1,634 research outputs found
Eli Nichols letter to Benjamin Lundy, March 17th, 1839
No full textFriendly note from Eli Nichols to Benjamin Lundy covering topics in contemporary abolition, ranging from the social status of abolitionists to the oppression of the poor. Much of the letter concerns a review of contemporary social movements in equality-based education, including Shaker and Quaker communities. The letter concludes in discussion of Nichols' and Lundy's interest in forming a freed slave colony or community in then-Mexico, and describes the climate and culture of those regions in detail. Benjamin Lundy (1789-1839) was a prominent Quaker abolitionist best known for his development of abolitionist periodicals. His Genius of Universal Emancipation was first published in 1821 from his home in Mt. Pleasant, Ohio, and enjoyed a wide circulation across the antebellum United States. In the 1820s, the young William Lloyd Garrison came to work for The Genius. Benjamin Lundy traveled widely seeking subscriptions to The Genius, giving talks about the anti-slavery movement, and observing and documenting the conditions of enslaved people across the Americas. He was also involved in the establishment of freed slave colonies in Mexico
Interview with Eli Rosenbaum
No full textFor transcript, click the Download button above. For video index, click the link below.
Eli M. Rosenbaum (WG\u2777) served as director of the U.S. DOJ Office of Special Investigations, which was primarily responsible for identifying, denaturalizing, and deporting Nazi war criminals, from 1994 to 2010, when the office was merged into the new Human Rights and Special Prosecution Section. He is now the Director of Human Rights Enforcement Strategy and Policy in the new Department of Justice section. He is the primary author of Betrayal: The Untold Story of the Kurt Waldheim Investigation, which narrates the inquiry he led into Waldheim\u27s involvement in Nazi war crimes. In 1997 he was named an honorary fellow of Penn Law School
Students And Eli Weisel at the 1993 Commencement Ceremony
No full textNobel-prize winning author, Eli Weisel, at the 1993 Commencement Ceremony, with students
How the ELI assists GAs in Their Professional Development
No full textThis report demonstrates how ELI supports teachers’ professional development. First, the report illustrates teachers’ duties throughout the academic semester such as classroom observation and curriculum area meeting. Further, it demonstrates diverse aspects of being an ELI teacher as part of Graduate Assistantship (GA), including file sharing, office space, professional development assignments, and administrative supports. In the end, the author reflects personal experience of being an ELI teacher
The reporter's looking and the photographer's looking. About book Eli, Eli wrtitten by Wojciech Tochman and Grzegorz Wełnicki
No full textThe author writes about the new book of Wojciech Tochman’s reports for which Grzegorz Wełnicki has made photos. She confronts two different looking on poverty and so called True Manila – excursions organized in Philippines. The role of photo in report has been underlined in the article also. The author appeals for Roland Barthes’s theory about punctum and studium in photo. In the text other feature has been emphasized – Eli, Eli is also the report autothematic, is the metareport. The author writes about moral dilemas in the work of reporter and photographer.Autorka opisuje, nie omawiany dotąd szeroko, tom reportaży Wojciecha Tochmana, do których fotografie zrobił Grzegorz Wełnicki. Konfrontuje więc dwa różne spojrzenia na problem biedy i tzw. wycieczek True Manila organizowanych na Filipinach. W artykule podkreślona została także rola zdjęcia w reportażu. Autorka odwołuje się przy tym do znanej teorii Rolanda Barthesa, mówiącej o punctum i studium zdjęcia. W tekście uwypuklona została i inna cecha tomu Eli, Eli, jest to bowiem również reportaż autotematyczny, swoisty metareportaż. Autorka pisze także o dylematach moralnych towarzyszących pracy reportażysty i fotografa
7 Things You Should Know About Open Education: Practices
No full textBuilding on open educational resources (OER), open educational practices seek to fully use the potential inherent in OER to support learning and to help students both contribute to knowledge and construct their own learning pathways. Such open practices provide the architecture and philosophical underpinning for fulfilling the promise of using OER to expand collaborative, inclusive, accessible, and active learning and related pedagogy. Open educational practices also give agency to students by giving them more control over the structure, content, and outcomes of their learning and by creating opportunities for them to create learning materials.
This publication is one in a three-part series designed to provide a point of departure for conversations about all aspects of open education.The 7 Things You Should Know About... series from the EDUCAUSE Learning Initiative (ELI) provides concise information on emerging learning technologies. Each brief focuses on a single technology and describes what it is, where it is going, and why it matters to teaching and learning. Use these briefs for a no-jargon, quick overview of a topic and share them with time-pressed colleagues
Eli Weisel and University President Francis J. Mertz at 1993 Commencement
No full textNobel-prize winning author, Eli Weisel, at the 1993 Commencement Ceremony, shaking hands with University President Francis J. Mertz
Mind as a cause and cure of disease presented from a medical, scientific and religious point of view, by Eli Beers.
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Staging Henry Fielding: The Author-Narrator in <i>Tom Jones</i> On Screen
No full textAs recent adaptation theory has shown, classic-novel adaptation typically sets issues connected to authorship and literal and figurative ownership into play. This key feature of such adaptations is also central to the screen versions of Henry Fielding’s Tom Jones (1749). In much of Fielding’s fiction, the narrator, typically understood as an embodiment of Fielding himself, is a particularly prominent presence. The author-narrator in Tom Jones is no exception: not only is his presence strongly felt throughout the novel, but through a variety of means, ‘The History of Tom Jones, A Foundling’ is also distinctly marked as being under his control and ownership. The two adaptations of Fielding’s novel, a 1963 film and a 1997 television series, both retain the figure of the author-narrator, but differ greatly in their handling of this device and its consequent thematic ramifications. Although the 1963 film de-emphasises Henry Fielding’s status as proprietor of the story, the author-narrator as represented in the film’s voiceover commentary is a figure of authority and authorial control. In contrast, the 1997 adaptation emphasises Fielding’s ownership of the narrative and even includes the author-narrator as a character in the series, but this ownership is undermined by the irreverent treatment to which he is consistently subjected. The representations of Henry Fielding in the form of the author-narrator in both adaptations are not only indicative of shifting conceptions of authorship, but also of the important interplay between authorship, ownership and adaptation more generally.</jats:p
Staging Henry Fielding: The Author-Narrator in Tom Jones On Screen
No full textAs recent adaptation theory has shown, classic-novel adaptation typically sets issues connected to authorship and literal and figurative ownership into play. This key feature of such adaptations is also central to the screen versions of Henry Fielding’s Tom Jones (1749). In much of Fielding’s fiction, the narrator, typically understood as an embodiment of Fielding himself, is a particularly prominent presence. The author-narrator in Tom Jones is no exception: not only is his presence strongly felt throughout the novel, but through a variety of means, ‘The History of Tom Jones, A Foundling’ is also distinctly marked as being under his control and ownership. The two adaptations of Fielding’s novel, a 1963 film and a 1997 television series, both retain the figure of the author-narrator, but differ greatly in their handling of this device and its consequent thematic ramifications. Although the 1963 film de-emphasises Henry Fielding’s status as proprietor of the story, the author-narrator as represented in the film’s voiceover commentary is a figure of authority and authorial control. In contrast, the 1997 adaptation emphasises Fielding’s ownership of the narrative and even includes the author-narrator as a character in the series, but this ownership is undermined by the irreverent treatment to which he is consistently subjected. The representations of Henry Fielding in the form of the author-narrator in both adaptations are not only indicative of shifting conceptions of authorship, but also of the important interplay between authorship, ownership and adaptation more generally
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