1,025 research outputs found
Lunch Poems with Judy Halebsky
No full textJudy Halebsky is the author of two collections of poetry, Tree Line and Sky=Empty which won the New Issues Prize. Her honors include fellowships from the MacDowell Colony, the Millay Colony and the Japanese Ministry of Culture. Originally from Halifax, Nova Scotia, she now lives in Oakland and teaches at Dominican University of California
From Laughter to Tears: What is it About Judy Blume?
No full textWhat is it that everyone loves about Judy Blume? I propose that Judy Blume is so popular and loved by young adults because of the candor, humor, and comfort that her novels never fail to provide. She has a way of letting young adults know that everything is going to be just fine. Her impact has affected millions over the years. Specific moments from Forever, Blubber, and Tiger Eyes illustrate Blume's candor and humorous way of viewing serious, realistic matters, from death and sexuality to being painfully humiliated due to one's personal appearance. These literary moments contain a great deal of pathos; they make readers laugh out loud or shed tears through Blume's distinctively candid creativity.
In Letters to Judy: What Kids Wish they could Tell You, Blume has helped parents see life through their children's eyes. She provides letters from children who have written to her over the years for all readers to see that childhood is not as easy as adults often think it is. These letters provide a glimpse of Blume's empathy with young adulthood that makes her so appealing to readers of all ages.
Examining these novels will allow me to select moments from Blume's writing that illustrate young adult experiences in a humorous, sad, or realistic light. It is during these moments that the reader is closest to and absorbed in the characters in Forever, Blubber, and Tiger Eyes. Exploring Blume's life experiences, awards, and writing style helps to provide the answer to what it is about Judy Blume that makes her such a treasured young adult author
Judy Elsley Oral History Interview
No full textOral history interview by Mary Heers with Judy Elsley. Topics include: Being born and growing up in England; Immigration to the U.S. as a young adult; Earning a Masters degree and Ph.D. in English; Developing a love of the American Southwest while living in Nevada and Arizona; Marriage and a divorce; Moving to Utah for a English teaching position at Weber State University; A second marriage; Enjoying learning and participation in the administration of different school programs that cater to non-traditional students; Her dissertation on the cultural meaning of quilts; Hobbies of quilting and ceramics; Quilting, designing quilts and dying and printing her own fabrics; Working at a soap factory for a month while attending college in England; Visiting family in the U.S. and deciding to stay after recognizing the opportunities that were available; Writing and publishing articles and books for tenure-track; Extensive journaling to document her life; Belonging to an American Quilt study group; Volunteering for the U.S. Forest Service and working in a lumber mill before teaching; Taking correspondences courses and reading novels while in the Women\u27s restroom at the lumber mill; Writing a book of essays about her experiences in the American West; Heroes and influential people in her life.Dr. Judy Elsley was born and raised in England, and moved to the United States in 1979. She earned her master\u27s and PhD degrees here, in the U.S., and then started a career as a professor at Weber State University in 1990. Before moving to the U.S., she had a short stint at a soap-making factory in England. Once in the U.S., but before graduate school she worked for the Forest Service, scrubbing toilets, and also for Kaibab Industries - a lumber yard. Dr. Elsley is published author of magazine articles, journal articles and books
The Effectiveness of a Virtual Role-play Environment as a Preparation Activity for Story Writing
No full textI, Judy Robertson, am the sole author of this work
Measuring financial strain in the lives of survivors of intimate partner violence
No full textAgencies serving survivors of intimate partner violence (IPV) often include economic empowerment programs and approaches as a way to assist survivors struggling with avoiding poverty and gaining financial independence. Understanding and addressing the economic needs of IPV survivors is more complex than just knowing their income. Indeed, survivors’ ability to manage their finances and any financial stress or strain should also be assessed to fully understand their needs. The Financial Strain Survey (FSS) (Aldana & Liljenquist, 1998) provides a useful tool for screening and understanding survivors’ complex financial needs. Using data from 457 IPV survivors from seven U.S. states and Puerto Rico, the current study evaluates the factor structure, reliability, and validity of using the FSS with IPV survivors. Findings indicate that the FSS is a reliable instrument for use with IPV survivors. The conclusion discusses the FSS as a practical tool for both practice and research with this population.Peer reviewed
Collective Improvisation: The Practice and Vision of Ingemar Lindh
No full textIngemar Lindh's research on the principles of collective improvisation and performance conceived as process announce an important development in the 20th-century tradition of the actor's work. After early studies with Étienne Decroux and working collaborations with Jerzy Grotowski, Eugenio Barba, and Yves Lebreton, Lindh founded the first laboratory theatre in Sweden in 1971, the Institutet för Scenkonst. His practice of collective improvisation is viewed in light of postdramatic concerns such as its resistance to fixed scores, directorial montage, and choreography as an organizing principle
Dick Dinman Meets Judy Garland in St. Louis (Part Two)
No full textAuthor John Fricke talks about Judy Garland, her life and career, especially the film Meet Me in St. Louis.https://digitalcommons.usm.maine.edu/wmpg_dvdcotr/1101/thumbnail.jp
Judy Blume - My new best friend!
No full textIt all started when I heard rumors that Judy Blume (every girl\u27s favorite childhood author and someone I became obsessed with in the 1970\u27s!) was teaching an online MastersClass. (You know those internet courses you pay to sign up for that are taught by famous people?
Sparrows can't sing : East End kith and kinship in the 1960s
No full textSparrows Can’t Sing (1963) was the only feature film directed by
the late and much lamented Joan Littlewood. Set and filmed in
the East End, where she worked for many years, the film deserves
more attention than it has hitherto received. Littlewood’s career
spanned documentary (radio recordings made with Ewan MacColl
in the North of England in the 1930s) to directing for the stage
and the running of the Theatre Royal in London’s Stratford East,
often selecting material which aroused memories in local audiences
(Leach 2006: 142). Many of the actors trained in her Theatre
Workshop subsequently became better known for their appearances
on film and television. Littlewood herself directed hardly any material
for the screen: Sparrows Can’t Sing and a 1964 series of television
commercials for the British Egg Marketing Board, starring Theatre
Workshop’s Avis Bunnage, were rare excursions into an area of practice
which she found constraining and unamenable (Gable 1980: 32).
The hybridity and singularity of Littlewood’s feature may answer,
in some degree, for its subsequent neglect. However, Sparrows Can’t
Sing makes a significant contribution to a group of films made in
Britain in the 1960s which comment generally on changes in the
urban and social fabric. It is especially worthy of consideration,
I shall argue, for the use which Littlewood made of a particular
community’s attitudes – sentimental and critical – to such changes and
for its amalgamation of an attachment to documentary techniques
(recording an aural landscape on location) with a preference for nonnaturalistic
delivery in performance
What is economic self-sufficiency? Validating a measurement scale for policy, practice, and research
No full textEconomic self-sufficiency has emerged as a policy goal of anti-poverty programs in many nations. Although the policy direction of these programs is clear, the definition and measurement of economic self-sufficiency is not. This study revisits a scale that was designed in 1993 and has experienced a growth in use after two decades of little attention. Using exploratory and confirmatory factor analysis and bivariate correlations, the scale’s validity was tested with a sample of low-income survivors of intimate partner violence. The discussion focuses on how the resulting Scale of Economic Self-Sufficiency–14 (SESS-14) relates to policy, practice, and research
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