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screencast where you discuss a student’s paper or project as it is displayed on your computer screen. Alternatively, the text-editor in Sakai includes an audio-recorder tool that allows instructors to embed 3 minute audio clips into any text box. Longer audio or video feedback can be shared as files uploaded to Sakai, or shared privately on Google Drive. Recorded instruction and communications are a great strategy to consider when teaching at a distance. Your students will appreciate hearing your voice
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-Lit 9: Mujer y Género, “Migas de pan” de Manane Rodríguez (Uruguay, 2016): memoria, mujeres y barbarie, co-organized by The University of Oregon, Portland State University, and Oregon State University Portland, OR (March 9-11, 2019) XXVIII Annual Meeting of the Association of Gender and Sexuality Studies (AEGS), Memoria(s) y saber(es): una aproximación a tres proyectos museísticos conosureños, Panel Giving Voice to the Voiceless through Narratives of Trauma and Healing, University of Illinois
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-Lit 9: Mujer y Género, “Migas de pan” de Manane Rodríguez (Uruguay, 2016): memoria, mujeres y barbarie, co-organized by The University of Oregon, Portland State University, and Oregon State University Portland, OR (March 9-11, 2019) XXVIII Annual Meeting of the Association of Gender and Sexuality Studies (AEGS), Memoria(s) y saber(es): una aproximación a tres proyectos museísticos conosureños, Panel Giving Voice to the Voiceless through Narratives of Trauma and Healing, University of Illinois
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pan” de Manane Rodríguez (Uruguay, 2016): memoria, mujeres y barbarie, co-organized by The University of Oregon, Portland State University, and Oregon State University Portland, OR (March 9-11, 2019) XXVIII Annual Meeting of the Association of Gender and Sexuality Studies (AEGS), Memoria(s) y saber(es): una aproximación a tres proyectos museísticos conosureños, Panel Giving Voice to the Voiceless through Narratives of Trauma and Healing, University of Illinois at Chicago (September 27-29, 2018
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pan” de Manane Rodríguez (Uruguay, 2016): memoria, mujeres y barbarie, co-organized by The University of Oregon, Portland State University, and Oregon State University Portland, OR (March 9-11, 2019) XXVIII Annual Meeting of the Association of Gender and Sexuality Studies (AEGS), Memoria(s) y saber(es): una aproximación a tres proyectos museísticos conosureños, Panel Giving Voice to the Voiceless through Narratives of Trauma and Healing, University of Illinois at Chicago (September 27-29, 2018
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primary composer of English church music from the late Renaissance. O beatum et sacrosanctum diem is a joyous Christmas motet from his 1612 collection Canciones Sacrae. Philips uses word painting throughout the work, as the voice parts imitate the sounds of instruments and hosts of angels singing endless praise. Philips was one of the most prolific Northern composers of Latin sacred choral music, with a few hundred surviving motets. British composer Alan Bullard composed the cheerful carol Glory to
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English literature. Since that epiphany, Barlow has become a leading voice on water conservation and the view that it is a resource that should be conserved and administered as a public, not private resource. Maude Barlow She has authored 16 books, including “The Politics of Water”, “Blue Gold” and her most recent book “Blue Covenant” (2007, The New Press). Barlow is the recipient of 11 honorary doctorates as well as many awards, including the 2005 Right Livelihood Award (known as the “Alternative
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fresh eyes,” said Barlow, who has a degree in English literature. Maude Barlow Since that epiphany, Barlow has become a leading voice on water conservation and the view that it is a resource that should be conserved and administered as a public, not private, resource. She has authored 16 books, including “The Politics of Water”, “Blue Gold” and her most recent book “Blue Covenant” (2007, The New Press). Barlow is the recipient of 11 honorary doctorates as well as many awards, including the 2005
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. Was there a learning curve? A huge learning curve. I was terrified and excited, especially working with such amazing people. And writing for the human voice — I had sung in choirs but opera was a whole new musical world. It was very humbling in a lot of ways. I studied a lot, listened to a lot of singers, wrote a lot, shared with Stephen, wrote again, shared again. The opera was workshopped twice with the singers and that was the biggest education for me because I was getting immediate feedback
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voice. And, most important, have the COURAGE to follow your heart and intuition. They already know what you want to become. Everything else is secondary.” Now I realize this may sound somewhat familiar, because during your PLU days, we have exhorted all of you to “reflect on the big enough questions,” to begin exploring your sense of life’s calling and vocation, to understand your talents in the context of the world’s needs, and to reach out boldly for the brass ring we have so often shorthanded
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