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Kari Jobe's Album: The Garden Review & Giveaway
10 Christian Films Your Family Can Enjoy on Netflix
Reactions to the Life of George Muller
5 Days of Making Time for Mom – Time to Rest
5 Days of Making Time for Mom – Time to Love
A Mother Must – Memorizing Scripture: Matters of the Heart
What do you want to be when you grow up?
The Life We Never Expected Review
Broken, Yet Free. Working on Being Unashamed
Planning with Heaven in Mind
The Challenge of Perfection in Parenting
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Butterick 4245; ca. 1980s; Toddler's Dress, Top, Pants & Shorts. Sleeveless or short sleeve dress and top have shaped collar. Dress has front and back gathered into yoke with front slit opening. Top has front buttoned closing. Pants or shorts have elasticized back waistline and buttons to top at front. Top stitching. Purchased trim. Optional snap closing at inseam.
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Welcome! You are browsing as a guestWould you like to see 28 projects made from this yarn and much more? create a free account What am I missing?
yarns Classic Elite Yarns La Gran (New 2013)
© Classic Elite Yarns
© Classic Elite Yarns
With a new fiber content and larger skein size, this is the same yarn as the original La Gran.
78.4% Mohair, 17.3% wool, 4.3% Nylon
50 g = approx 106 yards
Our flagship yarn, La Gran is the best mohair on the market. It is available in so many colors, you will find just the right one for your special project!
Mohair is fine and lustrous and has many of the good qualities of wool. It's fairly soft and can absorb moisture yet still feel warm and dry. Knitted on a large needle, it's lightweight and airy. La Gran is spun with a strong binder—a combination of wool and nylon—to secure it. The fluffy surface is the result of a good brushing.


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By Bill Flanagan.
Random House, $23.95.
Bill Flanagan, a rock journalist and editorial director of the music television network VH1, has written a caustic and funny first novel about a world he knows intimately. ''A & R'' is about a gifted, idealistic ''artists and repertory'' man -- that is, a talent scout -- named Jim Cantone, who joins powerhouse WorldWide Music; the innocent life he knew at his old, small label vanishes like cocaine up a rock star's nose. The C.E.O. is partying in the Caribbean, the president is plotting a coup d'etat, and the chief financial officer -- obese, gay, black, Buddhist -- is playing all the angles. Cantone's hot new band will sign on only if Black Beauty, a feminist ''cultural collective,'' is also offered a contract. As his exuberant plot twists and turns, Flanagan stumbles by injecting his sense of cosmic justice, as if righting in literature the wrongs he has witnessed in life. The bad guy almost loses his kidneys to black-market organ thieves; the good guys land on their feet with plum jobs. But Flanagan wrings emotion from little details, like the heartbreak of a backup musician whose washed-up boss steals his great new song. Finding the absurd humor in a world where careers rise and fall on the whims of radio programmers and the Christmas lists of adolescents, Flanagan has written an unusually lively novel. Mark OppenheimerContinue reading the main story


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Pitango Venture Capital
Israeli VC Pitango launches its 7th early-stage fund of $175M
Pitango Venture Capital, one of the most active VCs in the Israeli startup scene, has announced its seventh fund, Pitango Venture Capital 7. The fund will have $175 million under management, and invest from seed upwards. The new fund focuses on IT and life science investments, specializing in enterprise infrastructure, IoT, artificial intelligence and digital health. The new fund joins… Read More
Chemi Peres makes predictions for Israel's tech scene
TechCrunch had the opportunity to speak with Chemi Peres, co-founder of Pitango Venture Capital, about Israel's tech scene. In the above video, Peres explained why he believes digital health, drones and autonomous driving startups will emerge in the region. "The digital wave is disrupting industry one after another," said Peres. Israel has long been known for its work in… Read More
Neura, A Privacy-Focused Platform For The Internet Of Things, Raises $11M Series A
Neura, a platform that helps users personalize connected devices while guarding their data, will promote its new software development kit after raising a $11 million Series A. The round was led by AXA Strategic Partners and Pitango Venture Capital, with participation from Liberty Israel Venture Fund and Lenovo Group. Read More
Via Raises $27M For Its Flat-Rate $5 Urban Carpool-Style Ride Sharing Service
Uber's growth has taken the company into many categories of transportation, from simple car services for individuals through to courier deliveries. Now, a startup out of New York called Via has raised $27 million to take Uber on in one specific area: ridesharing services for people in urban areas. With a flat rate of $5 for prepaid rides (and $7 for those you order on the fly)… Read More
Pitango Closes New $270M Fund Backed By Asian Money To Fuel More Startups Coming Out Of Israel
Israel's startup scene has taken another big step forward today. Pitango Venture Capital, the Israel-based investment company behind like Apple-acquired Anobit, Samsung-acquired Boxee and many others, has closed a $270 million fund, which it will use to back "Israeli companies and companies with an Israeli nexus" that may otherwise be operating in the U.S. and Europe… Read More
ContextIn Raises "Several Millions" For Algorithmic Approach To Ad Buying
ContextIn, an Israeli company I first got to know when they launched their semantic technology platform at my Plugg conference back in 2009, has recently shifted focus to the buying side of the online advertising equation. We've now learned that the company has raised "a few million dollars" in a Series A round led by Spark Capital and Pitango. I have to admit I'm not… Read More
LiveU Raises $11 Million For Wireless Video Transmission Technology
LiveU, which markets solutions for live video transmissions over wireless networks, this morning announced that it has raised $11 million in Series C funding. The round was led by Pitango Venture Capital and joined by existing investors Carmel Ventures and Canaan Partners. LiveU has raised a total of $23 million in venture capital to date. Read More
WinBuyer Secures $6.9M For App That Helps Online Retailers Make More Money
WinBuyer has just announced that it has raised institutional funding for the first time, to the tune of $6.9 million, in a Series A round led by Pitango Venture Capital and joined by Giza Venture Capital. The young Israeli company markets a so-called Onsite Comparative Pricing (OCP) application, which aims to help Internet retailers integrate comparison shopping elements straight into their… Read More
WeFi's Directory Nearly 30 Million WiFi Hotspots Strong, Raises More Funding
Lightspeed Venture Partners and Pitango Venture Capital are pouring more capital into WeFi, operator of a global, community-based network of WiFi hotspots, in an undisclosed Series B round of funding and following an earlier round by both investors secured back in May 2007. The follow-up financing was provided to support WeFi's business and financial needs, and according to the release… Read More
YCD Multimedia Raises $12 Million For In-Store Digital Media Solutions
YCD Multimedia, an international provider of in-store digital media solutions has closed its Series E investment round, a new financing package totaling $12 million. This packages includes conversion of a bridge loan facility and new equity investment led by Pitango Venture Capital and Arts Alliance Digital Ventures. YCD Multimedia software integrates with existing retail and… Read More


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What is Investment Gold Inc.Investment Gold Inc. is a professionally managed group of investors. We work to achieve the highest returns possible for both ourselves and our investors. We utilize different methods of trading to generate these great returns. Our Main line of investments is the Forex Market. Over the years we have develloped both skills and techniques to generate the largest possible returns, while minimizing the amount of risk and loss. We trade mainly between the G7 currencies.A small portion of the funds which are invested are segregated for private ventures such as small businesses.Overall we have come to the conclusion that we are able to pay all of our investors a steady return 20 percent per day during 15 days including your principal.
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March 9
What happened
The bickering Casaya tribe wins both
reward (a barbecue with Panamanian villagers) and immunity in a single high-stakes challenge. They choose to send Sally, La Mina's lone female survivor, to Exile Island, which this week saves her from certain elimination at tribal council.
Worst moment
La Mina races ahead in a must-win challenge, but falters when Dan and Sally are flummoxed by giant puzzle pieces. With Sally safe on Exile Island, the tight-knit male alliance is forced to eliminate friendly astronaut Dan.
Best decision
After alienating his Casaya alliance to the point of its
dissolution, Shane bums a cigarette from a native at
the barbecue,
swallows his pride and apologizes to Danielle and
Courtney for
his outbursts.
Next week
An 8 ET/PT Wednesday recap show; March
Madness postpones new
episodes until March 30, when the emergency-medical boat is rushed into duty.
March 2
Bobby and Bruce hole up in the latrine and help themselves to Cayasa's last bottle of reward wine. The selfish move proves costly for Bobby, a 32-year-old L.A. attorney who is voted off in 3-2-1-1 decision that shows just how independent-minded Casaya's main alliance is.
For cod's sake: Bruce is a slow chopper. Despite losing the reward, La Mina gets to take beans back to camp, although Austin and Nick's explosive digestive systems probably wish they'd taken rice instead.
Behind in the reward challenge, Casaya replaces slow-chopping Bruce with Bobby, who can decapitate fish with one swift blow. Casaya goes on to win the now-headless fish, along with beans and rice.
Another curveball in the game shows that alliances aren't always as safe as they seem, and a survivor's nocturnal rants have tribemates unable to sleep.
Feb. 23
Casaya rises above rampant tribal infighting to win both reward and immunity challenges. La Mina's all-male alliance invites Ruth Marie to become their fifth member and then turns around and votes her off, saving Sally and her knee socks.
After crudely describing his intentions upon entering Casaya's new latrine (won as a reward), Bobby emerges, rubbing his stomach and announcing he feels like a new man, 10 pounds lighter.
La Mina's de facto leader, Terry, unearths the immunity talisman during his banishment on Exile Island but decides not to tell anyone he found it. The idol can save him if he is voted off at any point to and through the final four.
Tummy troubles threaten to weaken a tribe. After four females in a row are voted off, is it finally a man's turn to go?
Feb. 16
La Mina wins a tarp and other camp items during a reward challenge. A physical immunity challenge is full of tackles, body slams and contestants sitting on each other. La Mina loses and sends off a surprised Misty, much to the chagrin of Sally, her closest ally.
Bruce barely has time to unpack and set up a water-filtration system before being sent back to Exile Island. He spends the night shivering in a torrential downpour.
The whole Exile Island twist. This week, La Mina got to banish a Casaya member, and chose the morale-boosting Bruce.
An exile fares better in isolation than tribemates do at camp; the fruits of a reward challenge turn sour for one tribe.


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If an item you ordered from TextbookRush does not meet your expectations due to an error on our part, simply fill out a return request and then return it by mail within 30 days of ordering it for a full refund of item cost.
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Description: Which non-American education systems best prepare young people for fulfilling jobs and successful adult lives? And what can the United States--where far too many young people currently enter adulthood without adequate preparation for the twenty-first-century job market--learn, adopt, and adapt from these other systems?In Schooling in the Workplace, Nancy Hoffman addresses these questions head on, arguing that "the smartest and quickest route to a wide variety of occupations for the majority of young people in the successful countries--not a default for failing students--is a vocational program that integrates work and learning." As she notes, the programs that successfully integrate work and learning all share a fundamental commitment to helping young people find successful careers: "The purpose is not 'college for all,' as in the United States today, but rather to provide the education and training young people need to prepare for a career or calling."Schooling in the Workplace explores the vocational education programs in a wide range of countries, focusing in rich and useful detail on six in particular: Australia, Austria, Germany, the Netherlands, Norway, and Switzerland. Framing these discussions, however, is a persistent focus on American circumstances and challenges. Far more than a survey of six "foreign" programs, this is a book prompted by and organized around the policy and practical challenges facing the United States.
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Mr. Tom Howarth
Chorley, Lancashire - Great Britain (UK)
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About Mr. Tom Howarth
I am an IT consultant with 18 years experience, currently consulting to Private and Public Sector Companies, I have experience with a number of IT systems but specialise in architecting VDI platforms with Citrix and VMware to provide efficient and reliable solutions that are also cost effective and supportable. My previous customers have included large IT support providers and technology integrators with whom I have earned a reputation for being diligent in solving problems in a timely and cost effective manner.
I am also a contributing author to several IT related books, Speaker and blogger, Further I have been awarded vExpert status for the entire 4 years of its life in recognition of my contributions to the visualization community
Subject specialist in Thin Client Technology and Virtualisation., Technical Architect of Thin Client and Virtualisation solutions, Expert in troubleshooting complex technical issues., Project Manager.
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Photographer: Iain Bagwell
Tuna Tartare with Ginger and Toasted Sesame
This version of tuna tartare steals ingredients from the sushi counter, with pickled ginger, rice vinegar—typically used in making sushi rice—and a bit of soy sauce tossed with the finely diced fish. Spoon it onto small plates as an appetizer, or into a bowl alongside taro or other crisp chips for a cocktail party snack. (It's best served right away; as it sits, the tuna begins to lose color, though the flavor remains quite good.) Look for pickled ginger near the prepared sushi at your local grocery store, or in the Asian foods section.
Photographer: Iain Bagwell
Grilled Tuna with Mediterranean Sauce
The robustly flavored sauce gets its inspiration from olives, tomatoes, and fresh thyme, but is simple to prepare. When the topping is this bold, go with a simple grilled technique for the fish.
Photographer: Iain Bagwell
Spicy Tuna-Mango Skewers
These skewers make a tasty appetizer course, allowing 2 to 3 skewers per person on small plates. Feel free to grill the skewers—about 1 minute per side over medium-high heat—instead of broiling.
Recipe: Spicy Tuna-Mango Skewers
Photographer: Iain Bagwell
Tuna Gribiche Crostini
Gribiche is a not-too-common but delicious, textured sauce that is an ideal partner for a variety of seafood. Here the piquant flavors of the caper-and-pickle combination pair beautifully with flakes of canned tuna for a quick and impressive appetizer.
Recipe: Tuna Gribiche Crostini
Photographer: Iain Bagwell
Grilled Tuna with Fennel-Orange Relish
This recipe is for those who love their tuna on the very rare side—feel free to cook the fish a bit longer, according to your taste. If you prefer, you can quickly sear the tuna in a skillet over medium-high heat instead of grilling.
Photo: Jennifer Davick
Lemony Tuna Noodle Casserole
It all starts with the right canned tuna. Buy sustainable, dolphin-safe tuna, and look for "chunk white" or "chunk light" on the label.
- Recipe: Lemony Tuna Noodle Casserole
Photo: Luca Trovato
Italian Tuna with Bow Ties, Black Pepper, and Olive Oil
Farfalle comes from an Italian word meaning "butterfly," but we know (and love) this popular shape as bow tie.
Photo: Jean Allsopp
Simple Nori Rolls
If you pair wine with sushi, avoid wasabi. If you are a hothead when it comes to sushi, try beer.
- Recipe: Simple Nori Rolls


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The Mighty Ya-Ya Eindhoven, Netherlands
Grind your classic rock albums, add some universal danceable grooves, the firm but gentle grip of Mother Blues, bombastic big-band fury, a hint of kitsch and whoop: there's the Ya-Ya's sound. The Mighty Ya-Ya generates some truly original grooves by up-cycling the classic amplified sounds we all (should) love. ... more
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We are very pleased to announce – On April 6-9th 2014 Par-T-Perfect attended the Canadian Franchise Annual conference in Niagara Falls. During the awards gala on the second night Par-T-Perfect was recognized with two awards. 2014 CFA Awards of Excellence in Franchising Bronze Winner for "Non-Traditional Franchises – Mature/Established" presented by the Canadian Franchise Association (CFA). The CFA Awards of Excellence in Franchising are the pinnacle of franchise achievement in Canada and are the highest recognition a franchise system can receive from the CFA. Open exclusively to CFA Franchise System members who have been franchising for three years or more, … Continue reading
Par-T-Perfect Conference 2014!
In 2013, demand for Par-T-Perfect services reached its highest level ever. As 2014 began, our network of Par-T-Perfect operators met in Ottawa for our annual conference. Each year over three days our team focuses on new trends, services and safety measures. While we get lots of work done at our conferences, we also have lots of fun (as you can see from the pictures). We are excited to be introducing our new services over the next few months. When Par-T-Perfect began in1988, there was no company that specialized in event management for child or family oriented functions. Today, there are … Continue reading


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Let us know when your receive great advice so we can thank our lawyers and point others with similar questions in the right direction.Got it!
In FL-is it necessary to have audited financial statements prepared and disclosed within the UFOC in order to sell a franchise?
As a franchise attorney , this is a bit out of my area of expertise - helping companies franchise a business concept and advising individuals, as a franchise expert, on making franchise investments. However, I can say the following.
If your company meets the parameters of only having to file an unaudited balance sheet, which is usually the case for start-up franchise companies, that's all you'd need.
And the disclosure document is now called an FDD.
Your best bet is to consult with a franchise attorney directly. You can do a search here on AVVO and find them. Many will talk to you at no charge for an initial consultation.
Kevin B. Murphy, B.S., M.B.A., J.D.
Franchise Attorney & Franchise Expert
Director of Operations - Mr. Franchise
Irrespective of the registration state in which a FDD is filed, under the Federal Franchise Rule all franchisors must incorporate "audited" financial statements. However, if you are a start-up franchisor and meet certain criteria you may be provided with a limited "phase-in" period where you may initially file without audited statements, i.e. an unaudited opening balance sheet. However this phase-in applies only to your first fiscal year and provided that you meet other criteria.
To give a more definitive answer additional information the history of your company is required, i.e.:
Are you in your first fiscal year?
Is your company new to franchising?
Has your company produced audited financial statements in the past?
For additional information about the inclusion of audited financial statements in a FDD, I recommend the following article http://www.franchiselawsolutions.com/library/starting-a-franchise---item-21-financial-statement-disclosure-requirements.cfm
- Charles N. Internicola
The answer depends on whether the franchisor is a "start-up franchise system" within the meaning of the Federal Trade Commission's Franchise Rule. If the franchisor meets the definition of a "start-up franchise system," then it only needs to have an unaudited opening balance sheet included in its Franchise Disclosure Document during the franchisor's first partial or full fiscal year selling franchises.
You should consult with an experienced franchise attorney to help you determine whether the franchisor meets the definition of a "start-up franchise system" under the FTC Franchise Rule.Ask a similar question
If the franchisor is a new franchisor (start-up) the federal law only requires that the franchisor provide an unaudited opening balance sheet in the FDD (the replacement of the UFOC). FL does not have any specific requirement that is any different.
If you are looking to franchise your business or you are an individual looking to invest in a franchise, you should speak with an experienced franchise attorney. If you have further questions, I would be happy to speak with you. Please feel free to call me at 215-525-1165 x101. Good luck to you.
This response does not create an attorney-client relationship and is not intended to provide legal advice for your specific situation.Ask a similar question
Dear Florida, as my colleagues state, your Franchise Disclosure Document must comply with the FTC rule including financial statements requirement, which I have quoted below for your reference. Also, prior to offering a franchise in FL, you must also file A Notice of Exemption pursuant to Section 559.802 Florida Statutes (the Sale of Business Opportunities Act) and pay a fee of $100. You must file this annually.
Item 21 : Financial Statements . (1) Include the following financial statements prepared according to United States generally accepted accounting principles, as revised by any future United States government mandated accounting principles, or as permitted by the Securities and Exchange Commission. Except as provided in paragraph (u)(2) of this section, these financial statements must be audited by an independent certified public accountant using generally accepted United States auditing standards. Present the required financial statements in a tabular form that compares at least two fiscal years.
(i) The franchisor's balance sheet for the previous two fiscal year-ends before the disclosure document issuance date.
(ii) Statements of operations, stockholders equity, and cash flows for each of the franchisor's previous three fiscal years.
(iii) Instead of the financial disclosures required by paragraphs (u)(1)(i) and (ii) of this section, the franchisor may include financial statements of any of its affiliates if the affiliate's financial statements satisfy paragraphs (u)(1)(i) and (ii) of this section and the affiliate absolutely and unconditionally guarantees to assume the duties and obligations of the franchisor under the franchise agreement. The affiliate's guarantee must cover all of the franchisor's obligations to the franchisee, but need not extend to third parties. If this alternative is used, attach a copy of the guarantee to the disclosure document.
(iv) When a franchisor owns a direct or beneficial controlling financial interest in a subsidiary, its financial statements should reflect the financial condition of the franchisor and its subsidiary.
(v) Include separate financial statements for the franchisor and any subfranchisor, as well as for any parent that commits to perform post-sale obligations for the franchisor or guarantees the franchisor's obligations. Attach a copy of any guarantee to the disclosure document.
(2) A start-up franchise system that does not yet have audited financial statements may phase-in the use of audited financial statements by providing, at a minimum, the following statements at the indicated times:
(i) The franchisor' first partial or full fiscal year selling franchises. An unaudited opening balance sheet.
(ii) The franchisor' second fiscal year selling franchises. Audited balance sheet opinion as of the end of the first partial or full fiscal year selling franchises.
(iii) The franchisor' third and subsequent fiscal years selling franchises. All required financial statements for the previous fiscal year, plus any previously disclosed audited statements that still must be disclosed according to paragraphs (u)(1)(i) and (ii) of this section.
(iv) Start-up franchisors may phase-in the disclosure of audited financial statements, provided the franchisor:
(A) Prepares audited financial statements as soon as practicable.
(B) Prepares unaudited statements in a format that conforms as closely as possible to audited statements.
(C) Includes one or more years of unaudited financial statements or clearly and conspicuously discloses in this section that the franchisor has not been in business for three years or more, and cannot include all financial statements required in paragraphs (u)(1)(i) and (ii) of this section.
The foregoing is for informational purposes only and may not be relied on as attorney-client advice.Ask a similar question
My colleagues have given you the rules for financial statements. The exemption notice under the Business Opportunity Act is optional, not mandatory. However, due to the simplicity and minimal cost, it would be a huge mistake not to file it. If you do not file the notice the Act may still not apply if you do not meet any of the definitions. The safer course is to file.Ask a similar question
Most of the answers you have received are getting you on the right track. I am writing just to summarize and put the advice in perspective, as a Florida franchise attorney.
Florida is not one of the dozen-and-a-half states that heavily regulates franchises, i.e., it defers for the most part to the uniform guidelines offered by the Federal Trade Commission (FTC). Those guidelines provide for what was formerly called the Uniform Franchise Offering Circular (UFOC), now known as the Franchise Disclosure Document (FDD). By using the FDD, you open the door to offering franchises in Florida without further work (other than the annual filing of a simple, one-page form and paying Florida's annual fee --- the government wants its revenues). At the same time, you have opened the door to offering franchises, using the same offering document, in a majority of other states.
The FTC's guidelines for the FDD include the requirement of providing financial statements. Generally, yes, they must be audited. However, if the franchisor business entity is a new company, you do have a 3-year phase-in period during which time you transition from unaudited financials at the beginning to audited financials. And it usually makes sense, when starting a new franchise, to do so with a new entity.
Based on your questions (including the use of the term, UFOC, which was replaced 5 years ago now), sounds like you need to bite the bullet and get some legal assistance. Saving money on legal fees now can cost you a whole lot more in legal troubles later.Ask a similar question
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A plan for the improvement of Deer Creek Valley1 edition - first published in 1851
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There are young people in every part of the country who have a huge passion for the cheetah and who have come up with some super ways to share their knowledge about the cheetah and its threats with friends, family and schoolmates.
There are young people in every part of the country who have a huge passion for the cheetah and who have come up with some super ways to share their knowledge about the cheetah and its threats with friends, family and schoolmates.
Although cheetahs are not a species that are indigenous to Canada, you can see cheetah up-close in several wildlife conservation venues. Two accredited facilities in Canada – Toronto Zoo and Parc Safari in Hemmingford, Quebec – provide professionally-led and safe viewing of the cheetah. They are also working collaboratively with us to educate the public about cheetahs and the threats facing them.
Kids have created some great ways of helping the cheetah, both by spreading the word about them and raising funds that go directly to help the cheetahs at CCF Namibia.
See our Educational Resources Section below for additional background materials, website links, and visuals for all levels.
Kids as young as six years old are sharing their knowledge with their friends and classmates in organized events in schools. Of course, we also have young people well into their teens who are just as committed.
Here are just a few examples of our young cheetah enthusiasts focusing on cheetahs in their schools, in science, environmental studies and global sustainable development.
Presentation by Laurie Marker at a school near Toronto.
Kids love cheetahs, there's absolutely no doubt. And there is a growing number of socially aware children who are motivated to share their special day with a special cause. Nearly 50 children across Canada have celebrated their birthdays by raising funds for cheetah conservation through our connection with ECHOage, an online party service.
Through the ECHOage website,
These two sisters love cheetahs and celebrated with their friends.
December 4th is the day when the world joins together to emphasize the importance of saving the cheetah. Launched in 2012, International Cheetah Day is marked by conservationists, big cat specialists, scientists, environmentalists and everyone else who recognizes the importance of cheetahs and their ecosystems.
In 2015, CCF's affiliates around the world – Canada, Australia, Italy, France, Namibia the US, and the UK – joined with other partners supporting big cats, and shared key facts and solutions through social media to help save the cheetah in the wild. Follow us on Facebook and Twitter to join in on these activities.
In Canada, young people organized informational events and activities to celebrate International Cheetah Day, and also helped raise funds for our cause.
Check out our Top Cheetah Facts and our great resources below:
Teacher's Guide including lessons and supportive materials: A Predator's Role in the Ecosystem –


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23 April 2008,
London, South Kensington
Price realised GBP 500
MORISON, Robert, (1620-1683). Plantarum historiae universalis Oxoniensis. Oxford: P. & I. Vaillant, 1715-19. 3 volumes in 2, 2° (400 x 272 mm). Engraved frontispiece portrait bound in at beginning of vol. 3, 8 engraved tables, folding engraved plate with letterpress table, & 301 plates only (of 312), 279 of which printed recto & verso (folding plate chipped at corners and shaved close at head but without loss, very small hole to one plate, two plates lightly browned, two plates loose, small marginal hole to 3R1 in vol. 2 not affecting text, small hole to 2S4 in vol. 3 just touching a couple of letters, dampstain at gutter from 4A to end of vol. 3, gathering 4O loose in vol. 3). Contemporary vellum (slightly warped, worn with spines defective). Second edition complete with Plantarum Umbelliferarum Distrubutio Nova. 'Morison's [taxonomic] system was adopted by Paul Ammann and Paul Hermann, but generally found few followers. This situation perhaps reflected the relative isolation in which Morison had worked in his own lifetime: he seems, for example, never to have become a fellow of either the Royal Society or the Royal College of Physicians. He was frequently criticized for ingratitude to earlier writers, yet both Tournefort and Linnaeus looked back on him with justification as the principal pioneer of taxonomy in botany' (ODNB). Nissen BBI 1413. Sold not subject to return. (2)
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5 days RES/GEOMODEL
- Geologists, geophysicists, petrophysicists, reservoir engineers or petroleum engineers involved in integrated reservoir studies.
- This course provides participants with an understanding of all data types needed to build a reservoir model (seismic, geological, petrophysical and dynamic) and a clear understanding of the techniques related to reservoir modeling.
Learning Objectives
- Upon completion of the course, participants will be able to:
- recognize the techniques and challenges related to reservoir modeling (focus on reservoir properties),
- build required competencies for reservoir geoscientists to analyze a specific dataset and construct a reliable static model,
- apply the workflow for building a reservoir model using dedicated software,
- identify the uncertainties and assess them in order to reduce the risk and optimize the investments.
- No prerequisites for this course.
Ways and means
- Interactive presentations and hands-on activities using software dedicated for reservoir modeling (EasyTrace™ and Petrel™).
Basic principles - Reservoir characterization workflow 0.5 day
- Introduction and objectives.
- Case study: field presentation.
Project organization 0.5 day
- Project definition.
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- Manipulating scripts and Excel™ macros.
Structural modeling 1.5 days
- Structural context.
- Well correlation and stratigraphic data analysis.
- Constraining static model with dynamic data.
- Generating surfaces.
- Picking horizons and faults on seismic.
- Reservoir layering.
- Structural modeling.
- Mapping reservoir structures.
- Modeling results QC.
Rock typing & property modeling 1.5 days
- Scaling up logs - Comparison with rock types.
- Geostatistical tools.
- Facies modeling - Rock typing (EasyTrace™).
- Petrophysical modeling.
- Mapping result for QC: gross thickness, N-t-G, reservoir properties.
Volume calculation 1 day
- Volumetrics: quantification of accumulation for selected parameters.
- Sensitivity study on parameters.
- Key parameters determination for risk assessment.
Summary, synthesis & wrap-up
2017 course calendar
|Jun 19 - 23
|By email


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1 Introduction to Computers, the Internet and the Web
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Graduate Research Support Program
Search GPSA
Upcoming Events
No upcoming events scheduled...
Contact GPSA
P.O. Box 873402
Tempe, AZ 85287-3402
Phone: (480) 727-9870
Email: email@example.com
ATTENTION: The Director of Research, Roberto Rentería, will be holding office hours at the Tempe Graduate Student Center from 12:30-1:30PM on Mondays and Tuesdays (beginning August 28th) during the Fall 2017 semester to answer applicant questions about all GPSA research grant programs. You will be able visit him if you have questions about your application or would like feedback/advice before submission.
APPLICANTS: Please note you MUST remove your name from your CV/Resume when submitting your application, as this is a double-blind review process. This also means names of all authors must be removed from publications and/or presentations listed in your CV.
Fall 2017 Deadlines
Online application available: Thursday, August 17, 2017
Applications due: Sunday, October 1, 2017, by 11:59 PM AZ time
Awards announced: Early November, 2017
Spring 2018 Deadlines
Online application available: Friday, December 1, 2017
Applications due: Saturday, February 3, 2018, by 11:59 PM AZ time
Awards announced: Mid-February, 2018
Receipts for both Fall and Spring funding due: Friday, June 1, 2018 by 11:59 PM AZ time
Award ceremony: TBD
Application Instructions
Frequently Asked Questions
Administered by:
The Graduate and Professional Student Association
Sponsored by:
The Office of the Vice President of Research and Economic Affairs, and by The Graduate College
Arizona State University
2017-2018 Academic Year
The Graduate Education Research Support Program was created in 1980 through a joint venture of the Graduate and Professional Student Association and the Office of the Vice President of Research and Economic Affairs. One purpose of the GRSP is to promote excellence in Graduate education at Arizona State University. In 1996, this program was combined with the Graduate Education Research Award Program in order to increase resources available for student support. Currently, The Graduate College coordinates the reimbursement process and the GPSA oversees the Peer Review Committee, comprised of graduate students who review and recommend proposals for award.
- To promote excellence in graduate education at Arizona State University;
- To recognize and support quality graduate student research;
- To provide financial support for research projects that are not eligible for other sources of funding or for which funding is difficult to obtain;
- To support the successful completion of research required for a graduate degree;
- To provide graduate students with experience in developing and reviewing grant proposals; and
- To build Arizona State University's reputation as a leading research institution.
Selection Criteria
Funded proposals will demonstrate:
- Significant and meritorious research focus
- Sound research methodology
- Feasible project objectives given the one-year grant period (July 1 through June 30 of the current academic year)
- An appropriate and fully justified budget
- Justification for support by the GPSA in the light of alternate sources of funding
A candidate for grant allocations must be enrolled as a student at Arizona State University at the time of application and for the specified one-year funding period. The student must intend to complete her/his degree at Arizona State University.
Two levels of funding will be available: terminal (dissertation/thesis) and independent research.
- Up to $2000 is available for research approved by the student's dissertation or thesis committee.
- Graduate students conducting research other than the terminal project in their regular curriculum may apply for up to $750.
- Students may not apply simultaneously for both categories; only one proposal is accepted for review. Furthermore, only one award may be granted per degree (i.e., an applicant may not receive a terminal research grant for his/her thesis or dissertation more than once, however s/he may receive the $2,000 terminal research award for both a thesis project and also a dissertation project). The total amount requested in a proposal may not be awarded in full.
- Funds will expire June 30, 2018.
Please note that joint applications for co-applicants will not be accepted. Submit only one application per project.
Allowed Expenses
Research expenses may be purchased directly by The Graduate College or reimbursable. These items may include, but are not limited to:
Purchases made directly by The Graduate College:
- Equipment rental
- Materials and supplies
- Professional services for data analysis, typing, transcription, or copying which exceed a total cost of $1000
Reimbursable expenses
- Subject incentives, including consumable items such as food, and cash or cash equivalent (maximum $25.00 per participant per session, not to exceed $100 to participant in a calendar year; cash or equivalent is acceptable for GRSP)
- Travel to research facilities to collect pertinent data or conduct research
- Per diem (meals) while in travel status
- Professional services for data analysis, typing, transcription, or copying with a total cost below $1000
Please contact Melanie Brown, The Graduate College Academic Financial Specialist for details (480-965-5873) or email@example.com.
Requests for research expenses must include a justifiable budget with a detailed description of anticipated expenses within each category; justification is essential in the case of subject incentives. In the event that the Graduate Research Support Program cannot award a full grant, it is advisable that the applicants note funding priorities on the justified budget.
Prohibited Expenses
The Graduate Research Support Program will not approve the following:
- Equipment purchase (no laptops, no camera, etc.)
- Reimbursements for expenses greater than or equal to $1,000
- Tuition or remuneration of time spent on project
- Conference travel (although travel for data collection is allowed).
- Terminal publication charges (e.g., binding/printing of thesis or dissertation)
- Dissertation expenses (i.e., printing, editing, translation of dissertation, etc.)
- Services provided by ASU employees, which includes research assistants and students.
Awardees' Responsibilities
Funded grant recipients will:
- Be responsible for bringing project to completion within stated time period.
- Ensure appropriate expenditure of funds.
- Provide a final report on outcome of project.
- Acknowledge in any public presentation and publication of the results, the support provided by the Office of the Vice-President for Research and Economic Affairs, the Graduate Research Support Program, and The Graduate College.
- Be expected to present research in a forum during Graduate Appreciation Week.
- Be expected to serve as a future peer reviewer of JumpStart and GRSP.
Final decisions on proposals will be emailed to the applicants by the notification date listed on the GPSA website. Anonymous reviewer comments will become available to applicants within the online application system (ZoomGrants). Please reach out to the Director of Research (email@example.com) to receive your application feedback.
If duplicate sources of support for grant proposals are received and each fully funds the proposed project, recipients must choose one source. If a recipient accepts funding from another source, the Graduate Research Support Program funds must be returned to the Program. Duplicate awards involving partial funding by the Graduate Research Support Program will be reviewed on a case-by-case basis.
Written requests for budget changes and funding extensions will be considered on a case-by-case basis. All requests for grant extensions, budget changes and extensions must be submitted for approval to Katrina Roalson, Business Operations Specialist Sr. for The Graduate College.
As a condition of the Graduate Research Support Program award, all grant recipients are required to submit a electronic copy of a final report which is due upon completion of the research/creative project, thesis, dissertation or termination of educational pursuit. If the project is not completed within the one-year funding period, a progress report is due no later than April 30, 2018. This report should not be a copy of the thesis or dissertation, but rather, a summary of the research that clearly states the justifications and significance of the outcome. The copy of this final report must be 3 pages and turned in electronically to the Director of Graduate Research.
Copies of publications resulting from research funded by the Graduate Research Support Program should be submitted as soon as available. All publications, exhibitions or performances resulting from a grant shall acknowledge Graduate and Professional Students Association, The Graduate College, and the Office of the Vice Provost for Research as funding sources.
Awardees will be requested to present their projects during the Spring 2018 Graduate Appreciation Week Event.
Integrity Disclaimer:
Please note that all applicants for any GPSA program must submit their own unique, individual applications to all GPSA-funded programs. Students are not permitted to take any portion of content from prior student awardees for any reason whatsoever. Any student caught using the work (in any portion) from another student or copying their own material from a prior application will be considered in violation of GPSA's policy. Such action will prohibit the student in question from being eligible for the current application in consideration, and may inhibit eligibility for future GPSA funding applications. In summary, each application must be your own original work.
Given that we are a student entity within Arizona State University, GPSA mandates that all students act within the university's academic integrity policy found HERE.
All questions concerning the application process should be forwarded to the GPSA Director of Graduate Research.
2017-2018 Staff
Graduate & Professional Student Association
Director of Graduate Research: Roberto Rentería
Vice President of Internal Affairs: Sravani Vadlamani
Email: email@example.com
The Graduate College
Dean & Professor: Dr. Alfredo Artiles
Business Operations Manager, Sr: Katrina Roalson
Academic Financial Specialist: Melanie Brown
Interpretation and implementation of Graduate Research Support Guidelines and policy are the responsibility of the Director of the Graduate Research Support Program, the Vice President of Internal Affairs, and the Associate Vice Provost of the Graduate College.
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Please select an award year: 2015-2016 | 2014-2015 | 2013-2014 | 2012-2013


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Fit Fully Yours Response: Thank you for your feedback. Gloria has different fabrication used the Maxine. Slightly softer. Maxine will be available in lighter blush color early next year.
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Gloria Collection has a very soft fabric used and with proper care and hand washing (proper temperature) it will last a very long time, definitely way more than 6 months.
This is also depended on the number of regular wears and amount of washes between those wears.
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If the size you have ordered is not correct size for you this will for sure affect fit, support, comfort and customer satisfaction.
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Bank Chor has been in the news, even before a single shot has been taken. The reasons for it are aplenty.
First, it was supposed to be the big screen debut of ace comedian Kapil Sharma. But that didn't work out, and Kapil was replaced by Riteish Deshmukh. And now, the latest buzz is that Vivek Oberoi has joined the star cast of the film.
Apparently, Vivek plays the role of a CBI officer in this comic caper, which revolves around three wanna be bank robbers. Ritiesh plays the role of one of the bank robbers.
It'll be interesting to see whether Ritiesh and Vivek's next alliance, after the hugely successful Grand Masti (2013), will be just as successful.
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The Future | 2013
Orphaned, teenage Bianca takes care of her younger brother, Tomas. When his friends move in and use her as bait to help them pull off a heist, some unexpected good comes out of it for her.
Jump to
Astronauta Films
When her parents die in a car accident, teenage Bianca's world is turned upside-down, but now caring for her younger brother, Tomas, she struggles to hold it together. Things are further complicated when Tomas' gym-rat friends invite themselves over to stay indefinitely. Then they decide to use Bianca as a lure for a heist they've planned and convince her to engage in a sexual relationship with an enigmatic, blind hermit named Maciste. But as the two spend time together, Bianca unexpectedly finds normalcy and acceptance with the aging B-movie star and former Mr. Universe.


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Tampa Bay positioned itself for a big finish. Look who has the best record in baseball (hint: They don't play in the AL East). If it's Friday -- actually, just about any day -- there must be a change atop the NL West.
Thursday's heroes
State of the races
What's up today
Injury updates
Magic numbers (combination of wins by first-place team and losses by second-place team)
AL East: Yankees 10, earliest possible clinch Sept. 28; 3 to clinch playoff spot
AL Central: Twins clinched Tuesday
AL West: Rangers 4, earliest clinch Saturday
AL wild card: Rays 4, earliest clinch Saturday
NL East: Phillies 4, earliest clinch Saturday
NL Central: Reds 3, earliest clinch Saturday
NL West: Giants 10, earliest clinch Sept. 29
NL wild card: Braves 10, earliest clinch Sept. 28
IF THE PLAYOFFS BEGAN TODAY (team with home advantage listed first)
AL: Yankees vs. Rangers; Twins vs. Rays
NL: Phillies vs. Reds; Giants vs. Braves
By Paul White
Daily Pitch is a baseball fan's destination for breaking news, emerging trends and enlightening banter. With a veteran group of reporters positioned in three time zones, we provide a balanced, comprehensive glimpse at our national pastime, with a nod to both the passion and complexities that make the sport irresistible to many. More about our reporters


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I am no expert.
This I should warn you now.
However, I had a good teacher, and good teachers teach so others can learn. In the grand scheme of this lil' thing called life, we hopefully then go on to teach others what we have learned and pass on that priceless gift of knowledge to them.
My gift-giving skills may not be of interest to you.
My gift-giving skills may be way off.
My gift-giving skills could totally suck.
But here they are anyways. I hope Santa approves.
- ISO: camera's sensitivity to light
- aperture: depth of field (depends on the focal length of your lens + the distance you are from the subject you are shooting)
- shutter speed: how long your camera's opening is well…open
- white balance: compensation for the fact not all light is the same temperature (flourescent vs. natural vs. tungsten vs. yellow)
- metering: how a camera determines the correct exposure
- focus: distance your subject is from the camera
- lightbox: see here
Still confused? It's okay. I am too. Which is why we are taking this step-by-step (cue this 1990's sitcom theme song)…
As I mentioned above, ISO simply translates to how sensitive your camera is to light.
Have you ever been on the beach where the sun is shining SO brightly, that you can barely keep your eyes open because your corneas feel like they are being burned to death? Or, have you needed to shadoob in the middle of the night and groggily stepped through the pitch blackness of your house in desperate search of the toilet only to run straight into a wall?
I speak from experience on both accounts when I say our eyes are sensitive to light.
Just like the camera.
Since I took these pictures in a artificially-lit room at a high school at 8:00pm, the ISO of 800 obviously worked best. The more light, the less the camera needs to work to compensate for light (ahem, low ISO). The less the light, the more the camera needs to work to compensate for light (ahem, high ISO). It is also the reason why you may come upon "noise," or a grainy look, in your photos when you have a high ISO. The camera has to compensate in other areas to get the right lighting for your composition.
Here is a rough breakdown of when you want to use each ISO setting…
- ISO 100/200 = outdoor shots or indoor shots on a really sunny, bright day
- ISO 400 = extremely cloudy, dark day or normal inside shots
- ISO 800 = early morning or at night, when the sun has yet to come out and conditions are fairly dark
- ISO 1600 = extremely dark conditions
I think aperture is still the toughest one to wrap my mind around.
Probably because I'm pretty sure they purposely make it confusing.
On your camera, your aperture is likely going to range anywhere from f/3.0 to f/20. Like I said, this number is your depth of field, which in real human terms means how far you are away from what you want your camera to focus on. Do you want to focus whatever is exactly 3 feet in front of you? Or, do you want to focus on what's 3 feet in front of you and everything farther beyond that?
As most things in my world, sometimes it's easier to see it in pictures.
If you look closely, you'll notice two things: (a) my ISO was clearly not high enough, as these pictures are all slightly underexposed (a higher ISO would have given me more brightness and made the whites more "white") and (b) while it's slightly hard to see in these shots, the more things are in focus in each picture as I upped the aperture. Look above, and keep your eye on the ring – it's blurry at f/5.6 but in focus at f/10.
Again, a low-numbered aperture yields this (look at those center cookies clearly in focus!)…
…while a high-numbered aperture yields a big ol' picture with LOTS of things in focus (the trees! the snow! that barn way way way way in the back there!).
Get it?
Good, because things are about to get confusing.
The higher the number of the aperture (high = large depth of field), the SMALLER the lens opening is. And vice versa (low = smaller depth of field = LARGER the lens opening). It's confusing, I know. I go by the rule that if I have something like a landscape or a picture I envision everything being in focus (i.e. large group, skyline), I use a higher aperture. If I am taking close-up food shots or pictures of one specific thing I want in focus, then a lower aperture suits me just fine.
Alright, you have officially graduated from photography 101.
Because I've got a sink of dishes calling my Everythingtarian name and have yet to eat dessert, it's imperative I go and make both those things happen.
Next up: photography 102!


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How to Do a straight leap
Learn how to do a basic dance leap.
Learn how to do a basic dance leap.
Is there anymore tricks to do this because I am trying out for the festival ballet in providence ri and I really want to be in this company. I am also very flexible I have both legs down in my split and I am working on my over splits .


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The Rockwell Center for American Visual Studies at the Norman Rockwell Museum is the nation's first research institute dedicated to the integrative study of American illustration and its impact in our world. The Rockwell Center's goal is to enhance and support scholarship relating to this significant public art form, exploring the power of published images and their integral role in society, culture, and history, and the world of art―from the emergence of printed mass media in the mid nineteenth century to the innovations of digital media today.
Fellowship and Internship Opportunities for 2017
The Rockwell Center for American Visual Studies at the Norman Rockwell Museum is the nation's first research institute dedicated to the integrative study of illustration and its impact in our world. The Rockwell Center's goal is to enhance and support scholarship relating to this significant public art form, exploring the power of published images and their integral role in society, culture, and history, and the world of art―from the emergence of printed mass media in the mid nineteenth century to the innovations of digital media today.
We invite applications from academic scholars and curators for participation in the following programs, which are designed to advance research and access relating to this influential but understudied aspect of American visual culture.
Rockwell Center Society of Fellows 2017
Serious Thinking About Popular Pictures
Problems in the History and Criticism of Printed Images
Cultural engagement with the history of popular images has accelerated in the 21st century. There is a growing awareness that illustration and comics have mattered more in the cultural history of the modern period than has been properly recognized, and museum curators and academics have begun to work with popular materials to a greater degree than before. Institutional developments have paralleled rising interest in these topics.
And yet, despite increased engagement, the critical focus of most work has tended to be local, biographical and analytically underdeveloped. The Rockwell Center, in consultation with other institutional and critical participants in these somewhat inchoate fields, recognizes a methodological vacuum at the heart of popular image studies. Ideological biases and a lack of critical material continues to compromise our understanding of visual culture in a social context, which results in an incomplete view of our shared cultural history.
To address this critical lacuna, the Rockwell Center envisions a two-year project designed to bring leading thinkers and fresh perspectives to the study of published images, with the goal of producing a series of foundational statements of the emerging field, delivered via a broadcast symposia and published and digital volumes. The group will be convened twice a year, engaged in discussion and debate, and charged to pose and answer key questions for what may be an emerging discipline.
Despite their seeming invisibility to serious commentators, popular images and the social texts in which they were embedded (e.g., The Ladies' Home Journal, the Saturday Evening Post, Sports Illustrated) contributed to their audiences' sense of the culture in which they lived. How can such sources add to our understanding of the modern period?
Hierarchies and Exclusions
Aesthetic judgments have had an enormous impact on definitions of culture. They have insulated high culture from certain forms of scrutiny, but more importantly they have retarded serious cultural thinking about popular forms. In which ways do hierarchical distinctions offer valuable distinctions of persisting value? How may the democratic values of popular culture be rehabilitated for another era?
Useful Taxonomies
Due to the highly local, disparate and atomized character of much writing on popular images, we lack shared taxonomy and vocabulary for description and analysis. How might this problem be solved? Should it be, during an era of intellectual history that tends to prize the fluid and suspect the fixed?
Anonymity and Authorship
The lionization of authorship and cult of singular artistry has caused work of obvious cultural relevance to be shunted aside, or to be discussed as if no particular person or community of production created it. How can we overcome the cult of the creator while simultaneously respecting and interrogating communities of production in the absence of clear credits?
Canonical and Historiographical Questions
We are in need of reflection on whether and how to settle on sets of indispensably important practitioners. How do we speak of significance? Is there such a thing as the history of American illustration, or put another way, can there be a historiography of American illustration? How do the related fields of comics, cartooning and animated film participate in such narratives?
Languages of Formation & Visual Analysis
Humanists often engage popular images without proper visual training. Close looking is essential for successful encounters with images and objects, especially popular sources "hidden in plain sight." Why and how might familiarity with production methods matter? What approaches to training scholars in close looking might be imported from art and design training and/or art historical study?
The Rockwell Center for American Visual Studies seeks to engage a group of scholars and critics to explore, debate and write on key problems in the history and criticism of the popular printed image in the United States between 1850 and the present. The Center launches this effort to catalyze the creation of founding documents in the study of illustration and illustrated materials, an underdeveloped field.
Fellows will be expected to: meet twice annually; write one targeted paper per year; engage in dialogue with other Fellows; participate in a symposia or program; contribute to a privately maintained blog; and permit the Rockwell Center to publish designated works in order to disseminate the results of the seminar.
Application/Statement of Interest
The Center seeks to attract candidates for the seminar program with substantial experience and demonstrated interest in the study of and/or engagement with modern cultural production. Scholars, critics, curators and practitioners with at least five years of experience in their field are invited to apply. Demonstrated ability to engage with others in productive dialogue and exchange is required.
Fellows will receive a stipend of $5,000 per calendar year as well as travel expenses.
Interested parties should submit a statement of interest which responds to the Topics and Problems outlined above. Which areas are of interest to the candidate, and why? The Statement of Interest should not exceed 1000 words. In addition to the Statement of Interest, the application should include a cover letter, a current CV, a writing sample, and a list of three referees.
Senior Fellow/Project Leader
Douglas B. Dowd
Professor of Art and American Culture Studies
Sam Fox School of Design and Dowd Modern Graphic History Library, Washington University in St. Louis
Please send applications to:
Jana Purdy
Project Coordinator
Norman Rockwell Museum
Application Timeline:
June 9, 2017 Applications Due
July 14, 2017 Fellows Announced
October 2017 Society of Fellows First Convening
Rockwell Scholars Fellowship Program
The Rockwell Center for American Visual Studies awards annual fellowships promoting the scholarly study of American illustration art to advance understanding of the role of published images in shaping and reflecting culture. Rockwell Center Fellowships are open to senior scholars, advanced graduate students, and museum professionals choosing to pursue research or projects in or relating to the subject field of illustration art from diverse academic perspectives, including but not limited to Art History, American Studies, Visual Culture Studies, and History.
Rockwell Center Fellowships are awarded on an annual basis to four recipients
This fellowship may be used during the year/twelve month period for which it is awarded. The term of these grants may be carried out in residence at the Norman Rockwell Museum, the Fellow's home institution, or at another appropriate site.
Fellows will receive a stipend of $1,500 in support of their work.
Rockwell Center Senior Fellowships are intended for scholars with a distinguished publication record who hold a doctoral degree, or who possess an equivalent record of professional accomplishment at the time of application.
Rockwell Center Dissertation Fellowships are open to doctoral candidates who are currently working on dissertation research or writing in or relating to the field of American illustration art and visual studies.
Rockwell Center Fellow Application Requirements
Senior Fellow and Dissertation Fellow Applicants Should:
Offer a proposal for scholarly research focused on or relating to a topic about American illustration art or referencing published images. Although the topic may be historically and/or theoretically grounded, attention to the art object and/or image should be foremost. Projects must be object and/or culturally oriented, employing art historical or visual studies approaches.
Applications should include:
- Completed application form (available at www.rcavs.org)
- Research proposal (up to five pages, double spaced)
- Research bibliography
- Selected images
- Curriculum vitae
- Two letters of reference
Applications are due on June 9, 2017
The Walt Reed Distinguished Scholar Internship
The Rockwell Center for American Visual Studies offers a named, paid internship in honor of illustration historian, gallery owner, and author Walt Reed in recognition of Mr. Reed's lifelong commitment to scholarship relating to the art of illustration. This internship provides a unique opportunity for third and fourth year college and graduate level students interested in pursuing arts and museum careers to gain practical experience within a nationally accredited organization dedicated to the art of illustration in all its variety.
The intern will spend eight to ten weeks focusing on a project or projects established within the Curatorial/Exhibitions Department. The internship requires at least a four-day-a-week commitment including occasional weekend days.
The intern will receive a stipend of $2,500 in support of their work.
Application Timeline:
March 6, 2017 Applications Due
May 26, 2017 Walt Reed Internship Announced
Summer 2017 Internship Period
Send Applications for All Programs Attention To:
Stephanie Haboush Plunkett
Deputy Director/Chief Curator, Norman Rockwell Museum
firstname.lastname@example.com; 413-298-4100, ext. 208
Fellowship Recipients
Assistant Professor, Joint Appointment in the Art History Department and the Women's Gender, and Sexuality Studies Program, University of Connecticut
Research topic: Shinn and his Salamander
Dr. Alan Lupack and Dr. Barbara Tepa Lupack (joint application)
Alan Lupack is the Director of the Robbins Library & Adjunct Professor of English at the University of Rochester; Dr. Barbara Tepa Lupack is currently an independent scholar and formerly an Academic Dean, SUNY/ESC
Research topic: "Visions of Courageous Achievement": Moral Chivalry and American Arthurian Illustration in the Nineteenth and Early Twentieth Centuries
Jennifer Stettler Parsons
University of Virginia; McIntire Department of Art
Dissertation title: "John Sloan: Between Philadelphia and New York, 1892-1904"
Dr. James J. Kimble
Associate Professor at Seton Hall University in the Department of Communication and the Arts
Research topic: "Character Sketches: The Strange War Careers of Willie Gillis, the Kid in Upper 4, and Al Parker's Mother and Daughter"
Dr. Michael Clapper
Professor at Franklin & Marshall College, Department of Art and Art History
Research topic: "Maxfield Parrish: Popular Art as Fantasy and Commodity"
Ms. Andrea Truitt
University of Minnesota; Department of Art History
Dissertation title: "Exotic Interiors, Exotic Selves: Orientalized Domestic Space in the United States, 1880-1920"
Erin Corrales-Diaz
University of North Carolina at Chapel Hill; Department of Art
Dissertation title: "Remembering the Veteran: Disability, Trauma, and the American Civil War, 1861-1915"
Associate Professor of Art History, James Madison University, Harrisonburg, VA
Topic: "Graphic Consciousness: The Visual Culture and Institutions of the Industrial Labor Movement at Midcentury"
Emily A. Schiller
Ph.D. candidate at Pennsylvania State University, University Park, PA
Dissertation Topic: Unsettled Masses: Transportation in American Art During the 1930s and 1940s
Bryna R. Campbell
Ph.D. candidate at Washington University in St. Louis, MO
Dissertation Topic: Bodies in Crisis: The Comic Grotesque in American Caricature of the 1930s
Ranelle Lueth
Ph.D. candidate at University of Iowa, Iowa City, IA
Dissertation Topic: Conflicting Lines: World War I Combat Artists and Their Works
Professor of Art History in Modern and Contemporary Art, Criticism, and Theory, School of Humanities at Purchase College, State University of New York, Purchase, NY
Topic: "Becoming an Artist: John Sloan, the Ashcan School, and Popular Illustration"
S. Jaleen Grove
Ph.D. candidate at the State University of New York at Stonybrook, Long Island ,NY
Dissertation Topic: A Cultural Trade: Canadian Commercial Illustration at Home and in the United States


text: 1 images Ultrasonic Welding Machine Product Description Ultrasonic Welding Machines uses ultrasonic technology for welding, sealing and laminating of plastics and packaging. Plastic welding machines are converting the high frequency electrical energy into high frequency mechanical motion along with a mechanical force. That force creat Other Services , Alandur 600044 Ad posted about 2 days ago


text:
- piggishness
- noun see piggish
New Collegiate Dictionary. 2001.
New Collegiate Dictionary. 2001.
piggishness — noun The quality of being like a pig in ones character; greediness, boorishness, or obstinacy. The man was a glutton; his piggishness was legendary … Wiktionary
piggishness — See piggishly. * * * … Universalium
piggishness — pɪgɪʃnɪs n. resemblance to a pig, hoggishness; filthiness, dirtiness … English contemporary dictionary
piggishness — noun an excessive desire for food • Syn: ↑greediness, ↑hoggishness • Derivationally related forms: ↑piggish, ↑hoggish (for: ↑hoggishness), ↑greedy ( … Useful english dictionary
greediness — noun 1. an excessive desire for food • Syn: ↑hoggishness, ↑piggishness • Derivationally related forms: ↑piggish (for: ↑piggishness), ↑hoggish (for: ↑ … Useful english dictionary
hoggishness — noun an excessive desire for food • Syn: ↑greediness, ↑piggishness • Derivationally related forms: ↑piggish (for: ↑piggishness), ↑hoggish, ↑greedy ( … Useful english dictionary
piggish — adjective Date: 1820 1. of, relating to, or suggestive of a pig < a piggish snort > 2. having qualities associated with a pig • piggishly adverb • piggishness noun … New Collegiate Dictionary
piggish — piggishly, adv. piggishness, n. /pig ish/, adj. 1. resembling a pig, esp. in being slovenly, greedy, or gluttonous: piggish table manners. 2. (of food portions) indecently large. 3. stubborn. [1810 20; PIG1 + ISH1] * * * … Universalium
avarice — Synonyms and related words: acedia, acquisitiveness, anger, avariciousness, avaritia, avidity, avidness, cheapness, closefistedness, closeness, covetousness, craving, cupidity, deadly sin, desire, envy, frenzy of desire, frugality, fury of desire … Moby Thesaurus
avidity — Synonyms and related words: acquisitiveness, alacrity, animation, anxiety, anxiousness, appetite, avarice, avariciousness, avidness, breathless impatience, cheerful readiness, covetousness, cupidity, eagerness, elan, forwardness, frenzy of desire … Moby Thesaurus


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