167 research outputs found
sj-docx-1-tag-10.1177_17562848211050436 – Supplemental material for Diagnostic accuracy of two-dimensional shear wave elastography and transient elastography in nonalcoholic fatty liver disease
No full textSupplemental material, sj-docx-1-tag-10.1177_17562848211050436 for Diagnostic accuracy of two-dimensional shear wave elastography and transient elastography in nonalcoholic fatty liver disease by Suzanne R. Sharpton, Nobuharu Tamaki, Ricki Bettencourt, Egbert Madamba, Jinho Jung, Amy Liu, Cynthia Behling, Mark A. Valasek and Rohit Loomba in Therapeutic Advances in Gastroenterology</p
The Tempest [Rehearsal]
No full textCAST: Debbie Akin (Spirit), Lisa Berson (Spirit), Jim Black (Adrian), Karon Brown (Iris), Tom Cotter (Sebastian), Thom Grindle (Prospero), Patty Guenthner (Ceres), Sherri Gunter (Spirit), Don Haley (Trinculo), David Heffner (Mariner), Gordon Hoak (Alonso), Reginald Hobbs (Francisco), Charlene Holt (Juno), Lisa Johnson (Miranda), Walt Johnson (Mariner), Kenneth 'Ken' Ko (Ferdinand), Jodi Lewis Lipsitz (Ariel), Frankie Little (Antonia), Keith McMullen (Master), David Myrick (Stephano), Alan Parish (Mariner), Rick Rogers (Boatswain), Betsy Shimek (Spirit), Allen Stewart (Gonzalo), Keith Williams (Caliban).CREW: David Ritter (Assistant Producer), David Califf (Director), David Ritter (Music Director), Bob Behling (Stage Manager), Denise Messerschmidt (Assistant Stage Manager), Lauriston Hardin (Scenic Designer), Bob Behling (Master Carpenter), Charles Powell (Set Construction Crew Chief), David Califf (Set Decorations Crew Chief), Lauriston Hardin (Lighting Designer), Dianna Humphrey (Lighting Designer), Robert Cole (Master Electrician), Robert Cole (Light Crew Chief), Hubie Alexander (Special Effects), William 'Bill' Landolina (Sound), Kevin Patton (Properties), L A 'Pete' Blair (Costume Crew Chief), Debi Brown (Makeup), Cynthia Cauley (Publicity Crew Chief), Betsy Shimek (Publicity Crew Chief), Steve Callahan (Photographer), Dianna Humphrey (Graphics Design), Tharen Debold (House Manager), Doug McCroskey (Box Office Manager)
The Tempest [Production]
No full textCAST: Debbie Akin (Spirit), Lisa Berson (Spirit), Jim Black (Adrian), Karon Brown (Iris), Tom Cotter (Sebastian), Thom Grindle (Prospero), Patty Guenthner (Ceres), Sherri Gunter (Spirit), Don Haley (Trinculo), David Heffner (Mariner), Gordon Hoak (Alonso), Reginald Hobbs (Francisco), Charlene Holt (Juno), Lisa Johnson (Miranda), Walt Johnson (Mariner), Kenneth 'Ken' Ko (Ferdinand), Jodi Lewis Lipsitz (Ariel), Frankie Little (Antonia), Keith McMullen (Master), David Myrick (Stephano), Alan Parish (Mariner), Rick Rogers (Boatswain), Betsy Shimek (Spirit), Allen Stewart (Gonzalo), Keith Williams (Caliban).CREW: David Ritter (Assistant Producer), David Califf (Director), David Ritter (Music Director), Bob Behling (Stage Manager), Denise Messerschmidt (Assistant Stage Manager), Lauriston Hardin (Scenic Designer), Bob Behling (Master Carpenter), Charles Powell (Set Construction Crew Chief), David Califf (Set Decorations Crew Chief), Lauriston Hardin (Lighting Designer), Dianna Humphrey (Lighting Designer), Robert Cole (Master Electrician), Robert Cole (Light Crew Chief), Hubie Alexander (Special Effects), William 'Bill' Landolina (Sound), Kevin Patton (Properties), L A 'Pete' Blair (Costume Crew Chief), Debi Brown (Makeup), Cynthia Cauley (Publicity Crew Chief), Betsy Shimek (Publicity Crew Chief), Steve Callahan (Photographer), Dianna Humphrey (Graphics Design), Tharen Debold (House Manager), Doug McCroskey (Box Office Manager)
Submersion as rhetorical tactic for women of color at the 1893 Columbian Exposition
No full textThe 1893 Columbian Exposition of the Chicago World’s Fair was a moment meant to showcase the best of the American experience, and many women of color saw this event as an opportunity to voice their message of suffrage for all women that had up until that point been sidelined. Several Black suffragists petitioned for the opportunity to speak at the Columbian Exposition on the issue of women’s suffrage, but the power establishment that controlled access to the Women’s Building declined or ignored all petitions. This flagrant injustice prompted women of color to take matters into their hands and employ a rhetorical tactic that would get them to the podium. Women’s Studies scholars Kimberlé Crenshaw and Laura Behling are both influential to this thesis. Crenshaw’s work with intersectionality and Behling’s insights into the 1893 World’s Fair and its marginalization of women of color created the backbone for this thesis. This thesis argues that due to systematic and unrelenting oppression from the white leadership of the Women’s Building, women of color flooded the media using the rhetorical tactic of submersion. Submersion is a three-component tool that utilizes amplification, circulation, and multimodality. Ultimately women of color were able to speak at a podium in 1893, though it was in the Pavilion of Haiti and not the Women’s Building. It was their successful use of submersion that enabled them in their argument. Rhetorical analysis of speeches and pamphlets from the 1893 World’s Fair were primarily used to conduct this research. Through analysis of previous moments in history, it was found that when submersion was used piecemeal, it was not successful. The 1893 World’s Fair example was successful because submersion was utilized in its full form. This thesis also looks at contemporary examples of successful submersion. Suggestions for future research include further analysis of the Women’s Suffrage Movement for evidence of submersion outside the 1893 Columbian Exposition
13.4 Example of a Reasonable Accommodation Policy
No full textThis example is one way to approach a reasonable accommodation policy. It provides the rationale, identifies the responsible parties, connects it to associated processes and procedures, and highlights the important documents involved in policy implementation. This is just one example of how to author a policy and content may vary depending on the nature of the policy issue and the individual style of the institution
13.2 When to Write a Policy
No full textThe temptation will always be there to author a policy for everything. However, this is not a great use of time, and it can become problematic and challenging to enforce. This information can help guide you in determining when it is necessary to create a new policy or if you can simplify the task and develop processes and procedures for existing polices. (Figure by Andrew Cioffi, All Rights Reserved)
- …
