled Banner" but was a slave owner, was toppled by protesters in San Francisco during demonstrations against racial injustice.
Key wrote "The Star-Spangled Banner" after he saw an American flag flying at the Battle of Fort McHenry following a victory over the British in the War of 1812. The lines he wrote turned into the national anthem.
However, Key — whose lyrics include "land of the free" — was an owner of slaves and defended in court slaveholders' rights to own human property, according to The Smithsonian. © David Zandman via Reuters Protesters walk towards the statue of Francis Scott Key at the Golden Gate Park in San Francisco, June 19, 2020.
The toppling of the statue comes amid protests that erupted across the world after the death of George Floyd, who was killed in police custody, against systemic racism and police brutality.
During some of those protests, monuments related to slave owners or the Confederacy have been toppled.
As of Friday afternoon, at least 22 cities had either removed or approved the removal of Confederate monuments. The most controversial of those memorials, the Robert E. Lee statue in Richmond, Virginia, is caught up in a legal battle.
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Lee Gatiss
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The Old Testament Apocrypha: An Introduction by Otto Kaiser
The Old Testament Apocrypha: An Introduction by Otto Kaiser (Edinburgh: Alban Books / Peabody, Massachusetts: Hendrickson, 2004)
The Thirty-nine Articles of Religion tell us that the Apocrypha "are read by the church for examples of life and instruction in behaviour, but the church does not use them to establish any doctrine" (Article 6, from An English Prayer Book). Luther too said that these books, such as Tobit, Baruch, Bel and the Dragon, Susanna, and Maccabees, were "profitable and good to read." Of all Protestant denominations only Anglicans tend to make much use of the Apocrypha today, although amongst many evangelicals it is probably rare to find anyone who has even heard of them let alone read them for 'instruction in behaviour'! In some ways this is a good thing, since we do not want to succumb to the temptation that other traditions have fallen for of elevating these books to the status of Scripture (the Council of Trent gave them unqualified canonical status and anathematised those who would not do likewise).
However, it would be useful for those who consider themselves well-read, and for all clergy, to at least be familiar with these ancient writings which, although they form no part of God's word written, do give us insight into the history and thinking of God's people in the inter-testamental period. The New Testament contains several allusions to verses in the apocryphal books (e.g. Romans 1:18-32 = Wisdom of Solomon 12-14; Hebrews 11 = Ecclesiasticus 44), and no-one who reads 2 Maccabees 7 can fail to be inspired, and also enlightened as to the ferocity of attachment the Jews of Jesus' day had to the food laws. Baruch 3:38 has interest in debates about pre-incarnate appearances of Christ, and 2 Maccabees 12 is the favourite passage of the Catholic Catechism to 'prove' purgatory and prayers for the dead.
Given that reading the apocrypha is a profitable exercise, the question is whether this book is a profitable introduction to read alongside the texts themselves. I do not think it is. For specialists and scholars wanting an introduction to the historical-critical analysis of the sources, compositional histories, and dating problems associated with these works it may be of use. To those wanting a survey of the material and its usefulness and some theological reflection, it is not so obliging. From page 1 it is unhelpful, claiming that the Church recognised the apocrypha "as canonical" as early as the 4th Century, which clearly is a distorted picture of a more complex historical and theological reality, and a definite overstatement. Kaiser's liberal attitude to the Bible itself also surfaces occasionally.
The most difficult thing for the reader to acclimatise to is, however, the heavily Germanic sentence structure. Consider for example, "The poetry of the Wisdom of Solomon employs the parallelismus membrorum typical of Semitic poety, which as a rule is bipartite and occasionally tripartite, and which is apparent in the antithetically, synonymously, or in its analytical form, synthetically balanced cola or lines" (page 107). Sir Humphrey Appleby of Yes Minister would be proud of such otiose prolix verbosity, and the distinguished Dr. Kaiser writes thus as a matter of course, excelling in the art of saying simple things in particularly complicated ways. (He means, incidentally, that Wisdom of Solomon uses parallelism like the Old Testament, with ideas being either contrasted, repeated, or developed within 2 or 3 lines).
There are some useful insights still to be gleaned here for those unfamiliar with the Apocrypha. It is just quite tiresome wading through everything else to find them. So for a basic introduction to these useful works, I would recommend B. M. Metzger's, An Introduction to The Apocrypha and leave Kaiser's work on the shelf for that very rare occasion when someone asks me a complicated question about inter-testamental Judaism or I need a useful chart like that on page 24 which elaborates "the Divergent Enumeration and Transmission of the Books of Ezra in the Hebrew Bible, the Septuagint, the Vulgate, and the NRSV".
This review was also published in Churchman 120/1 (2006).
Filed under Reviews: Old Testament
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General Director Jan Hultin has decided to relinquish his post at the Savonlinna Opera Festival in autumn 2012 after ten years at the helm. Mr Hultin was appointed successor to Paavo Suokko in 2002. Working alongside him as Artistic Director have been opera singer Raimo Sirkiä (2002-2007) and since 2007 Conductor Jari Hämäläinen. Mr Hämäläinen's contract runs until the 2013 season.
"The year 2012 and the centenary of the Savonlinna Opera Festival have long loomed in my mind as a watershed after which it would be natural to hand over the baton of this magnificent organisation and to strike out in a new direction," is the reason Mr Hultin gives for his decision.
The search for a new General Director of the Savonlinna Opera Festival will begin straight after New Year 2012. Mr Hultin has promised to lend his assistance in the hand-over whenever possible even after the jubilee season 2012.


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1999 Arkansas Sports Hall of Fame Inductee Jerry Jones to be inducted into the 2017 Pro Football Ha
Jones purchased the Cowboys in 1989 for $140 million. With that investment, he constructed three championship teams to bring the franchise's total to five. He's turned that initial investment into the most valuable franchise in all of sports, now worth over $4 billion.
Not only has he proven to be savvy with team finances, he's taken a lead role with the league in negotiating the last collective bargaining agreement with the NFL Player's Association, and was instrumental in the Rams moving to the West Coast to return football to Los Angeles.
His biggest contribution might have been how he revolutionized the league's television package, which has taken the league to unprecedented earning levels. From his maverick approach to marketing the Cowboys (he had a contentious legal back-and-forth with the league over branding the team separate from league agreements which he won), to his league-leading monetary gains, Jones has exemplified what it means to be a Hall of Fame contributor to the NFL over the last 27 years.
The 2017 Enshrinement Ceremony will be held Saturday, August 5 at 7 PM in Canton, Ohio.
Join ASHOF
2021 ASHOF Inductees
Annual Celebrity Golf Tournament
2020 Induction Banquet
Visit & Rent Museum
© 2021 by Arkansas Sports Hall of Fame


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Combine a visit to the new Mary Rose museum at Portsmouth Historic Dockyard with a short break at a recently opened boutique hotel in Portsmouth. The Number Four is walking distance from the town and seafront and offers designer bedrooms, complimentary breakfast, free parking, flat screen tvs, high speed wifi.
The new £27 million Mary Rose museum http://www.historicdockyard.co.uk/maryrose2013/?gclid=CJWOjve87bcCFUfLtAodQiUA3A opened at the end of May this year. The museum is built around the Tudor ship that was raised from the seabed in 1982 and is the only sixteenth century warship on display in the world complete with artifacts. The museum is located next to Nelson's HMS victory and the ships of the modern Royal Navy.
Family rooms at Number Four sleeping two adults and 2 children are available. A typical price on a week night during the school holidays is £145 for a family room and £86 for a double room. Children under the age of two stay free of charge in cribs/cots. Children under the age of 16 stay for free when using existing beds in other rooms. The hotel is a ten minutes drive away from the museum. The Blue Reef aquarium is also a major attraction.
Number 4 Hotel Southsea Portsmouth.


text:
Sports News Tue, 26 Mar 2019
Ghana among AFCON favourites - Ayew
Deputy Ghana captain Andre Ayew says the team is desperate to win the ultimate at the upcoming Africa Cup of Nations tournament for the first time since 1982.
The Black Stars have endured nothing but disappointment at the continental gathering in recent times, having made the semi-final of the last six editions but failed to lay hands on the ultimate.
In 2010 and 2015, the west Africans got to the final.
"Everybody wants the trophy; the players want the trophy, the country wants it," Fenerbahce attacker Ayew said, as reported by footy-Ghana.
"I think we are going to do everything we can. But the Afcon is far; [from] now, there is time.
"I thank God I have had the opportunity to be at five Afcons so I know how difficult it is to even qualify from the group stage.
"[We're going to take the games] one at a time. Now there are even 24 teams so it will be even harder than it was before [when it was 16 teams] so we have to prepare very well and keep the unity."
Ghana have won the Afcon on four previous occasions.
"I think Ghana, for the past 10-15 years, have always been part of the favourites for the Afcon and it wouldn't change," said Ayew.
"There are other three or four countries who are at similar levels to us. They have the same pressure in their country but we need it, we want it and will do everything to get it.
"Everyone is going to give everything he has in his body to make sure that we go as far as we can to go and bring the trophy.
"If we give everything we have, at the end of it, everything is in the hands of Allah and he will deliver what we deserve to have."
Ghana will be making their 22nd appearance at the Afcon in Egypt, which is scheduled to run between June 21 and July 19.
Source: Goal.com
Salaries for national team coaches revealed: Akonnor to receive $35,000
Winning the AFCON title will require effort of all Ghanaians - George Amoako
Winning the AFCON title will require all the effort of Ghanaians- George Amoako
I understand the demand that comes with the job - Black Stars coach CK Akonnor
With hard work and diligence we will succeed - Black Stars coach C.K Akonnor