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By: Darlene D. Francis PhD

  • Associate Professor, Public Health
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https://publichealth.berkeley.edu/people/darlene-francis/

If I see just one author or not much progress based on pages read spasms on right side of head purchase mefenamic discount, I conference with the student spasms gerd mefenamic 500mg overnight delivery. I do not want them wasting their time when there are so many "good reads" waiting to be discovered spasms 1983 imdb buy mefenamic online from canada. I often rely on students who have discovered delicious books to share their appetites with peers spasms esophageal buy mefenamic 500 mg line. Students also make recommendations of books to read aloud and/or purchase for the classroom library. I send a letter home at the beginning of each new semester outlining the workshop structure of the class: two days of Writing Workshop, one day of "Wanna Read" Workshop, and two days of Literature Workshop. I emphasize that the goal of the class is to immerse students in the real work of reading and writing. I have had my share of angry phone calls that usually begin with the question, "Why are you letting my child read this stuff One mother even called to assure me that she had done everything right at home (read to her son as a child, reads herself) and she wanted me to know that she valued the reading we were doing in class even though she knew her son complained about it. We went on to form a friendship around our shared love of reading and shared frustration that her son was not yet a passionate reader, although he did make some progress. As she made her request, the thought ran through my mind, " I am tenured but I could lose my job over this one. Having watched my high school students explore choices and have time to read, I am convinced that they are all readers. They had developed the habit of rejecting reading that came out of school expectationsEnglish-teacher good intentions. In a recent "Wanna Read" Workshop survey, one sophomore listed her favorite authors as Stephen King, Edgar Allan Poe, and Emily Dickinson. I work to provide time to write, time to discover, explore, and connect with literature, and time to read for love. To embrace the time to read for love, I had to rediscoveror admit tothe part of me that reads for love. Stephen King, It it is one of the most frightening novels that Stephen King pennedthe title character a leering, evil force that comes in the guise of a smiling clown. When the genres of romance, horror, and "Teen Zines" become part of the literature read in class, what are the benefits Too often, when educators explore questions of pedagogy that affect the everyday classroom life of students, we ruminate and speculate without turning to our real informants, the students themselves. These adolescents have a lot to teach us about how popular literature helps them develop lifelong reading habits, consider new angles on issues of social justice, and find places for themselves in reading communities. In this article, I invite you to listen to the voices and words of several students as they write, read, and discuss the books that they choose to read when they are allowed to bring their reading interests and passions into the classroom. Instead, many educators believe this can be a successful alternate route to achieving them. Our protectiveness is a deeply loving and a deeply misguided effort to keep our kids inside the bounds of what we know is safe and sure. One of the students, Joe, read books by authors from Jack London to Gary Paulsen to Alan Dean Foster. But it was in the books that reflect his current interests, such as Star Trek Log One, that he demonstrates his understanding of more complex literary concepts, as the following letter shows: Dear Mr. My favorite part is during Yesteryear when Spock goes back thirty years in Vulcan history and meets himself as a seven-year-old. Sometimes when a particularly suspenseful or pressing situation is going on the arguing can break the mood. Joe In this entry, Joe demonstrates a sophisticated understanding of the role of comic relief in the story, as well as the development of the different characters and their relationship to each other. These books are good for just reading and reading because I can finish the books in around two hours if I just read. I closed my eyes and let them feed themselves, sort of on the model of those eating habit advisors who suggest that you let them graze at will because somehow, they will crave the good" (p. And they do go on to "crave the good," mixing it with the pure fun reading as we all do as "real readers. From time to time, she condescends to my literary tastesI like a good murder mystery now and then.

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The replicas of the portrait spasms near elbow discount mefenamic 250mg mastercard, which show more of the figure than the unfinished original spasms with broken ribs 500mg mefenamic with visa, are abbreviated bust-length images that depict Washington in a black velvet suit infantile spasms 2 year old buy discount mefenamic on line, which he wore for public 2410 muscle relaxant mefenamic 250 mg low cost. His powdered hair is tied back with a black ribbon that is barely visible in the shadows at the back of his head. In the two examples owned by the Corcoran, he painted the lighter tones of the face and shirt with a thick impasto or pastelike paint, returning when it had dried to refine the modeling and add darker details with more fluid brushwork. The darker background, which was painted last, was brought up to the contours of the figure. The amount and type of detail in the example from the Clark collection suggests a slightly earlier date than the second portrait owned by the gallery, whose first owner was the Washington resident John Tayloe. In the Clark version, whose history before 1895 is unknown, Stuart painted a lacy shirt ruffle, a feature it shares with several other early replicas, including one owned by Thomas Lloyd Moore of Philadelphia (Sterling and Francine Clark Art Institute, Williamstown, Mass. Without knowing the identity of the early owner of the portrait from the Clark collection, a Philadelphia provenance cannot be firmly established. In 1801 Corcoran was appointed to the Levy Court of the District of Columbia as a justice of the peace by the recently elected American president Thomas Jefferson. This tax court, on which he served until his death, made important decisions about the governing of the city. He was also mayor of Georgetown for four different terms and a founder and trustee of Columbian College, which subsequently became the George Washington University. Polk married Ruth Ellison in about 1785, and in 1791 the family settled in Baltimore. He painted portraits there and in western Maryland and northern Virginia during the following decade. By the time of the presidential election of 1800, Polk was living in Frederick County, Maryland. A supporter of Jefferson and his party, Polk found that his liberal politics were at odds with those of the residents, who were conservative Federalists. Seeking a political appointment in Washington, he wrote to James Madison that the people who could afford portraits were "a Class of Citizens, whose political principles seem to have forbidden. In Washington, Polk continued to paint portraits on occasion until his last dated work of 1810; among these were the Corcorans. They may have met at the Presbyterian Church, which the Corcorans belonged to until 1804. Polk attended services there for three years and painted portraits of several sitters who were pew holders. The fringed green curtain behind each figure helps to form a symmetrical setting when the pendants are hung as a pair. Corcoran, who was probably approaching fifty years of age when he was painted, wears a russet red suit with metal buttons and a double-breasted white vest with a diamond-shaped pattern in the fabric. His wife, in her thirties, wears a dress in the new French Neoclassical style, with a high waist and low-cut bodice. It is made of a delicate white fabric, probably cotton, with a woven pattern of small rosebuds. She holds a pink rosebud in her right hand, and on the table nearby is a vase with two pink roses in full bloom and two pink rosebuds. Instead, the text and the tripartite configuration of the paper indicate that it is a legislative document, folded when in use during congressional meetings. The writing on the center section is the endorsement page, which identifies the legislation, while the text would be on the reverse side. The closest debate took place in the Seventh Congress in the spring of 1802 and concerned the "Act to incorporate the inhabitants of the City of Washington, in the District of Columbia. As the Johnson scholar Carolyn Weekley has noted, the birth of Mary Jane in about 1802 likely explains the rather unusual circumstance of a second McCurdy portrait commissioned from the painter within such a short span of time. The mother and older daughter delicately grasp strawberries (both loose and in a basket) and a parasol, decorative props of the type Johnson often used. In his portrait of the McCurdys, Johnson integrates these characteristic traits into a strikingly simple arrangement unified by subtly complex details. The straightforward, if somewhat awkward, female bodies nearly fill the picture plane.

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Historically spasms gerd buy mefenamic 500 mg mastercard, large numbers of sap-feeding and foliage-feeding insects accidentally entered the United States when unregulated imports of plants allowed infested plants to freely enter the United States in large numbers (Liebhold and Griffin 2016) muscle relaxant drug class order mefenamic online from canada. These trends plus the advent of more efficient trans-oceanic shipping technologies spasms hip generic mefenamic 250 mg overnight delivery. The search for quarantine treatments for goods and commodities is a broad and active area of research muscle relaxant dogs 250 mg mefenamic mastercard. For example, new solutions are being sought to disinfest ballast water of aquatic alien invasive species. Many approaches focus on specific technologies, while systems approaches rely on integrating several techniques to rid a commodity of invasive species when any one technique may be insufficient to achieve a desired biosecurity standard (Follett and Neven 2006). The Forest Service is actively conducting research to identify quarantine treatments capable of eliminating invasive pathogens or insects from wood or wood products. Specifications for these treatments were developed, in part, from investigations conducted by the Forest Service Research and Development scientists (Haack and Petrice 2009). Part of this work included quantifying the rate at which wood-boring insects have entered the United States and their economic impacts (Aukema et al. Concomitantly, research on promising alternatives to methyl bromide has been ongoing since the early 1990s. Although log schedules have been devised and set between countries engaged in log trade, no comprehensive, international convention has been established for treatment of whole logs in international trade. Past testing of heat treatment focused on insect and nematode pests, but this has recently shifted to evaluating the 56/30 standard for its utility to kill fungal pathogens in wood. Vacuum plus steam thermal treatment is currently being evaluated as an alternative to heat treatment and fumigation for eliminating invasive insects and tree pathogens in logs. Log degrade was minor, and product (veneer) quality was unaffected in a vacuum steam trial with logs from five hardwood species (Chen et al. Dielectric heating with microwaves or radio frequencies simultaneously heats throughout the wood profile as compared with kiln and oven treatments that rely on thermal conduction from outer wood to the core. Microwave treatment is more rapid and similar in efficacy to previously tested treatments for this pest. Further investigations are needed to ensure that minimum lethal temperatures for target pests are reached and that the desired internal temperature is reached based on predictions from surface temperatures. The best available fumigant alternative options for quarantine-level disinfestation of logs and other wood products are sulfuryl fluoride and phosphine as their use at the commercial scale would require few or no changes to current industry practices and infrastructure. Data on pest eradication efficacy and economic viability have been the focus of recent and ongoing research on these alternatives. Because high doses of methyl bromide over a significant time period are required to kill pinewood nematodes and the oak wilt fungus (Bretziella fagacearum), much of the ongoing fumigant research has been focused on these organisms (Schmidt et al. The goal is to prevent the introduction of seemingly beneficial species from causing unintended environmental, economic, or social harm. Pest risk assessment is not a pan- 6 Early Intervention Strategies for Invasive Species Management: Connections Between Risk Assessment, Prevention Efforts. Adjusting surveillance efforts to account for spatial variation in the likelihood of pest establishment can substantially reduce overall management costs (Epanchin-Niell et al. These strategies hinge on effective surveillance of the landscape to locate and recognize new species incursions while those populations are localized (Venette et al. Often the landscape is enormous relative to the resources that are available to conduct surveys.

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Robert Irwin spasms throughout my body buy discount mefenamic, for example muscle relaxant and anti inflammatory buy 250 mg mefenamic with mastercard, is a contemporary American artist who makes work that is often difficult to describe and to reproduce because of its subtlety muscle relaxant that starts with a t mefenamic 500mg for sale. Recall muscle relaxant 24 buy mefenamic 250mg line, from chapter four, that the abstract painter Sean Scully clearly stated that, in his mind, his paintings were abstract, but that they were also about social content, such as power in relationships. Were Manet here today, we might ask him and he might tell us if he was aware that the reflections in the mirror do not match optical reality and if he meant them to be the way that they are. Perhaps he was not merely inept at painting reflections, as some of his contemporary critics claimed. If the distorted reflections are the way he meant them to be, he might tell us why he meant them to be that way. If Manet did not intend the man in the hat with the cane to be a surrogate for us, the viewers, does that mean that he is not I once taught a high school student, Marick, who completed an assignment to make a three-dimensional self-portrait in clay. In the midst of our interpretive discussion, Marick interrupted, objecting that we were all wrong, that his self-portrait did not mean any of the things that we said it meant and that, furthermore, in fact his sculpture meant nothing because he did not want it to mean anything. This book does not assert, however, that the work necessarily means what the artist wants it to mean. To believe that a work of art means what its maker intended it to mean is to adhere to what is known in criticism and aesthetics as an Intentionalist position of interpretation. Another obvious objection to Intentionalism is that artists may not have actually produced what they intended to make: "an author may intend something not in fact said and say something not in fact meant. Actual Intentionalism is the view that the meaning of a work of art is what its actual maker meant it to mean. Someone may say, "the bat is on the mat," but intend to mean, "the cat is on the mat. This book rejects both extremes and promotes a middle view: the meaning of a work of art is not limited to the meaning the artist had in mind when making the work; it can mean more or less or something different than what the artist intended the work to mean. Some artists are not particularly articulate in verbal language: that may be one of the reasons why they paint, draw, or photograph rather than write! Intentions become mere everchanging, ever-updated, flexible instruments for the conduction (not the definition) of the art being made. It is impossible to compare works of art to the original intentions of the artist. The deeper (departure) intentions and the formal (arrival) meaning of the art are often unknown to the artist him/herself and a matter of continuous, unfinished, unending cultural discourse for its audience.

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References:

  • https://medcraveonline.com/JMEN/JMEN-07-00248.pdf
  • https://www.pnas.org/content/pnas/101/27/10012.full.pdf
  • https://s3.amazonaws.com/arena-attachments/676924/2a23a0dc2d9b327108aaf78e6b6a2bd0.pdf
  • https://scdhec.gov/sites/default/files/Library/ML-017049.pdf
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