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Hate crimes in cyberspace /
No full textThe author examines the controversies surrounding cyber-harassment, arguing that it should be considered a matter for civil rights law and that social norms of decency and civility must be leveraged to stop it. --Publisher's description.In an in-depth investigation of a problem that is too often trivialized by lawmakers and the media, Citron exposes the startling extent of personal cyber-attacks and proposes practical, lawful ways to prevent and punish online harassment. She reveals the serious emotional, professional, and financial harms incurred by victims. Persistent online attacks disproportionately target women and frequently include detailed fantasies of rape as well as reputation-ruining lies and sexually explicit photographs
Hate crimes in cyberspace /
No full textThe author examines the controversies surrounding cyber-harassment, arguing that it should be considered a matter for civil rights law and that social norms of decency and civility must be leveraged to stop it. --Publisher's description.In an in-depth investigation of a problem that is too often trivialized by lawmakers and the media, Citron exposes the startling extent of personal cyber-attacks and proposes practical, lawful ways to prevent and punish online harassment. She reveals the serious emotional, professional, and financial harms incurred by victims. Persistent online attacks disproportionately target women and frequently include detailed fantasies of rape as well as reputation-ruining lies and sexually explicit photographs
First in the Nation in Education : Final Report,1984.
No full textThis report is one step in an ongoing process of change and is a plea for commitment for high standards in education in Iowa. Contains the final reports of the six subcommittees as adopted by the Excellence in Education Task Force, and the five recommendations made by the Task Force
The effect of residential treatment on adolescent self-esteem, 1986
No full textThe following thesis investigation measures the self-esteem of a 14 year old boy admitted to an urban residential treatment center because of delinquent behavior. It was hypothesized that the single-subject suffered from low self-esteem and that this was an antecedent factor to delinquency. It was believed that in-patient hospitalization in a therapeutic community would promote a higher level of self-esteem. Results of a self-report pre and post-test measurement of self-esteem and an observational rating measurement of self-esteem over a 16 week hospitalization period revealed continual low levels of self-esteem. Implications for social work practice reveal a need for program evaluation to test the effectiveness of intervention
« J’me suis laissé presser comme un citron »
No full textL’auteur s’intéresse, dans une perspective qualitative, aux causes sociologiques, relationnelles et économico-politiques des problèmes de santé mentale que vivent les journalistes québécois. Cette étude souhaite combler le peu de connaissances à ce sujet, au Canada et au Québec, en adoptant l’approche compréhensive de la sociologie clinique qui prête une attention particulière aux conditions de travail et à la manière dont celles-ci sont vécues. L’auteur présente et analyse les résultats de dix entrevues semi-dirigées effectuées avec des journalistes sensibilisés aux questions de santé mentale.The author conducted a qualitative study to investigate the sociological, relational, and socio-political causes of the mental health issues experienced by Québec journalists. The study seeks to add to the meager body of literature on the subject for Québec and the rest of Canada and adopts a comprehensive approach drawn from clinical sociology, which pays particular attention to working conditions and the ways in which they’re experienced. The author presents and analyzes the results of ten semi-structured interviews with journalists who have a good awareness of mental health issues.El autor se interesa, dentro de una perspectiva cualitativa, en causas sociológicas, relacionales y económico-políticas de los problemas de salud mental que viven los periodistas quebequenses. Este estudio aspira colmar los pocos conocimientos que se tienen al respecto, en Canadá y en Quebec, adoptando un enfoque comprensivo de la sociología clínica que confiere una atención particular a las condiciones de trabajo y la manera como estas son vividas. El autor del artículo presenta y analiza los resultados de diez entrevistas semiestructuradas, llevadas a cabo con los periodistas sensibilizados en los aspectos relativos a la salud mental
The Chickering Piano Company in the nineteenth century
No full textJonas Chickering was the foremost American piano-maker in the early- to mid-nineteenth century. He perfected the iron frame in the square piano and the grand piano, adding stability and strength to the instruments, and launching his company into the international market. Even more, he took advantage of an age in which technology, transportation, financial abundance, and American idealism converged, propelling the piano, its music, and its artists into the American mainstream.
The Chickering firm in the mid-1800's was one of the most respected manufacturing companies in the United States. In the history of pianoforte design, Jonas Chickering bridged the gap between the 19th-century European pianoforte and the modern design epitomized by the Steinway company. His firm was also largely responsible for the "piano craze" that overtook the United States in the mid-1800's, in which "middle-class" status was epitomized by stationing a piano in the living room.
This document gives an overview of the nineteenth-century Chickering company as a whole. It focuses specifically upon the design and construction of the nineteenth-century Chickering square and grand. In conducting research for this dissertation, I began with a study of five Chickering instruments at the Smithsonian Institution, particularly noting the physical evolution of the square piano. Important primary-source information was gathered at the Smithsonian Institution Archives Center, whose Chickering & Sons collection includes the majority of the Chickering Piano Registers. A visit to the Fiske Museum in Claremont, California afforded an opportunity to study the earliest known Chickering grand in a public collection, as well as two Chickering squares. I also visited numerous other Chickering grands in California to trace further the evolution of the grand line.
In order to examine more closely a representative instrument, the author acquired an 1869 Chickering square (Serial #34936). Through dismantling its action and damper assemblies, I was able to gain more insight into the Chickering company's designs and production methods. A detailed summary of findings is included.
This writer's intent is to explain the technological, musical, and ideological success of the Chickering company in producing perfect instruments for their time
Vivaldi's Four Seasons and the Globalization of Musical Taste
No full text"Vivaldi's Four Seasons, or at least parts of it, can be recognised by enormous numbers of people on this planet, and its sounds seem to come from almost every elevator shaft, mobile phone, restaurant and television advert in the world. It stands as the very epitome of a globalized artwork, and therefore it would be reasonable to suppose that globalization theories would be a great help in explaining its success. That this may not be the case is one of the main points of this paper -�� but before we get to that, there are two matters that have to be set in place. The first is to define the characteristics of the Four Seasons as a global commodity (note that I refer to it in the singular, since the four individual pieces come as a package); the second is to describe the main tenets of globalization theories and some of their chief generating ideas. Trying to map the characteristics of the work onto the assertions of the theories will be the main business of this paper, and this process is designed not only to illuminate the work, but also to test the theories." (Excerpt, introduction
Ominous bubbling and boiling in the "Devil's Punch Bowl," Yellowstone Park, U.S.A.
No full textThis is one of the famous landmarks of the Upper Geyser Basin. This spring does not spout, but keeps up an incessant boiling just as you see it now; overflowing its basin most of the time, the water is the bluest of blues and that beautifully shaped rim, 18 inches high, apparently sculptured into elaborately complicated shapes, shows all sorts of gorgeous colors, like an enamel setting for a jewel--red, burnt orange, sulphur yellow, olive green, every sort of brown and citron hue. Streaks of the same color extend out on these crusty masses of geyserite surrounding the rim. The level stretches of geyserite over there in the distance are mostly yellowish and brownish white. The surface of the earth for many rods around is covered in this way with a deposit of silicious material which the hot waters had dissolved from rocks down below the surface and brought up in solution. Geologists estimate that it must have taken thousands of years for this crust you see now to accumulate its present depth. The water itself is surface water, originally rainfall on these surrounding hills, which percolates down through the soil and collects in subterranean hollows where it is raised to boiling heat by the earth's primeval furnace fires. One of the most curious things about the spring water is the fact that its brilliant blue color is caused by the growth of minute forms of vegetation that thrive in a temperature of 140 degree or thereabouts. Forest growth like that you see yonder (you are looking just now about northwest towards the Idaho line) covers more than three-fourths of the Park area. (See H. M. Chittenden: "Yellowstone National Park.") From Notes of Travel, No. 13, copyright, 1904, by Underwood & Underwood
Cello techniques and performing practices in the nineteenth and early twentieth centuries
No full textThis thesis comprises a study of cello performance practices throughout the nineteenth century and into the early decades of the twentieth. It is organised in terms of the increasing complexity of the concepts which it examines, as they are to be found in printed and manuscript music, instrumental methods and larger treatises, early recordings, concert reviews and pictures. Basic posture is considered along with different ways of holding the
bow. The development of the tail-pin shows that even when it was widely used, the older posture was still referred to as a model. Some implications for tone quality and tonal
projection are considered in the light of the shape of the arms. Some connections between the cellist's posture and that recommended by etiquette books are explored. The
functionality of the left hand and arm, and the development of modem scale fingerings, show that there was a considerable period of overlap between newer and older practices, with modern scale fingerings evolving over a long period of time. Similarly, views on the function of the right wrist in bowing are shown to change gradually, moving towards a more active upper arm movement with less extreme flexibility of the wrist. Two central expressive techniques especially associated with string playing arc considered in the context of the cello, namely vibrato and portamento. These topics are examined in the light of written indications in music, recommendations in cello treatises, and the practices evidenced in early recordings. The sources for this study can be brought into an overall
framework of a constant dialogue between `theory', as expressed in verbal instructions to the learner, or general a priori reflections about the cello, and `practice', manifested in performing editions and early recordings, or in individual acts of reception. A wide divergence is noted, both between theory and practice in general, and in terms of different styles of playing observable at any one time. It is suggested that tensions between practice
and critical disapproval can be resolved in terms of Lacanian discourse. Several test cases are used in order to compare several different recordings of the same works. The question of the musical character of the cello is discussed in terms of widespread assumptions about its gendered identity. A wide range of sources suggest that this moved from a straightforwardly `masculine' identity expressed through a controlling, elevated eloquence to a less clearly defined one, incorporating the 'feminine', with a greater stress on uninhibited emotional expression. Some performance implications for this change of view are pursued with respect to specific repertoires. Broad conclusions stress the importance of the diversity of performance practices as opposed to unifying generalisations
The Cake that went to the Convention
No full textNewspaper Article - 'The Cake that went to the Convention' - Western Producer, 1959AWI CollectionThe Cake That Went to the Convention
A beautifully decorated four- tier anniversary
cake centred the banquet table at the Alberta
Women's Institutes convention dinner. Members
of the Westlock WI made this 30 pound cake as
a special contribution to the 50th convention, held
recently in Edmonton^ Served at the evening tea
hour it tasted as good as it looked. On request
Mrs. John Ball of Westlock agreed to share the
recipe with Western Producer readers and here it is:
5 lbs. Ingredients
1 cup seeded raisins
1 cup seedless raisins
1 cup currants
3 oz. Candied lemon peel chopped
3 oz. Candied orange peel chopped
8 oz. Candied cherries cut
8 oz. Candied pineapple sliced
8 oz. Citron thinly sliced
10 oz. Almonds blanched chopped
% cup Flour for dredging
1% cup Flour for mixing
% tsp. soda
1 tsp. cinnamon
1 tsp. allspice
% tsp. mace
]/ 2 tsp. nutmeg
% cup * butter
% cup brown sugar
4 eggs separated
% cup molasses
3 tbsp. fruit juice
3 tbsp. brandy or cider
% cup preserved strawberries
15 lbs.
1 lb.
1 lb.
1 lb.
8 oz.
8 oz.
i y 2 ib
i y 2 ib.
1% lb.
2 lbs.
1 cup
4 cups
1 tsp.
8 tsps.
3 tsps.
% tsp.
% tsp.
1 lb
1 lb.
12
1- cup
% cup
V- i cup
1 pt.
Prepare fruit and nuts; dredge with dredging
flour. Sift mixing flour; measure; add soda and
spices; sift again.
Cream butter; add sugar gradually; cream together
until light and fluffy. Add well- beaten egg
yolks; beat well. Add molasses, fruit juice, brandy
or cider and strawberries; blend thoroughly.
Add fruit and nuts. Fold in dry ingredients,
adding about one- third at a time.
Beat egg whites until stiff but not dry. Fold into
t a t t e r .
Turn into pans which have been greased and
lined with brown paper well greased. Fill pan
about three- fourths full. Cover with heavy paper.
Bake in slow oven ( 250° F) for 4% hours or until
done.
... Mi
— Western Producer Photo
The artistic decoration job was done by Mrs.
George Stirling of Westlock, who has been icing
cakes for 20 years and has won a first prize at
the Canadian National Exhibition. For the icing
she used the whites of 30 eggs and 14 pounds of
icing sugar.
The cake was carefully conveyed to Edmonton.
Mr. and Mrs. Stirling recently celebrated their
25th anniversary. Who do you think decorated the
cake? Their 15- year- old- son
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