text: View Full Chapter Figures Only Tables Only Videos Only Print Share Email Twitter Facebook Linkedin Reddit Get Citation Citation AMA Citation Goyal S, Zannis V. Goyal S, Zannis V Goyal, Sharad, and Victor Zannis.Chapter 95. Accelerated Partial Breast Irradiation. In: Kuerer HM. Kuerer H.M. Ed. Henry M. Kuerer.eds. Kuerer's Breast Surgical Oncology New York, NY: McGraw-Hill; 2010. http://accesssurgery.mhmedical.com/content.aspx?bookid=428§ionid=39936228. Accessed March 25, 2017. MLA Citation Goyal S, Zannis V. Goyal S, Zannis V Goyal, Sharad, and Victor Zannis.. "Chapter 95. Accelerated Partial Breast Irradiation." Kuerer's Breast Surgical Oncology Kuerer HM. Kuerer H.M. Ed. Henry M. Kuerer. New York, NY: McGraw-Hill, 2010, http://accesssurgery.mhmedical.com/content.aspx?bookid=428§ionid=39936228. Download citation file: RIS (Zotero) EndNote BibTex Medlars ProCite RefWorks Reference Manager © Copyright Tools Search Book Top Return Clip Chapter 95. Accelerated Partial Breast Irradiation Sharad Goyal; Victor Zannis ++ The treatment of breast cancer was dominated by radical mastectomy or modified radical mastectomy of the affected breast prior to the 1970s. These included an en bloc removal of the breast, muscles of the chest wall, and contents of the axilla, and at the time they were advocated as the most appropriate local therapy for women with early-stage breast cancers. However, the results of the National Surgical Adjuvant Breast and Bowel Project (NSABP) B-06 and other studies found equivalent survival and local control rates among women treated with either mastectomy or lumpectomy followed by whole-breast irradiation (WBI).1,2 The NSABP B-06, which compared mastectomy to lumpectomy with and without radiotherapy in women with invasive carcinoma, found a 39% local recurrence rate at 20 years with lumpectomy alone, which was decreased to 14% with the addition of radiotherapy.1 Several other randomized studies demonstrated equivalent long-term survival and disease-free survival rates in patients treated by breast-conserving therapy (BCT) compared to mastectomy.2-5 Additional randomized studies comparing lumpectomy alone to lumpectomy and radiation clearly demonstrate a 3-fold reduction in local relapse with the use of radiation following breast-conserving surgery.6-10 More recent meta-analyses of trials comparing lumpectomy alone to lumpectomy and radiation demonstrated not only a 3-fold reduction in local relapse, but a small but statistically significant compromise in overall survival with the omission of radiation following lumpectomy.11,12 For patients with ductal carcinoma in situ (DCIS), randomized studies conducted by the NSABP and European Organization for Research and Treatment in Cancer (EORTC) comparing lumpectomy alone to lumpectomy and radiation found a 55% and 43% respective reduction in ipsilateral breast cancer events with the addition of radiotherapy.13,14 From these data, breast-conservation surgery followed by WBI (BCS+RT) became the standard of care for women with stage 0, I, and II breast cancer. BCS+RT involves the surgical removal of the primary tumor, evaluation of the axillary nodes, and local breast irradiation; this treatment is extremely well tolerated with minimal long-term toxicity and favorable cosmetic outcomes.15,16 Despite the obvious cosmetic and potential emotional advantages of BCS+RT, 15% to 30% of patients who undergo lumpectomy do not receive postoperative radiotherapy.17-20 Many patients may choose mastectomy or lumpectomy alone over BCS+RT due to the protracted course of daily treatment involved with WBI, which consists of daily radiotherapy to the whole breast for 25 treatments usually followed by a 5 fraction boost to the tumor bed, all delivered over the course of 6 to 6.5 weeks. Other reasons that steer women away from BCS+RT are physician bias, patient age, fear of radiation treatments, distance from a radiation treatment facility, and socioeconomic factors.18,21-24 ++ Based on the numerous randomized studies noted above, it is standard of care for all women, regardless of age or tumor size, to receive radiotherapy in the setting of BCT to reduce local recurrence. However, in recent years investigators have tried to identify subsets of women ... Log In to View MoreIf you don't have a subscription, please view our individual subscription options below to find out how you can gain access to this content. MyAccess Sign In Username Password Create a Free MyAccess Profile Forgot Password? Forgot Username? Want remote access to your institution's subscription? Sign in via OpenAthens Sign in via Shibboleth Want remote access to your institution's subscription? 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subset: commoncrawl


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Latest Sermon
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What We Believe
We believe in God the Father Almighty, creator of heaven and earth.
We believe in Jesus Christ, his only Son, our teacher, example and Redeemer, the Savior of the world.
We believe in the Holy Spirit, God present with us for guidance, for comfort and for strength.
We believe in the forgiveness of sins, in the life of love and prayer, and in grace equal to every need.
We believe in the Word of God contained in the Old and New Testaments as the sufficient rule both of faith and of practice.
We believe in the church, those who are united in the living Lord for the purpose of worship and service.
We believe in the final triumph of righteousness and in the life everlasting.
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THE WORLD HAS BEEN INVADED BY ALIENS! It's up to a nerdy, lazy high school kid to save it!
3.81 / 5.00 7,605 ViewsLog in to save your medals! Don't have an account? Create one for free!
- Cotrol the drum using the mouse
- Try not to miss the balls
- Catch stars together to get combo bonus
- Get super bonuses for every 500 scores
- Unlock achievments to get extra lifes
- And don't forget to submit scores :)
UPDATE: Fixed high scores and medals!
Good game, but... after you get the physic system down, the game is kinda dull... its nearly impossible to lose. I got to 1mil within only 15 min of play. I'm actually gaining points like hell while I'm typing this review.
Might want to add a time attack or something to the game or perhaps toss in an odd shape or two to mix things up.
This is a fun drum game. An option to use the keyboard instead of mouse would of been nice. The medals work, and I earned them all. Will there be a sequel?
nothing new from me to say because all of the comments bellow is the same that I was gonna say. my only message for you is keep making creative and original game
when a new ball is thrown in things get a little interesting. but once you manage to get back in control its pretty easy. Once I got to 7 balls it was just a matter of lining them up so they hit all the stars from the endless bonus' that keep popping up haha. Great game and addicting as hell lol. I'm loving it :D


text:
April 18, 2011
Highs and Lows
33 comments:
hi there- so happy to have *found* your gorgeous blog!
i would love to join in your friday photo...this week we are heading to London...i'll take a stach of photos there as usual...will be linking up as soon as i can...
i also really enjoyed your *defining my blog* with gorgeous Sarah- i did this too...
melissa xHi there Tricia,
I thought your Link Partay' was quite sucessful!! When I get some more time, I'd like to visit all the rest of the links I haven't looked at. I have been writing my last speech for my speech class - a persuasive speech on supporting free range chickens. I don't link my photos from Flickr. I just load 'em there too for community sharing.. I have learning SO much about perspective from looking at Flickr photos.. my obsession!
Have a wonderful Easter!


text:
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JNCIA-Junos elaborates about the following chapters:
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It further explains you the concepts of Junos configuration in brief like how to configure and observe SysLog and tracing, fundamentals of resetting the lost root password routing, Commands for various network utility such as Telnet,traceroute,Ping,SSHetc.,Different ways for gathering health and state information for Junos devices.
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text: Officers & Administration Make an Appointment Make a Donation Contact Us The Officers and Administration work closely with the Board of Directors to create a vision for the institution. These leaders then work to implement that vision with all faculty, staff and supporters by recruiting great people and setting policy. Officers President and CEO Michael Salem, MD Chair, Board of Directors Blair E. Richardson, Denver, CO Vice Chairs, Board of Directors Robin Chotin, Denver, CO Don Silversmith, Denver, CO Evan Zucker, Denver, CO Secretary, Board of Directors Robin Chotin, Denver, CO Treasurer, Board of Directors Larry Silverstein, New York, NY Assistant Treasurer, Board of Directors, Executive Vice President and Chief Financial Christine Forkner Co-Chairs, Council of National Trustees Stephen Siegel and Wendy Siegel, New York, NY Vice Chair, Council of National Trustees Albert D. Angel, West Orange, NJ Regional Vice Chairs, Council of National Trustees Jeffrey Kapor, Los Angeles, CA Tom Flexner, New York, NY Gary Silversmith, Washington, DC Bob Paller, Atlanta, GA Chief Information Officer Laszlo Pook, MBA Department Chairs Chair, Department of Medicine Richard Martin, MD Chair, Department of Pediatrics Pamela L. Zeitlin, MD, MPhil, PhD Chair, Department of Radiology Debra Dyer, MD Chair, Department of Biomedical Research Philippa Marrack, PhD Executive Leadership Chief Operating Officer Ron Berge, MBA Academic Affairs Gregory Downey, MD Chief Nursing Officer Jeffrey Downing, RN Chief Medical Officer Stephen Frankel, MD, FCCM, FCCP Executive Director, Quality & Safety Gary Cott, MD Vice President, Communications, CCMO Lauren Green-Caldwell Vice President, Human Resources Sarah Walker Vice President, Development Lisa Tadiri View list of Council of National Trustees. View list of Board of Directors.


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One of Henry Ford's post World War I "Village Industries" included the community of Alberta, centered around its sawmill. Today, you can tour its museum.
Programs Connect, Create, and Communicate
Electricity, heat, and fuel from plant materials. Isle Royale Moosewatch. Outdoor investigation trips to prepare the next generation of scientists. The School of Forest Resources and Environmental Science partners with and provides enrichment opportunities for learning, discovery, and knowledge of natural-resource science, management, and education to people of all ages.


text:
Oral health trends:
A typical human mouth contains billions of bacteria. If you haven't brushed your teeth lately, you might well have more bacteria in your mouth right now than there are people living on planet Earth. Scientists have identified more than 700 different species of mouth-dwelling microbes.
There's no basis for the claim that a dog's mouth is "cleaner" than a human's. Both humans and dogs have mouths that are full of bacteria, and both contain roughly the same number of bacteria. There are more than 100 different germs in dog (and cat) saliva that can make you unwell.
While it's true that the longer food is on the floor, the more germs it will pick up, the 'five-second rule' is arbitrary. Food starts to pick up germs from the moment it hits the floor. You're better off throwing it away and eating something else.
Periodontal disease is not contagious. While bacteria that lead to gum disease can pass through saliva, gum disease typically develops if your teeth and gums aren't healthy. The British Dental Association recommends brushing twice a day with a fluoride toothpaste and flossing daily. Antibacterial mouthwash can also help reduce plaque-causing bacteria that may cause an early, mild form of gum disease called gingivitis.
You should never share a toothbrush with someone else. Oral experts warn that this practice can involve the exchange of body fluids, putting sharers at an increased risk of infections.
Studies have shown that germs may be present on lipstick (including "tester" lipstick at cosmetics counters), lip balm, drinking glasses, wind instruments and many other items that may be shared.
Don't share such personal items if you want to avoid picking up potentially harmful bacteria, viruses or other microbes.
Dental experts recommend rinsing your toothbrush with tap water after you use it, then leaving it out to dry. Keeping it in a closed container creates an ideal moist environment for the growth of bacteria. Using a dishwasher or a microwave can damage your toothbrush.
The British Dental Health Foundation suggests similar handling for retainers or dentures, although additional disinfection with a denture cleaner or ultrasonic cleaner may be recommended. Ask your dentist about the proper way to care for any particular dental devices that you may be using.
The NHS recommends replacing your toothbrush or electric brush attachment every three months -- or sooner if the bristles are frayed. The main reason for replacement is to make sure your toothbrush is in good working order -- not because of bacteria.
The British Medical Association says certain mouthwashes contain chemicals that kill bacteria and there's good evidence that they work. Some studies suggest bad breath can improve after using an antibacterial mouthwash for two to four weeks. There is some benefit from one-time use but it only usually lasts a few hours.
Of course, bad breath can be caused by other things, such as eating garlic and other fragrant foods, as well as poor dental hygiene. Certain medical conditions also can cause bad breath. In these cases, a mouth rinse may help mask your bad breath, but it won't address the cause of it.
Research published in the journal Cancer Epidemiology, Biomarkers and Prevention suggested that green tea is associated with healthier gums and lower chances of tooth loss, but more research is needed.
While some bacteria are bad for your teeth and gums, others are critical to keeping them healthy. In fact, some helpful organisms in your mouth secrete substances that kill bad bacteria. Researchers are exploring a potential new kind of toothpaste based on a mouth bacterium that creates enzymes that prevent plaque formation.
Most of the bacteria in your mouth are part of a sticky film on your teeth known as plaque, which is the main cause of tooth decay. A single tooth can host 500 million bacteria. This is, of course, why you brush, floss and rinse your teeth.
Good work! You know how to deal with those germs in your mouth.
Not bad, but you can do better. Brush up on the germs in your mouth and try the quiz again.
Keep trying. Brush up on the germs in your mouth and take the quiz again.


text:
Reference texts on specialised subjects.
Titles in this section:
- A Guide to the Valuation of Commercial Forest Plantations
- Recommendations for storage of wood pellets, Irish edition. (2012)
- Download PDF (pdf 2,176Kb)
- Forest Genetic Resources in Ireland (2012)
- Download PDF (pdf 2,354Kb)
- All-Ireland Roundwood Demand Forecast 2011-2020
- Download PDF (pdf 4,532Kb)
- All-Ireland Roundwood Production Forecast 2011 - 2028
- Download pdf (pdf 1,979Kb)
- A guide to forest tree species selection and silviculture in Ireland (2004)
- Download pdf (pdf 16,168Kb)
- Brackloon - the story of an Irish oak wood (2006)
- Download pdf (pdf 6,016Kb)
- Economics of Irish forestry (1999)
- Forest fungi in Ireland (2008)
- Forest road manual (2004)
- Download pdf (pdf 4,057Kb)
- Forestry in Ireland - A concise history (2004)
- Growing broadleaves (1998)
- Guide to Irish hardwoods (2004)
- Download pdf (pdf 2,540Kb)
- If trees could talk - Wicklow's trees and woodlands over four centuries (2009)
- Sitka spruce in Ireland (2002)
- Timber measurement manual (2000)
- Download pdf (pdf 1,422Kb)
- Trees, forests and the law in Ireland (2005)
Orders for COFORD project reports and books are now being processed by Government Publications.
All orders made online at www.coford.ie will be forwarded to Government Publications. When the order is received you will be contacted to arrange credit card payment prior to shipping.
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- Release Date: 05/24/2016
Best Buy is dedicated to always offering the best value to our customers. We will match the price, at the time of purchase, on a Price Match Guarantee product if you find the same item at a lower price at a Designated Major Online Retailer or at a local retail competitor's store.
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A gang of rough-and-tumble women battle a crime lord in Los Angeles in an attempt to gain control of his operation in this sexy action adventure. ~ Daniel Gelb, Rovi


text:
antonin dvorak 8. 9. 1841 - 1. 5. 1904
Dvorak's ancestors settled in Central Bohemia in the region around Kralupy nad Vltavou, north-west of the Bohemian capital, Prague. The region is home to the village of Nelahozeves, where the composer's grandparents lived from the year 1818. | |
Antonin Dvorak (in full Antonin Leopold Dvorak) was born here on 8 September 1841 to Anna and Frantisek Dvorak, as the first of nine children. The family ran a business in house number 12, a cottage that had an inn on the ground floor. A fire broke out here in the summer of 1842 and the future composer was rescued by his father who carried him out to safety. All of Antonin's predecessors were butchers or innkeepers, thus it was automatically assumed that the first-born child would inherit the business. In addition to the butcher's trade the Dvorak family line cultivated another talent: a flair for music. However, music-making was merely regarded as a means to brighten up the daily routine and as a way to earn a little on the side. But it wasn't long before everyone realised things would be different in Antonin's case. |
the room where Dvorak was born (period photo) |
In music he far surpassed everyone else, so his father entrusted him to the care of Nelahozeves school teacher and musician Josef Spitz, in order that he develop his son's skills further. Young Dvorak soon mastered the violin and entertained guests at village dances, and it wasn't long before he gave his first solo appearance as a violinist in the local church serving the nearby village of Veprek. Even so, during his childhood, Dvorak was still expected to help his father with the family business and prepare to take it over one day. His apprenticeship involved visits to local markets in the neighbourhood, where father and son would select livestock. He later described an incident from his young days where he led a head of wild cattle home from the village fair on a rope, whereupon the animal dragged him into a lake. At the time he is said to have vowed in a flood of tears that he was never going to be a butcher. | |
It was also during this period that Dvorak first set eyes on the trains that would fascinate him his whole life. When he was nine years old he witnessed the construction of the railway which passed through Nelahozeves. The first steam train, a crowning achievement in technological progress at the time, passed through the village in the summer of 1851. It was probably these impressions from his childhood which ignited his future passion for everything associated with modern transport. |
At around the same time, Dvorak's father Frantisek was having trouble with his business and almost went bankrupt. In the hope that he would fare better in a larger community, he decided to move the entire family to the nearby town of Zlonice, where their relatives lived. | |
Thus, in 1853, at the age of twelve, Antonin found himself under the supervision of Zlonice teacher and multi-instrumentalist Antonin Liehmann. Liehmann, an excellent musician in the vicinity, soon recognised an exceptional talent in young Dvorak and so he began to instruct him in the basics of harmony and organ-playing; later he also allowed Dvorak to play the instrument at Mass. It was during this time that Dvorak wrote his first compositions, short polkas. Since he invested much more of his time learning music than anything else, he began to fall behind with his German, a subject that would be essential to him as a future tradesman. So his father decided to send him to Ceska Kamenice (the majority of whose inhabitants spoke German) to spend a year living in a German-speaking family. Here Dvorak not only improved his German, but he also continued his music after making the acquaintance of the local regenschori, Franz Hanke, who permitted him to play the organ in the local church during Mass. Dvorak never did learn the butcher's trade, since Liehmann finally managed to convince his father Frantisek that his son's extraordinary talent deserved the consistent supervision and instruction that only a music institution could provide. Thus, in the autumn of 1857, 16-year-old Dvorak moved to Prague. | Antonin Liehmann |
the organ school in Prague |
The decision had been made to send Dvorak to the Prague organ school which, unlike the Conservatoire, also provided tuition in composition. In addition, here instruction lasted only two years, whereas the course at the Conservatoire required pupils to study for six years. The Institute for Church Music, as the school was officially known, was located in Konviktska street in the Old Town and provided instruction in harmony, counterpoint and the rudiments of composition. The school did not have much in the way of facilities: it comprised three very basic classrooms within a dilapidated former Jesuit college, and the pupils only had one inferior organ at their disposal. These failings, however, were compensated for by the excellent teaching staff who were able to provide their students with solid foundations in music theory and practice. Alongside his studies at the organ school young Dvorak also attended a German school whose fourth year he completed in 1858. Not long after starting his education in the city he became a member of the Cecilian Association Orchestra, where he not only acquired valuable experience as an orchestral viola player, but he also began to familiarise himself with 19th century music. |
He graduated from the organ school in July 1859 with a public concert, at which he performed a Bach prelude and fugue and also two of his own works – Prelude in D major and Fugue in G minor. These are some of the first pieces by Dvorak to survive as autographs. |
his own master
Young Dvorak was extremely short of money during the early stages of his career. For many years – until he got married – he lived with relatives and in rented rooms at various Prague addresses: Initially in his cousin's flat in Dominikanska (today Husova) street, later with his father's youngest sister on Karlovo namesti, for about a year in Vaclavska street, and during this time he also had lodgings for one or two years on Senovazne namesti. When he left the organ school he was not yet eighteen years of age and could no longer expect any financial support from his parents, particularly since his father's business continued to deteriorate. He thus applied for the position of organist at St Henry's church. He proved to be the best of the six candidates, but he was not accepted due to his lack of experience. Roughly during this same period he decided to accept the post of viola player in the Komzak Ensemble, a small orchestra which performed undemanding programmes at dances, in restaurants and at promenade concerts. | Provisional Theatre in Prague |
When the Provisional Theatre opened in the autumn of 1862 the entire Komzak Ensemble was engaged as the core of the opera orchestra. Thus, for the next nine years or so, Dvorak performed the viola parts of operas by Verdi, Meyerbeer, Donizetti and others on a daily basis, often conducted by Bedrich Smetana. Nevertheless, this influx of music did not suffice and he studied a huge number of scores at home as well. His meagre income would not allow him to purchase any music, and so he generally borrowed scores from his friend, the composer and choirmaster Karel Bendl, whose flat he frequently visited in order to play on the piano. |
String Quintet, Op. 1 |
While Dvorak was engaged in detailed study of works by the great masters, he was already writing his own music. He probably wrote a large number of works during this time, none of which were performed; he was extremely self-critical and destroyed the majority of his scores. The first work he thought well enough of to assign it an opus number, thus officially embarking on his career as a composer, was String Quintet in A minor from 1861 (Dvorak was nineteen at the time); this was followed by String Quartet in A major, Op. 2. It wasn't long before he tried his hand at a major musical form, producing his First symphony in the key of C minor with the subtitle "The Bells of Zlonice", after which he immediately set about writing his extensive Symphony No. 2 in B flat major, which he completed within a mere two months. In the meantime he even managed to write his Cello Concerto in A major for a colleague in the orchestra – all this in cramped conditions living in a single rented room which he shared with several other lodgers. |
ill-fated love
Dvorak's pupil and son-in-law Josef Suk later reported – perhaps based on what the composer himself had said – that, around the year 1865, he had fallen for the charms of a young actress from the Provisional Theatre, Josefina Cermakova. His acquaintance with her was in a certain sense a defining moment in his personal life from that point on, since he later married her younger sister Anna (Mozart and Haydn experienced something similar). Not only did Dvorak and Josefina Cermakova work in the same theatre, but the composer also encountered her during his visits to the Cermak family, whom he taught the piano on a regular basis. Dvorak expressed his love for the actress in a cycle of love songs entitled Cypresses, a musical setting of a collection of poems by Gustav Pfleger-Moravsky. Josefina later married Count Vaclav Kounic but Dvorak maintained his affections for her and remained close friends with both of them his whole life. Dvorak returned to Cypresses on many occasions thereafter; its melodies feature in a number of the composer's later works. | Josefina and Anna Cermak |
first successes
Dvorak's engagement in the Provisional Theatre Orchestra provided him with a wealth of inspiration via the numerous opportunities to perform various world operatic works and as yet isolated examples of Czech opera (chiefly Bedrich Smetana's Brandenburgers in Bohemia, Dalibor and The Bartered Bride), which probably played a major role in his decision to try his hand, after chamber and symphonic works, at writing opera as well. | |
public notice announcing the premiere of Hymn |
As a completely unknown composer without any means he could not afford to commission a new libretto, and so he used an earlier text, Alfred der Grosse, penned by the Neo-Romantic German poet Karl Theodor Korner. Dvorak's first opera Alfred was never performed during his lifetime. He soon began work on his second opera, King and Collier, which upon completion he then offered to the Provisional Theatre. After several rehearsals, however, the score was returned to him as unplayable, in response to which Dvorak rewrote the entire opera to the same text. The second musical setting was now regarded as feasible, and Dvorak was able to present himself in public as an opera composer for the first time. The decisive factor in sealing the composer's reputation on home soil, however, was the extraordinary success of the performance in March 1873 of the Hymn "The Heirs of the White Mountain", set to a text by Vitezslav Halek. With this work the hitherto anonymous violist in the Provisional Theatre Orchestra established himself as an original composer with a promising future whose success on this occasion motivated him to continue his composition work. Encouraged by the enthusiastic reviews of the Hymn he then turned out one work after another: Symphonies No. 3 in E flat major and No. 4 in D minor, three string quartets, the one-act comic opera The Stubborn Lovers and a number of other pieces, some of which did not survive. |
financial independence
Johannes Brahms |
letter confirming Dvorak's successful grant application |
The situation changed at the beginning of 1875. Dvorak decided to apply for a state scholarship awarded each year to young impoverished artists who demonstrated exceptional talent. In addition to a document confirming his lack of means which Dvorak requested from the Prague municipal authorities, he enclosed his application for the scholarship together with the scores of his last two symphonies and other works, and sent all these together to the Ministry of Culture and Education in Vienna, which allocated the scholarships. He was awarded the highest possible grant of 400 gulden, which represented a fortune for the young family. Dvorak was also successful in subsequent years, winning the award five years in a row. The jury who decided which applicants would receive scholarships – from Dvorak's second application onwards – also included Johannes Brahms, by then a noted figure. He had a great appreciation for Dvorak from the beginning and they later became lifelong friends. On Brahms's recommendation, Dvorak also began having his works published by one of the most important German publishers, Fritz Simrock. The fees Dvorak received were initially very low, however, they gradually increased as the composer became more prominent. |
across the border
The following stage in Dvorak's career was extremely productive; not only did the state scholarship enable him to focus much more on his composition work, but his contact with the major German publisher paved the way for important connections outside the country. None of this came a moment too soon: despite the huge number of works he had already written, Dvorak, now past the age of thirty, was still an unknown entity in the eyes of the public at large. In terms of his subsequent career as a composer, the most important works to come out of this period were his Moravian Duets, which attracted the attention of the critics, for the most part in German-speaking territories. Apart from the duets, Dvorak turned out a whole series of other pieces, including the popular Serenade for Strings in E major, the Piano Quartet in D major and Fifth Symphony in F major. |
family tragedy
After this joyful period in Dvorak's career which saw him extremely focused on his composition work, however, he suffered an unexpected blow. After the death of his daughter Josefa, who died two days after birth, his one-year-old daughter Ruzena died under tragic circumstances (phosphorus poisoning) in August 1877; and, one month later, his son Otakar, then three-and-a-half years old, succumbed to smallpox. Within a short period Dvorak had lost all three of his children. After the death of the first child he wrote the piano version of what would become one of his most celebrated works: Stabat mater. With the loss of another two children Dvorak returned once more to the text of the mediaeval Latin sequence describing the Virgin Mary's suffering as she witnesses the Crucifixion of her Son; this was now the definitive orchestral version. The oratorio Stabat mater contributed significantly to the composer's international celebrity in years to come. |
Slavic period
Slavonic Dances - title page of the score |
In order to try to forget the recent tragic events as quickly as possible and probably also because of their neighbours, whose piano playing disturbed the composer in his work, the Dvoraks moved from Na Rybnicku street to a new address, Zitna 10 (today 14), which became their permanent home. The following three years (c. 1878 – 1880) are known as Dvorak's Slavic period, characterised by a strong leaning towards the roots of Slav folk music and, at the same time, representing some of the composer's most productive years. Music flavoured with Slavic colour and nuances was sought-after both in the Czech environment (given the patriotic fervour of the time), and beyond the country's borders (for its attractive "exoticism"). |
Dvorak produced a large number of works during a relatively short space of time, among them, further Moravian Duets, the Serenade for Wind Instruments in D minor, the three Slavonic Rhapsodies, a series of piano pieces, String Quartet No. 10, "Slavonic", Czech Suite, Gypsy Songs (Gypsy Melodies), and also the first series of the famous Slavonic Dances. These were followed by Symphony No. 6 in D major, which conductor Vaclav Talich later described as a work "pulsating with the blood of the Czech Lands". |
heading towards England
At the beginning of the 1880s Dvorak's music found its way to a country traditionally host to all manner of musical geniuses and one of the most important music centres – England. From the time of Handel, the country had cultivated a strong tradition in the performance of oratorios and cantatas and, once discerning London audiences had been introduced to the Stabat mater, the die was cast. | |
Dvorak was invited to London, a visit which proved crucial for his entire subsequent career. Interest in his music continued to grow, English music institutions and festivals began to commission specific works, and hence the majority of the composer's journeys across the Channel involved the premiere performance of a new work. This particularly concerned Symphony No. 7, written for London, the oratorio Saint Ludmila commissioned for the festival in Leeds, and the cantata The Spectre's Bride and Requiem for the Birmingham festival. Dvorak travelled to the British Isles a total of nine times and each visit was a triumph both for the composer and for Czech music. His connections with England culminated in the conferral of an honorary degree from Cambridge University in June 1891. | The Royal Albert Hall in London |
Dvorak's summer residence in Vysoka (period photo) |
Together with the recognition he was enjoying in European music circles (in addition to England, Dvorak's works were also being performed in Vienna, Budapest, Leipzig, Berlin, and elsewhere), things were going extremely well in his private life as well. During the years 1878-1888 Dvorak and his wife had a succession of six healthy children who all survived into adulthood. Soon after the birth of their daughter Anna, the whole family was invited by Josefina Kounicova to visit her chateau in Vysoka near Pribram (Vysoka u Pribrami) which she had received as a wedding gift from her husband, Count Vaclav Kounic. Dvorak was so enchanted by Vysoka that he decided to purchase from his brother-in-law an old farm building with a garden at the other end of the village; this he had reconstructed into a house with several floors, after his death known as "Villa Rusalka". For the next twenty years the family spent their summers here and Dvorak wrote a large number of his works in Vysoka, many of which are among his most famous compositions. |
touring in Russia
Apart from the compositions written for England, a number of works appeared between the individual tours, such as a further series of Slavonic Dances, Piano Quintet in A major, the Mass in D major "The Luzany Mass", and also The Jacobin which, after Rusalka, became Dvorak's most performed opera. In 1888 Prague was visited on two occasions by Peter Ilyich Tchaikovsky. On the first occasion he conducted concerts of his own works hosted by the artists' association Umelecka beseda; he came over for a second time to present the European premiere of his new opera, Eugene Onegin. During his visits he also met up with Dvorak and invited him to perform in Russia, a tour to Moscow and St Petersburg which was organised for March of 1890. The concerts were very well received by the public, however, the critics surprisingly claimed that Dvorak lacked invention. | Peter Ilyich Tchaikovsky |
American period
In 1891 Dvorak received an offer which would have fundamental consequences for his life and work: an invitation to the United States of America. The enterprising president of the National Conservatory of Music in New York, Jeanette Thurber, decided to raise the prestige of the school by offering the post of director to a leading figure in European music circles. The Czech maestro was chosen for this role. After much hesitation the composer finally signed a contract which obliged him to head the music institution and teach composition, and this for a salary that was thirty times higher than the amount the Prague Conservatoire was able to offer. | |
part of a draft contract with the New York Conservatory |
At the beginning of the school year 1892/93 Dvorak sailed across the ocean to America where, apart from one break, he spent two and a half years. As soon as he arrived he assumed his obligations and began acquainting himself with his new, unfamiliar environment. It wasn't long before he brought all his feelings and impressions together in his legendary work: in January 1893 he started sketches for his Symphony No. 9 in E minor, subtitled "From the New World". In the summer Dvorak and his family travelled for their holidays to the village of Spillville in the state of Iowa, where descendants of Czech emigrants live to this day. Here the composer felt quite at home. In a joyful frame of mind, within just a few days, he penned the sun-filled String Quartet No. 12 in F major, entitled "American", which was immediately followed by String Quintet No. 3 in E flat major, works of unusual melodic invention. After his return to New York, he continued his teaching and also witnessed the triumphant premiere of the New World Symphony, which took place in Carnegie Hall on 16 December 1893. The composer felt that he needed to spend the following summer holidays in his homeland, in Vysoka. During this summer intermezzo he wrote a cycle of eight Humoresques for the piano. The seventh, in G flat major, immediately travelled the world in countless arrangements – some better than others – and became one of the most famous classical music hits. During the school year 1893/94 Dvorak created his most intimate work, Biblical Songs, written to the text of David's Book of Psalms. In the last year of his stay in the United States the composer produced his celebrated Concerto for Cello and Orchestra in B minor, which he completed after his return to Bohemia. |
back home
Upon his return from the United States, Dvorak resumed his teaching at the Prague Conservatoire, passing on his experience to future leading Czech composers Oskar Nedbal, Vitezslav Novak and Josef Suk, who married Dvorak's oldest daughter Otilie a few years later. 1896 was an important year for Czech culture with the institution of a new orchestra which in subsequent years would become the most famous orchestra in the country: the Czech Philharmonic. As the most prominent living Czech composer, Antonin Dvorak was asked to conduct a programme of his own works at the orchestra's inaugural concert. |
Josef Suk |
Oskar Nedbal |
mythical world
Rusalka - title page of the score |
In the latter part of his career Dvorak's music betrayed a shift towards an expression of profound folk wisdom, towards the realm of myths and fairy tales. He first wrote four symphonic poems inspired by texts from the collection Bouquet by Karel Jaromir Erben, beginning with The Water Goblin, then The Noon Witch, The Golden Spinning Wheel and finally The Wild Dove. If we discount his vocal works, this collection is one of the composer's few contributions to the programme music genre. Dvorak's musical legacy concluded with three stage works. The first is the comic opera (arguably the composer's most original) The Devil and Kate. After this came the composer's most frequently performed opera, the lyrical Rusalka, whose premiere in 1901 was a pure triumph and assured him his rightful place in the opera repertoire as well (until now he had been regarded chiefly as an author of symphonic and chamber music). The very last work Dvorak wrote is the opera Armida, set in the exotic environment of the Orient. The premiere in March 1904 did not go as the composer would have wished, mostly due to shoddy preparation work on the part of the company. Dvorak's frustration at the careless staging of the opera was compounded by health problems. With the onset of acute kidney pain he was forced to leave the theatre during the performance. |
► |
History has shown us numerous examples where the circumstances surrounding the final days of major figures assumed monumental, almost theatrical proportions, and where words uttered on their deathbeds might conceivably have been carved in stone (Socrates and Beethoven, among others). In the case of Antonin Dvorak, the exact opposite is true. He died as he had lived, without pathos and ostentation. His last words, "I feel a bit dizzy, I think I'll go and lie down", certainly won't rank among the world's immortal quotations. But Dvorak's music will accompany humanity to its final days... |


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Transportation information for Black Canyon is provided below. Travel information includes driving directions, maps, airport information and more.
The nearest airports are in Gunnison, Montrose, or Grand Junction. Grand Junction's Walker Field Airport offers connections to major hubs in the western United States.
Basic Directions
The South Rim entrance is 15 miles east of Montrose or 45 miles west of Gunnison along US 50. The North Rim is 42 miles southeast of Delta and 11 miles south of Crawford on Highway 92.
Customizable Directions
Formatted Directions | Map |


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People | 4 |
Bedrooms | 1 |
Bathrooms | 1 |
Property type | apartment |
Property details
Agri-tourism Casale di Colle, Torrita Tiberina
Offered at your holiday residence
two-room apartment/type 2
7 residential units. backyard, outdoor seating, sunbathing area. parking spaces. fee payable: washing machine.
tastefully furnished to a high standard . shower, bidet, toilet. satellite TV, wireless LAN. air conditioning, gas heating.
2-room apt., on the ground floor. living / bedroom, (1 double sleeper couch). bedroom, (1 double bed). kitchenette, 4 gas burners, refrigerator with freezer, microwave, espresso machine, eating nook.
shopping 500 m, restaurant 500 m, sea 70 km, train station Torrita Tiburtina 4 km, ferry port Rom Ciampino 60 km, Torrita Tiberina 500 m, Rom 36 km, Lago di Bracciano 50 km.
2 bikes
wireless LAN
Consumption-dependent energy cost, bed linen, towels, final cleaning
non-smoking accommodation.
playground, Climbing frame, petting zoo, bobbycar. baby cot (for babies up to 36 months, in addition to max. occupancy) , highchair.
Recreation / Sports
bicycle rental (fee payable).
horseback riding 1 km, golf 5 km
Outdoor pool for common use 70 qm (geöffnet von in the mid May bis the end of September, Depending on the weather), outdoor shower, loungers, parasols
Paying per credit card incurs fees in the amount of 0.7% of the sum due, rounded up to full euro amount.
*Plus compulsory or optional charges based on actual occupancy or consumption. The payment has to be made in the currency offered by the property manager, before use of conversion tool. Payments in other currencies have to be negotiated beforehand with the property manager. The currency conversion tool is provided for your convenience only and is non-binding.


text:
I came to the Super Bowl prepared not to like Seattle cornerback Richard Sherman.
Sherman's 20-second rant following Seattle's NFC championship win over San Francisco was in-your-face TV that became the most talked-about moment of that Sunday. After deflecting a pass that was intercepted by a teammate to seal the victory, Sherman called the 49ers' Michael Crabtree "a sorry receiver" and called himself the "best corner in the game."
Crabtree, he also said, had been trash-talking him. "Don't you ever talk about me!" Sherman said.
Before Fox Sports hurriedly cut short Sherman's sideline interview with Erin Andrews, he also screamed: "Don't you open your mouth about the best! Or I'm gonna shut it for you real quick!"
It wasn't the interview that I had a problem with as much as it was Sherman flashing the "choke" sign following the Seahawks' interception and then quickly starting to sell T-shirts on his own official website that read: "Don't you ever talk about me." It seemed both classless and calculated.
And yet after listening to Sherman for an hour on Tuesday, I decided that he's not a bad guy. He's smart. He has apologized for attacking Crabtree verbally. He grew up poor in Compton, Calif., and ended up graduating from Stanford.
And his rant had one key element of truth: Sherman is the best cornerback in the world. He had eight interceptions this season, a huge number for a cornerback who isn't getting thrown at much, and Peyton Manning will need to be very precise Sunday if he plans to test the former fifth-round draft pick.
Every NFL team would be lucky to have Sherman. The only fans who don't like him are those who don't have him on their own squad. The Panthers are on a quest to find someone just like him to be their own shutdown corner.
What you find when you get beyond that postgame interview is that Sherman is multi-layered and pretty funny. "If people took the time to really get to know me they'd know there is more to my life than that rant," Sherman said.
A sampling from Sherman at Tuesday's Media Day at the Super Bowl:
• On his personal style: "I don't play to anyone else's drum. I'm not anybody's puppet. Sometimes I'm not going to be controversial. Sometimes I'm going to make you go to a dictionary."• On athletes in strip clubs: "I've never gone in a strip club and thrown money, so I wouldn't know."
• On role models: "I try to model myself after Muhammad Ali as much as possible, but my dad was my role model."
Sherman's dad was not a trash talker. He was a trash collector. He rose most days at 3:45 a.m., fired up his garbage truck and went to work. His mother was a senior clerk for California Children's Services.
Their son became the salutatorian of his high school class, and it still bothers Sherman that he didn't get that last tenth of a point so he could become valedictorian and give what would have undoubtedly been a memorable graduation speech.
Sherman once made Pete Carroll (then the head coach at Southern Cal, now his Seahawks head coach) wait for him for more than two hours on a recruiting visit because Sherman didn't want to leave his advanced placement high school course early.
The two largest media contingents at Tuesday's Media Day surrounded Manning and Sherman. To some, this is an either-or choice. You either like Manning, his aw-shucks demeanor and his "Omaha" pre-snap yells, or you like Sherman and his Ali-inspired riffs.
I don't think it's an either-or, though. I believe you can like and appreciate them both as two of the players upon which this Super Bowl will pivot.
And don't tell me that Sherman's trash-talking is all that is turning you off. Michael Jordan and Larry Bird were inveterate trash-talkers in their day. They just did it more slyly.
The worst pounding Sherman took after his rant was on Twitter, and some of the criticism veered completely into racism. His dreadlocks came under constant fire. The word "thug" got tossed around a lot.
But Sherman is not a thug. Far from it. Belittling Crabtree was not the right way to get his point across, but he has admitted that.
As Sherman said upon arriving at the Super Bowl of the people who had referred to him as a thug: "I want people to understand that everybody should be judged by their character and who they are as a person and not by the color of their skin.... Everything that happened, all the people who sent the messages, who tweeted what they tweeted, it ends up turning around to be a positive because it opens back up the discussion, and people begin to get more educated. Anytime you get more knowledge, you're more powerful as a person."
That quote, of course, didn't get the airplay of the one about Crabtree. It didn't lend itself to a quick soundbite. It was too well-reasoned and too long. It was too much like the way Sherman normally talks, and not enough like the image so much of America has of him now.


text: longestenglishword.net: Longest English Word What is the longest English word in the book? www.longestenglishword.net antidisestablishmentarianism.net: Antidisestablishmentarianism The truth behind the word antidisestablishmentarianism is that this word has always been a word. In fact, it�s a word that comes packed with a lot of historical significance. www.antidisestablishmentarianism.net pneumonoultramicroscopicsilicovolcanoconiosis.org: Pneumonoultramicroscopicsilicovolcanoconiosis Is Pneumonoultramicroscopicsilicovolcanoconiosis the Longest Word? www.pneumonoultramicroscopicsilicovolcanoconiosis.org Add Site or Add URL to Submit Site to the English Language Directory |


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Renal cell carcinoma (TNM staging)
Dr Vinod G Maller et al.
Renal cell carcinoma staging using the TNM staging system for renal cell carcinoma. Older but still widely used system in some practices is the Robson staging system.
On this page:
TNM staging (7th edition)
- T1a: tumour confined to kidney, <4 cm
- T1b: ltumour confined to kidney, >4 cm but <7 cm
T2: limited to kidney >7 cm
- T2a: tumour confined to kidney, >7 cm but not >10 cm
- T2b: tumour confined to kidney, >10 cm
T3: tumour extension into major veins or perinephric tissues, but not into ipsilateral adrenal gland or beyond Gerota's fascia
- T3a: Tumor grossly extends into the renal vein or its segmental (muscle-containing) branches, or tumor invades perirenal and/or renal sinus fat but not beyond the Gerota fascia
- T3b: spread to infra diaphragmatic IVC
- T3c: spread to supra diaphragmatic IVC or invades the wall of the IVC
- T4: involves ipsilateral adrenal gland or invades beyond Gerota's fascia
- N0: no nodal involvement
- N1: metastatic involvement of regional lymph node(s)
- M0: no distant metastases
- M1: distant metastases
Stage groupings
- stage I: T1 N0 M0
- stage II: T2 N0 M0
- stage III: T3 or N1 with M0
- stage IV: T4 or M1
- the distinction between N1 and N2 was discontinued in the most recent version of staging
- contiguous involvement of the ipsilateral adrenal gland is T4, noncontiguous involvement is M1


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So I was messing with CyanogenMod, I went to flash an O/C kernel and realized that my phone was at 15% when I had rebooted into recovery, so I stuck my phone on its dock (connected to A/C power.) The backup and flashing process completed, but my phone died when I tried to reboot it. I learned tonight that the phone won't charge while in the recovery console. Anyway, now my phone won't boot up when connected to A/C power...if I connect it to A/C power, it goes to the white Motorola logo (it never gets past that to go to the red Droid boot animation) but doesn't seem to charge. Also, when I plug it up to A/C power, the white charging light blinks once and then turns off. If I unplug it, the screen (showing the white Motorola logo) turns off a half second later. I have it plugged into my computer, and the white LED is on to indicate that it's charging, but nothing happens when I press the power button (not even the white Motorola logo.) Any ideas?
Micro USB might be the problem. I've notices that not all micro usb ac/car charger's will charge my Droid. for example; my headset(plantronics voyager pro) uses a micro usb for charging, but it won't work for my droid, the white light flashes on/off and thats it. but my headset will charge with my droids ac charger its most likely a protection protocal built into the phone! it will charge with most generic ac/car charger's, but not the one for my headset ohwell Solution; use the ac charger that came with the Droid. iWhat? iNothing! :motdroidvertoes. oh yeah, i got one of those ac/car in one chargers, i doesn't work, wierd part is that it "flash charges"; the white charge light blinks and so does the charging indicater on my phonescreen!!!:icon_evil:
I was using the A/C charger that came with the Droid actually. Anyway, I figured out what the problem was, when I flashed that O/C kernel it didn't flash correctly, probably due to the battery level. I managed to get into recovery and restore my pre-install backup and it worked...when I powered my phone on from that, the battery level was still at 15%, but it began to charge. The bad flash apparently made my phone forget how to charge itself.
How did you "manage to get into the recovery" ? Mine has the same symptoms, but it didn't happen during a flash, I was just away from a charger for a couple days so the battery was completely dead. Now in DC, the charging light doesn't come on at all, but the motorola logo comes on for a few seconds, then goes off, then repeats. If I plug it into DC, the charging light comes on but nothing on the screen and pushing the power button does nothing. Any suggestions would be great. I guess the battery could of just died completely but it's a big coincidence and I don't believe in coincidences. UPDATE: I left mine on the charger for several hours (ac power) and eventually it charged. What I believe was happening was that when the screen came on and showed the motorola logo, the screen used to much juice since the battery was completely drained causing it to shutdown again. It did this on the charger for an hour or so (constantly rebooting), but it would stay on the motorola screen just a second longer each time. Eventually it got enough juice before the reboot that it was able to stay on and charge. Again just theory but it's been days and the phone has been back to normal.


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Supporting Successful Live Online Classes: Good Instructional Design is Not Enough
- Kelly Benson
- 1 years ago
- Views:
1 Supporting Successful Live Online Classes: Good Instructional Design is Not Enough P r e s e n t e r n a m e s : Matthea Marquart a n d Michael F l e m i n g Date: Oct 29, 2014
2 Supporting Successful Live Online Classes: Good Instructional Design is Not Enough Matthea Marquart and Michael Fleming October 29, 2014
3 S e s s i o n E v a l u a t i o n s As a part of our green initiatives, OLC is no longer using paper forms for session evaluations. Please use the OLC Conference mobile app to evaluate this session. Navigate to this session listing, then click on Rate this Session.
4 Your Presenters Matthea Marquart, Online Support Project Manager Columbia University, School of Continuing Education In her current role, Matthea supports the smooth execution of virtual class sessions in Adobe Connect, coaches faculty on online instructional strategies and tools, and collaborates on continually improving the school's online courses. For the last ten years, her professional life has focused on education and training, both online and in person. Michael Fleming, Director of Online Support and Delivery Columbia University, School of Continuing Education Michael provides technical oversight, management, and administration across all SCE online courses. He oversees a team of dedicated online support staff who work to ensure the successful execution of online courses being delivered each term. He has a rich background in web-conferencing, technical support, and synchronous learning.
5 What s in it for you? Example of a support & coaching model for live online classes + elements you can use anywhere Techniques to support online faculty Ideas to make live online classes more engaging for students Ways to improve the execution of live online classes
6 Polls Green (yes) or red (no): Do you work with live online classes now? Do you consider yourself a beginner with live online classes? Is there anything else you re hoping to get from this session?
7 Our support framework: Planning Support Continuous improvement Disclaimer: We believe instructional design is very important. In fact, we plan our live online classes collaboratively with the design team and faculty but we don t believe good design alone could possibly be enough to execute quality live online classes.
8 Creating an online course is a group effort
9 But when the course launches, the instructor can be left all alone Stacey Catherine via Flickr
10 Online faculty need support for smooth live sessions
11 Master s Degrees Information and Knowledge Strategy Strategic Communications Technology Management Certificates Actuarial Science Bioethics Certificate Business Certificate Of the 13 professional master s degree programs offered by the School of Continuing Education, the Executive Trio are the main programs we work with for the online initiative. These are three master s programs that are a hybrid low-residency format with some online and some face-to-face components. They are geared toward working professionals. We also work with several non-degree and certificate programs to offer singular online courses, or complete online offerings (such as the Business Certificate).
12 How we approach online course development INSTRUCTIONAL DESIGN MEDIA PRODUCTION ONLINE SUPPORT AND DELIVERY EDUCATIONAL TECHNOLOGY Development Lifecycle Design Deliver Support
13 Our Values Focus on the student learning experience online Fostering meaningful Instructor presence online Compelling, rigorous, academic content Social, interactive, and engaging course design Innovative use of educational technologies Facilitating live interaction and dynamic collaboration Proactive, polite, and professional online support
14 Sample Student Week Su M T W Th F S Reading & Media Exercise Live Session Group Activity (2-3 hours) (1-2 hours) (1-2 hours) (2-5 hours) 6-10 hours per week
15 What is a Live Session? Live sessions are synchronous meetings that allow an online class to get together in real time. Live sessions occur weekly or bi-weekly and depending on the particular course may be either required or optional elements of the learning experience. We currently hold all Live Sessions on Adobe Connect. Adobe Connect is a web conferencing solution for web meetings, elearning and webinars. Live sessions are always managed by a Webinar Support who assist faculty and students with any technical issues that may occur during the course of the event. Generally, live events are staffed, additionally, by the course Facilitator(s) who serve to answer student questions, interact during breakouts, respond to polls, etc.
16 Interactive Lecture with Polls
17 Real-time Demonstrations
18 Video Content
19 Webcam Discussions
20 Discussion Seminar with Breakouts
21 You ve designed an amazing course how do you make sure it succeeds?
22 Instructor may feel overwhelmed by the technology Chat conversations need monitoring Interactive activities need setup and planning The virtual classroom may have technical issues Student participation needs tracking Users may have technical issues Instructor needs to focus on teaching
23 Quality support is the key to success
24 How we support online faculty Dedicated webinar specialist for each course Training on tools and techniques Ongoing coaching focused on the instructor s strengths, to build strengths and confidence Before class Weekly planning & coaching meeting Prepare the Adobe Connect classroom with all lecture materials and activity assets New instructional strategies when the instructor is ready During class Real-time technical support for the instructor and students Support for interactive activities, e.g. polls and breakouts After class Debrief with verbal coaching Report after every class Details of attendance & participation Proposed solutions for any issues Written coaching tips
25 We provide ongoing technical and instructional support Technical support Instructional support
26 Before the Course Begins Designing a live session strategy Creating storyboards for each week Training on Adobe Connect and Canvas
27 Before Class Preflight meeting (discussing the plan) Prepare the virtual classroom with assets Sound check / tech check Coaching
28 During Class Real-time support and troubleshooting Facilitation of learning activities Instructor focuses on teaching; we take care of the rest
29 After Class Debrief with faculty Participation report and analytics Qualitative feedback to help with the instructor s learning curve
30 Support Smooth live online classes and continuous improvement School CU SCE has found that this support and coaching model has facilitated technically smooth live online classes that are continually improving. Faculty Instructors say that they could not have done it without their webinar specialist partners with this support, they are able to focus on instruction and engage their students. Students Students say that they appreciate the responsive technical support and ability to focus on learning rather than extraneous technical issues, and they rate their online courses and instructors well.
31 Pair Activity with Handout Discuss with your partner how might you adapt some of the strategies from today s session for your institution? The handout includes best practice tips and ideas for modifying them to fit a range of staffing levels and budgets.
32 Q&A Additional tips and techniques for you: We will compile and distribute the ideas you share on the half-page feedback slips. Please take a minute to write down your top takeaway, as well as any feedback on this session. If you would like your name credited for your idea, please write legibly.
33 Thank you for joining us today!
34 Acknowledgements The authors would like to thank the following team members at Columbia University s School of Continuing Education for their contributions to our presentation: Erik Nelson, Associate Dean of Online Learning Glenn Steinmacher, Animation Producer The Research Committee of the Online Learning team: Melanie Hibbert, Senior Media Producer Michael Eder, Director of Media Production Jonathan Demiglio, Media Production Assistant Brian Dashew, Director of Instructional Design Adrienne Garber, Instructional Designer James Wall, Instructional Designer Ariel Fleurimond, Course Developer Kristine Kerr, Course Developer Justin Saunders, Course Developer Sandesh Tuladhar, Manager of Academic Technologies John Pesantez, Platform Support Specialist
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text:
FREE $25 FREE!!!!! (Or $50 if you act by Jan 31)
Do you want $25 in FREE CASH!!!! Is it not worth a 2 minute phone call to find out??? Who can't use an extra $50 for free??
****THIS offer has been doubled to $50 till January 25th 2017, then back to $25. So wherever in this listing it states $25, it is actually $50 until mid January, 2017.****
I will not answer emails, only phone calls, please.
The $25 bonus is the LEAST benefit of this program.
I have dealt with this company for over 10 years. It has been around OVER 200 years and at one time was the LARGEST corporation in the world. I have made hundreds of dollars and it cost me not one cent.
Many businesses spend their money on advertising.
Some give a BONUS of CASH to people who use their services. PHONE to find out information on an offer that will pay you $25, pay your spouse, partner, parents, neighbour, friend -- anyone $25 EACH FREE!! NO buying, No Selling!!! No gimmicks just a straight honest deal.
Who pays you $25 free for nothing? A financial corporation will pay you each -- $25 for trying their FREE service. They provide a service that YOU CURRENTLY USE AND PAY A MONTHLY FEE FOR.
What do I get out of it? Aside from sharing the best financial deal out there, For every person that I get to use their FREE services, as a promotion for every $25 they pay you, they also pay me! I and every member of my family uses this service and collected the bonus. (It originally was only $13.)
It takes 1 - 2 minutes to find out what it is!!
It takes 3-4 minutes to do it from your home online or by phone!!
If you don't want free $25 for every adult member of your family I would really like to know WHY NOT?? You are doing your family a disservice by not calling me RIGHT NOW!
Couldn't you use an extra $25 for each adult member of your family??
I am told that the economy is in shambles and lots are out of work. I can't even get people to take free money!!
***Take the 1 - 2 minutes to call Bob at 250-656-0549
9 am to 10 pm.
(No calls Friday evening or Saturday.)
Don't delay Phone right now.
Details | Last hour: | Last 24 hours: | All: |
Viewed: | |||
Browsed: | |||
Other Information | |||
Ad Id | 18705604 | ||
Category | Business Opportunities | ||
Posted | December 10, 2012 | ||
Renewed | March 12, 2017 | ||
Expiry | April 11, 2017 | ||
Status | NOT FILLED | ||
Details | New, Commercial Seller |