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captured his imagination and took him to a land, far, far away. “I was always drawing stop-motion movies and little drawings and cartoons in the sides of my textbooks and stuff like that,” he said. “And I was always borrowing my Dad’s video camera.” In high school, Perry took every art class he could find. And when he ran out of art classes, he started crafting coursework through independent study. He did the same thing at Pierce College, and then transferred to PLU. It was here his future career got

in schools over the last 30 years. “The question is asked: ‘Does a focus on test scores and graduation rates adequately represent the consequences of racial segregation in our schools?'” Cunningham said. The session also will present the results of a 10-year study of a school district that had its desegregation order lifted in 1999 and then stage a critical conversation between the authors of the study and a panel of critical scholars and civic leaders about questions raised by the study. Drawing

the student exhibit ignited a curiosity to dive deeper into Munch’s background beyond “The Scream.” “You get an immediate visceral, emotional reaction,” he said of Munch’s art. “It punches forward.” Iverson’s work is emotional, but more complex — drawing on lots of details to evoke feeling. “I tried to pare it down to make it more simplistic,” he said. He is submitting two pieces, one he previously finished and another he is still working on. The works are meant to convey grief. One is

testament to creativity, problem-solving, and dedication. Many of us don’t realize that art or math works aren’t typically creations of instant genius. Instead, drawing the perfect nose or proving a new mathematical result may take hours, days, or years of learning, effort, and repeated attempts. Sklar was inspired to work on the project by her interest in humanistic mathematics: “The notion that mathematics is, at heart, a human endeavor.” She also got involved as part of a lifelong mission to

replaced her fertility tincture with in a particularly cruel move to a woman already grappling with trouble conceiving. In addition to drugging her, Edward makes routine references to her insanity and also steals her husband’s correspondence to further isolate his victim and to make her question her belief in her own spouse’s affection. Esther is initially resistant to Edward’s attempts to destroy and discredit her as seen in an exchange between them in the drawing room with Lady Denham and Clara in

the famous autobiographical books. But the true saga of her life has never been fully told. Now, drawing on unpublished manuscripts, letters, diaries, and land and financial records, Caroline Fraser–the editor of the Library of America edition of the Little House series–masterfully fills in the gaps in Wilder’s biography. Revealing the grown-up story behind the most influential childhood epic of pioneer life, she also chronicles Wilder’s tumultuous relationship with her journalist daughter, Rose

to edit it out of the episode. Crystal Clarke shared the drawing, which depicts a blurry ménage à trois, to her Twitter afterwards (her tweet is no longer available except as a reference in her interview with The Pemberley Podcast). This exemplifies Georgiana’s humor and strong perspective, and it also shows how she is often censored. In Regency society, it is easier for her to be a muse than to be a creator. Meanwhile, it is socially acceptable for Charles to have her sit for hours while he

UK filtered through Cracknell’s twentieth-century film bears the imprint of a similar ideology. Mary’s persuasive genius is that she makes audiences laugh while drawing attention to power imbalances. If she makes us laugh, we need to ask: are we laughing at her or with her. Then we need to ask why, not childishly, but with open-eyed curiosity. Read Previous “You assume just because I hate something I don’t want to do it?” LATEST POSTS “You assume just because I hate something I don’t want to do

religious and historical tradition of Lutheranism, this does not and cannot mean that we all have to understand these ideas in the same way. Like the non-Huguenot villages of Le Chambon, some of us at PLU may connect and identify with these ties that bind drawing on our own experiences, histories, traditions and spiritual views. Nevertheless we, as a faith community, do share these commitments even if we act on them differently. Maintaining these ties that bind will also mean being attentive to our

personalization of language study brought about by the emphasis on communication in recent years, a traditional instructional relationship still dominates. In the foreign language classroom, the teacher’s language competence, reinforced by the students’ relative linguistic incompetence, can lead to the teacher’s over-controlling the production of meaning. Teachers must actively resist this tendency. Feminist pedagogy can inform the practice of foreign language teaching by drawing on cooperation rather than