157 research outputs found
Jenn Griffin’s Story of Hilda
No full textCanadadeath of childimmigrantoriginaluntimely deathwidowWorld War II1910’sBritai
From Novice to Navigator: Research Discipline Skeletons for Liaison Librarians
No full textThese slides are from a presentation to the Academic Librarians\u27 Caucus of the Medical Library Association covering the Research Discipline Skeletons, a multidisciplinary tool developed by the author during their MLIS practicum. The presentation discussed the need for the Skeletons as a tool, the history behind it\u27s creation, an example Skeleton in the field of Athletic Training, how to build a Skeleton, and other considerations.
For a blank Research Discipline Skeleton template you may use as well as another example, please see this citation:
Monnin, Jenn, Research Discipline Skeletons: the Librarian’s Bridge to Subject Knowledge (2020). Faculty & Staff Scholarship. 2939.https://researchrepository.wvu.edu/faculty_publications/293
Creative connections: The essay in the context of the creative PhD
No full textWhen Inga Clendinnen suggests in the preface to Agamemnon’s Kiss that essays should not preach, teach, exhort or declare she joins an honourable society of essay writers who feel curiously compelled to define, explain and justify their chosen genre. The essay is variously regarded as an exquisite art form, an opportunity for reflective rumination or an invitation to join in conversation. While resistant to simple categorisation, the essay form is all these things ... and is ... much more. The possibilities of essaying in a creative PhD are discussed in the context of the author’s own research looking at the bond between women and horses. Parallels are drawn between aspects of horse training, creative practice and essay writing as alternative approaches to the production of a creative PhD are examined. The author describes the multiple roles performed by the essays in her own inherently organic dissertation, not only as the creative component of the research, but also as the connective path between the exegesis and the creative work and the author and her audience. Essayists including Montaigne, Adorno, Huxley, Joeres, Clendinnen and Dessaix are consulted
Creative connections: The essay in the context of the creative PhD
No full textWhen Inga Clendinnen suggests in the preface to Agamemnon’s Kiss that essays should not preach, teach, exhort or declare she joins an honourable society of essay writers who feel curiously compelled to define, explain and justify their chosen genre. The essay is variously regarded as an exquisite art form, an opportunity for reflective rumination or an invitation to join in conversation. While resistant to simple categorisation, the essay form is all these things ... and is ... much more. The possibilities of essaying in a creative PhD are discussed in the context of the author’s own research looking at the bond between women and horses. Parallels are drawn between aspects of horse training, creative practice and essay writing as alternative approaches to the production of a creative PhD are examined. The author describes the multiple roles performed by the essays in her own inherently organic dissertation, not only as the creative component of the research, but also as the connective path between the exegesis and the creative work and the author and her audience. Essayists including Montaigne, Adorno, Huxley, Joeres, Clendinnen and Dessaix are consulted
An Embarrassment of Witches
No full textA review of the 2020 book by Sophie Goldstein and Jenn Jordan, "An Embarrassment of Witches," for inclusion in ARLIS/NA's 2020 Notable Graphic Novels Review
[[alternative]]A Research of Community Organization Construction Learning Network at Tai-Ship Township Local College in Taipei County
No full text[[abstract]]A Research of Community Organization Construction Learning Network in Tai-Shan Township Local College in Taipei County
By Hsiao Tao Chih
Supervised by Dr. Lin Jenn Chuen
Summary
The ambition of this research is to explore the online learning resources of Tai-Shan Township Local College by means of the analysis of the Community Organization Construction Learning Network learning system, to provide adjustable suggestions for running the College‘s business persistently.
There are four main purposes of the research:
1. exploring learning network system related theories
2. analyzing Tai-Shan Township Local College’s current structure, system, and inner and outer environmental conditions
3. discovering Tai-Shan Township Local College’s learning network system of the community
4. providing suggestions in accordance with the findings of the research
The methods used in the research are document analysis and survey method. The theories, used in the study, are based on the analysis of the network documents. The targets of the questionnaire survey are sub-institutes of the university and the community organizations which are excluded in Tai-Shan Township The analysis of the college’s network learning system is based on the questionnaire survey.
According to the conclusion of the research, there are nine suggestions:
1. Systematize the qualities of the teachers and places horizontally to advance information communication.
2. Arrange lessons for volunteers to attain in order to promote volunteers’ knowledge development.
3. Decrease reliance on government’s subsidy; establish alliance with enterprises and business organizations in order to collect funds for developing schools.
4. Provide financial support to community learning activities
5. Assemble online learning platform.
6. Build Database for the information of the students; use Internet to stimulate marketing
7. Fulfill curriculum evaluations and control curriculum requirements
8. Include Community Development Association within online learning system
9. Prepare learning periodicals to develop educational impressions to be able to expand public relations.
Writing wrongs: the art of crossing over to 'unbite' the tongue
No full textIn a new book about studio spaces and studio practice, Brisbane painter Joe Furlonger states: ‘The happy accident is probably my motto, I think the only way forward is by making mistakes, and I make plenty.’ If you sin once, you can sin again. In this article I am exploring this idea of ‘happy accident’ as it relates to writing a very particular and ‘rebellious’ Queensland story. How as an artist you begin to rely on these mistakes as a means of propelling yourself forward in your creative endeavours; how mistakes, even when they show you up in a not-so-good light, become a way of opening yourself up to the imagination and new possibilities. To write anything a writer must betray something. It is transgressive. It places you at the very juncture of risk. For any writer, collisions of this ‘oops-I’ve-made-amistake’ kind can be confronting, how more so for someone ‘mining the body’ for her material and direction. In this case, in writing a ‘return to Brisbane fiction’, there’s a chance of ‘making different’, transformation. In other words, autobiography/fiction as a reckoning, a ‘righting’. To reclaim self. Be with the body. Here find the tongue
Wild Things: Embracing the Unexpected
No full textThis paper will explore the complexities involved in the notion of research being both writing and not writing, and writing being both research and not research. As a graduate student writing a historical novel and exegesis, this concept resonates profoundly with my experience. When I began work on the creative component of my PhD, a historical novel with the working title: Wild Women, I thought that first I would do the research (Australian history, art history, cultural theory and so on) and then I would do the creative writing, in a clear-cut, methodical way. During the course of unexpected events involving a suspended semester and travel to Ireland, and my discovery of a wild enough background for my fictional character, I discovered the riches of the research that is ‘not writing’. In my paper I discuss the serendipitous events and discovery of wild places which trigger thoughts and spark the imagination in ways that cannot be predicted or planned. This also had ramifications for the notion of writing being both research and not research and I examine this aspect later in the paper
Writing wrongs: the art of crossing over to 'unbite' the tongue
No full textIn a new book about studio spaces and studio practice, Brisbane painter Joe Furlonger states: ‘The happy accident is probably my motto, I think the only way forward is by making mistakes, and I make plenty.’ If you sin once, you can sin again. In this article I am exploring this idea of ‘happy accident’ as it relates to writing a very particular and ‘rebellious’ Queensland story. How as an artist you begin to rely on these mistakes as a means of propelling yourself forward in your creative endeavours; how mistakes, even when they show you up in a not-so-good light, become a way of opening yourself up to the imagination and new possibilities. To write anything a writer must betray something. It is transgressive. It places you at the very juncture of risk. For any writer, collisions of this ‘oops-I’ve-made-amistake’ kind can be confronting, how more so for someone ‘mining the body’ for her material and direction. In this case, in writing a ‘return to Brisbane fiction’, there’s a chance of ‘making different’, transformation. In other words, autobiography/fiction as a reckoning, a ‘righting’. To reclaim self. Be with the body. Here find the tongue
The script writer is not a writer and is
No full textIn Written for the Screen: The American Motion-Picture Screenplay as Text (1997), Claudia Sternberg establishes the film script as a literary text. She argues that it is subject to and suitable for the same analysis and theorization as other literary texts. Sternberg also argues the script is a separate text to any film that may be made based on it. Sternberg then addresses the matter of film authorship, looking for markers of the writer’s presence within a number of filmic texts. However, even if we agree that the film script is a literary text, does it follow that the screenwriter is a literary writer? For that matter, what makes a literary writer? And what are the markers of the screenwriter within the film script? For, even if such markers exist, they may not be indicators of a writerly presence, but rather of an implied director. The paper proposed in this abstract will consider these issues and explore them through direct application to my own screen writing experience
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