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Suggested Readings for the Conference Holly Galbreath, PhD Scott. (2015). My Age of Anxiety. Penquin
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/* fix for jQuery UI library issues when using the date picker popup */ jQuery.browser = {}; (functi
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Senior Capstone Presentations Fall 2013 (link) view page
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view images descriptions print Filter AllCommunication, Media & Design ArtsMusicTheatre & Dance Sele
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ENVT Newsletter 2020-2021 (pdf) view download
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Senior Capstone Presentations Fall 2013 (link) view page
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Center for Media Studies, was another mentor to Reed. It was in his “Journalism Writing” course that Reed found her niche in photojournalism, a style that guides her work today. Between Stasinos and Wells, Reed began to iron out her next few years at PLU. “The faculty are amazing,” Reed said. “I don’t know that I would have stayed and finished a (biology) degree if I hadn’t been connected with Professor Stasinos and Professor Wells. They really helped me find the track that worked for me.” This might
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intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades
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intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades
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intricate patterns. All of the masks have small holes around the base of the helmet, which is where the black raffia skirts were previously attached. – Carli Snyder ’17, History, Women’s and Gender Studies Sources: Boone, Sylvia Ardyn. Radiance From the Waters: Ideals of Feminine Beauty in Mende Art. London: Yale University Press, 1986. McClusky, Pam. “Long Steps Never Broke a Back,” In Art From Africa. Princeton: Princeton University Press, 2002. Phillips, Ruth B. Representing Woman: Sande Masquerades
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