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She was a teenage heroine
Get PDFA creative thesis written for the fiction sequence of the Southern New Hampshire University Master of Fine Arts Creative Writing program.Master of Fine Arts (M.F.A.)School of Arts and Science
Latin America fall 2020 academic catalog
No full textEl catálogo universitario ofrece una descripción completa de los varios programas y cursos que se ofrecen tanto en el campus como en línea. Estos catálogos contienen información sobre nuestra historia y misión, nuestros servicios y actividades de divulgación, nuestras instalaciones y las muchas oportunidades que brindamos a los estudiantes para cumplir con sus objetivos de vida y carrera
How to use Joe Leaphorn and Walter Longmire in your history (And English) classroom
Get PDFDenton, A.M. (n.d.). How to use Joe Leaphorn and Walter Longmire in your history (and English) classroom. Retrieved from https://academicarchive.snhu.edu
Defining Derek
Get PDFA creative thesis written for the fiction sequence of the Southern New Hampshire University Master of Fine Arts Creative Writing programMaster of Fine Arts (M.F.A.)School of Arts and Science
Characters and creatures: Know the difference
Get PDFThroughout television shows, video games, movies, myths, and novels, creators share worlds through detailed settings and especially interesting characters and creatures. If someone were to create their own characters and creatures, one would have to learn what distinguishes a character from a creature. To find out what is crucial in creating characters and creatures, I evaluated various video games and cartoon shows to see what defining qualities I could gather from different characters and creatures, humans, and natural animals in the real world. From this research, I have concluded there are two key factors that distinguish characters and creatures: appearance and intelligence. The appearance factor is outlined via examples from video games and cartoons; while the intelligence factor is explained using a spectrum of intelligence, natural animals, and humans. (Author abstract)Dys, N.M. (2020). Characters and creatures: Know the difference. Retrieved from http://academicarchive.snhu.ed
How social media uses the psychology of persuasion to influence the purchase of beauty products to the young generations
Get PDFAs someone who currently works in the beauty industry and follows the industry intensely. I noticed how much impact persuasive methods have on the young generation of consumers through social media and digital marketing. This was illustrated through the various sources on social media such as influencers, bloggers, celebrities, social media outlets and much more. This thesis sought to determine if these persuasive techniques that brands use to market their products to younger generations are increasing the amount of purchases these consumers make or influence their decisions to purchase beauty products. A survey was conducted through Qualtrics and distributed to the target market, comprised of the Millennial Generation and Generation Z between the ages of 18-40 years old to determine how much of an impact these persuasive methods conducted by the beauty industry has on them overall; as well as to gather demographic information. Results showed that although these methods have a strong impact on the purchasing decisions of young consumers on beauty products many still rely on word of mouth recommendations from trusted friends and family members. (Author abstract)Denton, K. (2019). How social media uses the psychology of persuasion to influence the purchase of beauty products to the young generations. Retrieved from http://academicarchive.snhu.ed
Oil Storm
No full textOil Storm is part of a larger body of work by Maggie Cardelus called Split Sun. It consists of 16 photo paintings. Split Sun revisits American landscape photography using crude oil as a painting medium in order to create evocative works that suggest a new more problematic American Identity brought on by the burning and spilling of fossil fuels
The Manatee [2019]
No full textThe Manatee is a literary journal run by the students of Southern New Hampshire Universit
Shebop
No full textAlison Saar was born in 1956 in Los Angeles, California. She grew up in an artistic environment with her mother, the artist Betye Saar, and her father, who was an illustrator and art conservationist. Through her sculptures, drawings, and prints, Saar explores the subjects of racism, sexism, ageism, and the challenges of being bi-racial in America.
Saar studied studio art and art history at Scripps College in Claremont, California, receiving a BA in art history in 1978. In 1981 she earned an MFA from the Otis Art Institute in Los Angeles. In 1983, Saar became an artist-in-residence at the Studio Museum in Harlem, incorporating found objects from the city environment into her practice. Saar completed another residency in Roswell, New Mexico, in 1985, which augmented her urban style with Southwest Native American and Mexican influences.
Saar’s approach encompasses a multitude of personal, artistic, and cultural references that reflect the plurality of her own experiences and background. Her artworks incorporate found objects and materials such as rough-hewn wood, antique, tin ceiling panels, nails, shards of pottery, glass, and urban detritus. The resulting figures and objects become powerful totems that reflect on gender, race, heritage, and history.
Saar has been awarded a John Simon Guggenheim Memorial Foundation Fellowship and two National Endowment Fellowships. She has exhibited at many galleries and museums, including the Hirshhorn Museum and Sculpture Garden and the Whitney Museum of American Art. Her work is included in the collections of the Hirshhorn Museum and Sculpture Garden, the Metropolitan Museum of Art, and the Whitney Museum of American Art, among other institutions. She currently resides in Los Angeles, CA and is represented by LA Louver.Copacetic, published in 2019, is a suite of eight multi-block linocuts on handmade Hamada Kozo, backed with Sekishu Kozo, based on images created in 2018 at the 125th Street subway station in New York City. Saar expanded her original project, Hear the Lone Whistle Moan, and created Copacetic, a panoramic scene of imagined dancers, singers, musicians, and patrons enjoying Harlem’s heyday of the 1930s and 40s. Copacetic (the installation) comprises 24 laminated glass panels installed throughout the four glass shelters along the platforms. The upper windows are inspired by the Harlem-125th Street Station’s wrought iron work and designs from the African diaspora. The glass panels were adapted from Saar’s artwork, which as she explains, “gives a nod to the work of the many great African American artists of the Harlem Renaissance that have used the same medium in their practice, such as Elizabeth Catlett, Hale Woodruff and Aaron Douglas.” Saar’s palette of deep reds, blues and yellows introduces a vibrant graphic quality to the platform’s shelters, illuminated by the rising and setting sun over Harlem. Saar’s projects at the Harlem-125th Street Station encourage preservation of Harlem’s great legacy and celebrate its rich history
Academic catalog fall 2019 online programs
No full textThe SNHU COCE catalog features information for online and continuing education and College for America programs such as the academic calendar, admission and financial aid information, an overview of tuition and expenses, different types of academic support services, academic program descriptions,and standards and regulations