Organization:
1 2 3 4 5
--inviting introduction
--information was presented in a logical sequence from beginning to end
--used transition words/effective use of language
--had a conclusion
Presentation:
1 2 3 4 5
--spoke clearly and loudly
--used eye contact with audience
--information presented was creative and interesting
--gave opportunity for questions at end of presentation
--presentation appeared to be prepared, rehearsed, and was presented smoothly
Content:
1 2 3 4 5
--seemed to be well informed about subject presented
--was able to teach the critical attributes of the topic
“Are we teaching what we think we are teaching?”
“Are students learning what they are supposed to be learning?”
Wednesday, June 06, 2007
HELP WITH WRITING RESEARCH PAPERS
Writing, Research and Documentation Guides
Research Writing Style Guides List of Search Engines and Boolean Logic
Guides to Evaluate Web sites Guide to Evaluate non Web-based Sources
Searching the WWW Guide to Research at GMU GMU Library - Help with Research
Honor Code and Plagiarism Guidelines
..........
Sample in-text citation style Sample reference page style guide
................
1. SITUATE YOURSELF
When is your paper due? Mark the due date for the draft and the final version on your calendar.
Carefully reread the assignment. Make a list of the key terms which help identify what you need to do.
2. BRAINSTORM
Think about what topics interest you that meet the criteria for the assignment? Why do these topics interest you?
Use an approach suited to your learning style - For example, list ideas; make an outline; draw a circle - insert your main idea and then draw smaller circles named with possible subtropics; draw a tree with branches simulating sub topics; free write ideas without censoring them in your head.
What do you hope to learn from researching any of these topics?
Who will be your audience? What will your audience get out of learning more about this topic?
3. DO RESEARCH [You can't write a good research paper without good sources.]
Ask a librarian for help in finding materials. The university library will have more scholarly material than a public library.
Specialized encyclopedias (dealing with specific disciplines) are good sources to help you find topics. A few examples in the sciences are: McGraw-Hill Encyclopedia of Science and Technology, Magill's Survey of Science: Life Science Series, Encyclopedia of Computer Science and Technology, American Medical Association Encyclopedia of Medicine. The Arts and Humanities also have such references.
Familiarize yourself with the search strategies of the databases you are using to find sources.
What key words/phrases will you use to find your information?
What databases - (online, CD ROM, library resident) would be appropriate for finding resources?
Be discriminating in your selection of sources. It is generally best not to just rely on Web resources for a research paper. Most scholarly sources are not yet on the Web or are only available to paid members of scholarly organizations. Much information on the Internet is not reliable. Of course, a lot of information in print is also not credible. Be a discerning researcher. Review these guidelines for evaluating sources. Here are some guidelines for evaluating Web resources. If your sources are not credible, your paper will not be credible.
Can you find enough information, given the kinds of resources you are expected to use?
Is your level of understanding of the subject sufficient to understand and interpret the sources?
Are the sources credible? Look at authority/credentials of author/s, connection to subject, credibility of publication, supporting evidence.
Are the sources current? Out of date information is particularly troublesome in rapidly changing fields like science and technology.
Are they sufficiently scholarly, written by experts in the field about which you are writing?
Do you have access to them?
4. ORGANIZE YOUR IDEAS
Review the information you have gathered on the subject for variety, appropriateness, depth of coverage. Make copies of the source material. Take notes (Use a 3x5 card for each source and/or keep computer records.) on each source. Cards are good to help you sort out the placement of the material in your paper. Include all key information, such as: author/s' names, title of journal/ book, title of article/ chapter, page numbers, date of article, Web address, database you used to find the source, key term/s used to find the source, pertinent information (Note whether or not you are quoting or paraphrasing the pertinent information.). These records can help you find the material again if you lose the original source. You will need the info. for your bibliography/reference page and also show your teacher if she/he requests to see your sources.)
Read and take notes on your sources.
Put similar ideas together. Is there a pattern? Can you find a central theme? (If not, perhaps your sources cover too broad a range.)
Make an outline (Be willing to change the outline if , after reading writing a first draft you can see your pattern is changing. The outline is a road map. If you go in another direction, change the map. But be sure your new direction is a valid one.
Write a preliminary thesis statement. (Your thesis statement is generally one or two sentences which state your central points . It is NOT your approach to writing the paper. It is NOT a question. It is more likely the answer to the main questions you are seeking answers to in your research.) In your research paper, the thesis is generally positioned at the end of the introductory material, which sets up your subject. Be willing to revamp your thesis as your understanding of the issues increases and your main point gets more precise.
5. START WRITING
Begin where you feel comfortable. If you are stuck on the intro, begin in the middle! The point is to get those ideas out. You can reorganize later. Be willing to throw out some of your preliminary writing. This writing is often a bridge to where you want to go and once you get there you may not need the preliminary writing anymore.
Don't correct grammar, punctuation, spelling at this time. Censoring yourself will interfere with the creative juices.
6. STEP BACK AND REVIEW WHAT YOU HAVE WRITTEN
After you have a fair amount, read out loud what you have written. Record yourself reading your text and play it back.
Don't do fine-tuning or editing at this point; you are still in the formative stage.
What is working and what needs clarification?
Ask someone else to read what you have written, preferably someone familiar with the assignment. If you are a member of a peer response group, they should be your primary responders.
Do you stick to your focus? Are your points substantive? Do your sources adequately support your points?
7. REVISE AND CHECK YOUR PAPER FOR THESE PRINCIPLES OF GOOD WRITING
Reexamine your thesis. Do the central topic and sub topics relate to your thesis?
Do you use the sources to support points you make in your own words, or are you just regurgitating information from sources and letting them speak FOR you? Paraphrase when possible to show you understand and can interpret the material accurately. Paraphrasing means to accurately restate the points in your own words.
What parts need more detail, evidence? (Cite all sources, whether quoted or paraphrased.)
What parts need reorganization, sharper focus?
What sections need clearer transitions between ideas?
Does the introduction adequately set up the subject and thesis? (The thesis is generally at the end of the introductory paragraph.)
Are the paragraphs cohesive? Your paragraphs should focus on particular aspects of the main topic.
Does the conclusion tie in with the thesis? If the thesis and conclusion don't match, chances are in writing your paper your views on the subject changed. You may need to change your thesis/ rethink your position.
Are sentences grammatically correct?
Are your sentences varied in length and structure and emphasize main points?
Do your sentences express ideas clearly and concisely? Are they punctuated correctly?
Are your words concrete and appropriate for the subject and audience? Using "big words" to impress readers often backfires. Keep it simple is generally a good rule.
Does your paper follow the exact format required? APA? MLA? or another form?
IS YOUR PAPER INTERESTING?
Did you get someone else to respond to questions you have about your paper? A second opinion can be helpful.
8. REVIEW AND REFINE FORMAT
Review the required research style guidelines.
Be sure quotes and paraphrases are properly cited (in the form required) in the text of your paper.
Be sure your reference/bibliography page is properly documented (MLA?, APA? another form?). Research styles have rigid formats. Don't mix and match styles.
Be sure that each source used in your paper is also listed in the appropriate form in your reference/bibliography page.
Review the style guide for proper cover page, page numbering format.
Get a final reading from someone else.
9. RELAX - You did it!!
Research Writing Style Guides List of Search Engines and Boolean Logic
Guides to Evaluate Web sites Guide to Evaluate non Web-based Sources
Searching the WWW Guide to Research at GMU GMU Library - Help with Research
Honor Code and Plagiarism Guidelines
..........
Sample in-text citation style Sample reference page style guide
................
1. SITUATE YOURSELF
When is your paper due? Mark the due date for the draft and the final version on your calendar.
Carefully reread the assignment. Make a list of the key terms which help identify what you need to do.
2. BRAINSTORM
Think about what topics interest you that meet the criteria for the assignment? Why do these topics interest you?
Use an approach suited to your learning style - For example, list ideas; make an outline; draw a circle - insert your main idea and then draw smaller circles named with possible subtropics; draw a tree with branches simulating sub topics; free write ideas without censoring them in your head.
What do you hope to learn from researching any of these topics?
Who will be your audience? What will your audience get out of learning more about this topic?
3. DO RESEARCH [You can't write a good research paper without good sources.]
Ask a librarian for help in finding materials. The university library will have more scholarly material than a public library.
Specialized encyclopedias (dealing with specific disciplines) are good sources to help you find topics. A few examples in the sciences are: McGraw-Hill Encyclopedia of Science and Technology, Magill's Survey of Science: Life Science Series, Encyclopedia of Computer Science and Technology, American Medical Association Encyclopedia of Medicine. The Arts and Humanities also have such references.
Familiarize yourself with the search strategies of the databases you are using to find sources.
What key words/phrases will you use to find your information?
What databases - (online, CD ROM, library resident) would be appropriate for finding resources?
Be discriminating in your selection of sources. It is generally best not to just rely on Web resources for a research paper. Most scholarly sources are not yet on the Web or are only available to paid members of scholarly organizations. Much information on the Internet is not reliable. Of course, a lot of information in print is also not credible. Be a discerning researcher. Review these guidelines for evaluating sources. Here are some guidelines for evaluating Web resources. If your sources are not credible, your paper will not be credible.
Can you find enough information, given the kinds of resources you are expected to use?
Is your level of understanding of the subject sufficient to understand and interpret the sources?
Are the sources credible? Look at authority/credentials of author/s, connection to subject, credibility of publication, supporting evidence.
Are the sources current? Out of date information is particularly troublesome in rapidly changing fields like science and technology.
Are they sufficiently scholarly, written by experts in the field about which you are writing?
Do you have access to them?
4. ORGANIZE YOUR IDEAS
Review the information you have gathered on the subject for variety, appropriateness, depth of coverage. Make copies of the source material. Take notes (Use a 3x5 card for each source and/or keep computer records.) on each source. Cards are good to help you sort out the placement of the material in your paper. Include all key information, such as: author/s' names, title of journal/ book, title of article/ chapter, page numbers, date of article, Web address, database you used to find the source, key term/s used to find the source, pertinent information (Note whether or not you are quoting or paraphrasing the pertinent information.). These records can help you find the material again if you lose the original source. You will need the info. for your bibliography/reference page and also show your teacher if she/he requests to see your sources.)
Read and take notes on your sources.
Put similar ideas together. Is there a pattern? Can you find a central theme? (If not, perhaps your sources cover too broad a range.)
Make an outline (Be willing to change the outline if , after reading writing a first draft you can see your pattern is changing. The outline is a road map. If you go in another direction, change the map. But be sure your new direction is a valid one.
Write a preliminary thesis statement. (Your thesis statement is generally one or two sentences which state your central points . It is NOT your approach to writing the paper. It is NOT a question. It is more likely the answer to the main questions you are seeking answers to in your research.) In your research paper, the thesis is generally positioned at the end of the introductory material, which sets up your subject. Be willing to revamp your thesis as your understanding of the issues increases and your main point gets more precise.
5. START WRITING
Begin where you feel comfortable. If you are stuck on the intro, begin in the middle! The point is to get those ideas out. You can reorganize later. Be willing to throw out some of your preliminary writing. This writing is often a bridge to where you want to go and once you get there you may not need the preliminary writing anymore.
Don't correct grammar, punctuation, spelling at this time. Censoring yourself will interfere with the creative juices.
6. STEP BACK AND REVIEW WHAT YOU HAVE WRITTEN
After you have a fair amount, read out loud what you have written. Record yourself reading your text and play it back.
Don't do fine-tuning or editing at this point; you are still in the formative stage.
What is working and what needs clarification?
Ask someone else to read what you have written, preferably someone familiar with the assignment. If you are a member of a peer response group, they should be your primary responders.
Do you stick to your focus? Are your points substantive? Do your sources adequately support your points?
7. REVISE AND CHECK YOUR PAPER FOR THESE PRINCIPLES OF GOOD WRITING
Reexamine your thesis. Do the central topic and sub topics relate to your thesis?
Do you use the sources to support points you make in your own words, or are you just regurgitating information from sources and letting them speak FOR you? Paraphrase when possible to show you understand and can interpret the material accurately. Paraphrasing means to accurately restate the points in your own words.
What parts need more detail, evidence? (Cite all sources, whether quoted or paraphrased.)
What parts need reorganization, sharper focus?
What sections need clearer transitions between ideas?
Does the introduction adequately set up the subject and thesis? (The thesis is generally at the end of the introductory paragraph.)
Are the paragraphs cohesive? Your paragraphs should focus on particular aspects of the main topic.
Does the conclusion tie in with the thesis? If the thesis and conclusion don't match, chances are in writing your paper your views on the subject changed. You may need to change your thesis/ rethink your position.
Are sentences grammatically correct?
Are your sentences varied in length and structure and emphasize main points?
Do your sentences express ideas clearly and concisely? Are they punctuated correctly?
Are your words concrete and appropriate for the subject and audience? Using "big words" to impress readers often backfires. Keep it simple is generally a good rule.
Does your paper follow the exact format required? APA? MLA? or another form?
IS YOUR PAPER INTERESTING?
Did you get someone else to respond to questions you have about your paper? A second opinion can be helpful.
8. REVIEW AND REFINE FORMAT
Review the required research style guidelines.
Be sure quotes and paraphrases are properly cited (in the form required) in the text of your paper.
Be sure your reference/bibliography page is properly documented (MLA?, APA? another form?). Research styles have rigid formats. Don't mix and match styles.
Be sure that each source used in your paper is also listed in the appropriate form in your reference/bibliography page.
Review the style guide for proper cover page, page numbering format.
Get a final reading from someone else.
9. RELAX - You did it!!
Wednesday, April 04, 2007
ANIMAL RIGHTS
Guide to Letter-Writing
Sometimes the pen — or word processor — really is mightier than the sword — and you don't have to be Shakespeare! Writing letters to newspapers, businesses, and legislators is an easy, effective way to help animals. Here's how ...
Letters to the Editor
When you write letters to the editors of local newspapers instead of writing to just one person, you reach thousands! And it's easier than you might think.
Read local papers and magazines for fuel for letters. Watch for articles, ads, or letters that mention animals.
Some examples:
ads for rodeos, circuses, and fur stores articles about medical experiments features about local humane groups or companion animal care
Letters don't have to be rebuttals.
Circus in town? Noticing a lot of strays? Or use the calendar for inspiration: At Easter, tell readers why they shouldn't buy bunnies. On Mother's Day, remind your community of the animals whose babies are taken from them on factory farms.
Write on good news, as well as bad.
Thank the paper for its coverage of an anti-fur protest or for running profiles of animals available for adoption at shelters.
Be brief!
Sometimes one short, pithy paragraph is enough—try to stay under 300 words (about one typed page). Editors are less likely to print long letters.
Type, if possible.
Otherwise, print legibly. Be sure to use correct grammar and spelling, and remember to have it proofread.
Make sure you include your name, address, and telephone number in your letter.
Some newspapers verify authorship before printing letters.
Feel free to submit excerpts from PETA's Animal Times and other PETA publications to your local newspapers. Materials are not copyrighted and may be distributed freely.
Look for opportunities to write op-ed pieces for local papers.
These are longer articles of about 500 - 800 words that summarize an issue, develop an argument, and propose a solution. Send the article to the Editorial Page editor.
You can also write (or call) television and radio stations to protest glorification of animal abuse or to compliment them on a program well done.
Some Tips on Style
Increase your credibility by mentioning anything that makes you especially qualified to write on a topic:
For instance, "As a nutritionist, I know a veggie diet is healthy," or, "as a mother," or, "as a former fur-wearer," or, "as a cancer survivor," etc.
Try to tell readers something they're not likely to know—such as how chickens are raised to produce eggs—and encourage them to take action (such as to stop buying eggs).
Whenever appropriate, include something for readers to do.
Keep personal grudges and name-calling out of letters; they'll hurt your credibility.
Don't give lip service to anti-animal arguments.
Speak affirmatively. EXAMPLE"It"s not true vegetarians are weaklings." BETTER"Vegetarians are healthier and slimmer and live years longer than flesh-eaters."
Avoid self-righteous language and exaggeration. Readers may dismiss arguments if they feel preached to or if the author sounds hysterical.
EXAMPLE"Only a heartless sadist could continue to eat animals when any fool knows their lives are snuffed out in screaming agony for the satisfaction of people who can't be bothered to take a moral stand." BETTER"Most compassionate people would stop eating meat if they saw how miserable the animals are."
Don't assume your audience knows the issues.
EXAMPLE"Don't support the cruel veal industry." BETTER"Calves factory-farmed for veal are tethered in small stalls and kept in complete darkness. Their mothers also endure sad fates, starting with the loss of their infants a few days after birth."
Inclusive language helps your audience identify with you.
EXAMPLE"Eating meat is bad for your health." BETTER"We know eating meat is bad for our health."
Use positive suggestions rather than negative commands.
EXAMPLE"Don't go to the circus." BETTER"Let's take our families to non-animal circuses."
Personalize your writing with anecdotes and visual images.
EXAMPLE"Leghold traps can trap an animal by the face, leg, or stomach." BETTER"Have you ever seen a yearling fox with her face caught in a leghold trap? I have, which is how I know traps tear into an animal's face, leg, or stomach."
Avoid speciesist language.
Instead of referring to an animal with an inanimate pronoun ("it"or "which"), use "she" or "he."
Avoid euphemisms
("negative reinforcement," "culling the herd"); say what you really mean ("painful electric shocks," "slaughtering deer").
Criticize the cruelty, not the newspaper.
EXAMPLE"There is no excuse for your article promoting the circus." BETTER"There is no excuse for the abuse that goes on in the circus."
Letters to the Businesses
Use your clout as a consumer to protest companies that exploit animals. Tell cosmetics manufacturers you will purchase other brands until they stop testing on animals, or tell a store you won't shop there until it stops carrying live animals – and explain why. If a business offers a fur as a prize, explain why you object to furs and ask the sponsor to offer a prize that does not reflect animal cruelty, such as a trip or jewelry.
Letters to the Legislators
While everyone's good at complaining about politics to their friends, too few citizens express their opinions to those who can do something about it: legislators. Constituent input really does make a difference.
If you don't communicate with the officials representing you, who will? While you're complaining to your friends about gruesome animal experiments, someone who disagrees with you is communicating with your lawmakers. You're probably not going to singlehandedly convince your legislators to outlaw the fur trade. But many legislators share your objectives and just need to be convinced that there is sufficient public support before putting their necks on the line. The Advocacy Institute explains: "When votes are secured or changed, it's most likely the aroused constituent-activists—the grassroots—who can claim the credit."
Here's how to make your voice count:
Find out who your town's representatives are. Get the names of your PMs and representative. To get the names and addresses of state representatives, consult the Blue Pages in your phone book, or call your local courthouse or municipal building.
Letters to the Editor
When you write letters to the editors of local newspapers instead of writing to just one person, you reach thousands! And it's easier than you might think.
Read local papers and magazines for fuel for letters. Watch for articles, ads, or letters that mention animals.
Some examples:
ads for rodeos, circuses, and fur stores articles about medical experiments features about local humane groups or companion animal care
Letters don't have to be rebuttals.
Circus in town? Noticing a lot of strays? Or use the calendar for inspiration: At Easter, tell readers why they shouldn't buy bunnies. On Mother's Day, remind your community of the animals whose babies are taken from them on factory farms.
Write on good news, as well as bad.
Thank the paper for its coverage of an anti-fur protest or for running profiles of animals available for adoption at shelters.
Be brief!
Sometimes one short, pithy paragraph is enough—try to stay under 300 words (about one typed page). Editors are less likely to print long letters.
Type, if possible.
Otherwise, print legibly. Be sure to use correct grammar and spelling, and remember to have it proofread.
Make sure you include your name, address, and telephone number in your letter.
Some newspapers verify authorship before printing letters.
Feel free to submit excerpts from PETA's Animal Times and other PETA publications to your local newspapers. Materials are not copyrighted and may be distributed freely.
Look for opportunities to write op-ed pieces for local papers.
These are longer articles of about 500 - 800 words that summarize an issue, develop an argument, and propose a solution. Send the article to the Editorial Page editor.
You can also write (or call) television and radio stations to protest glorification of animal abuse or to compliment them on a program well done.
Some Tips on Style
Increase your credibility by mentioning anything that makes you especially qualified to write on a topic:
For instance, "As a nutritionist, I know a veggie diet is healthy," or, "as a mother," or, "as a former fur-wearer," or, "as a cancer survivor," etc.
Try to tell readers something they're not likely to know—such as how chickens are raised to produce eggs—and encourage them to take action (such as to stop buying eggs).
Whenever appropriate, include something for readers to do.
Keep personal grudges and name-calling out of letters; they'll hurt your credibility.
Don't give lip service to anti-animal arguments.
Speak affirmatively. EXAMPLE"It"s not true vegetarians are weaklings." BETTER"Vegetarians are healthier and slimmer and live years longer than flesh-eaters."
Avoid self-righteous language and exaggeration. Readers may dismiss arguments if they feel preached to or if the author sounds hysterical.
EXAMPLE"Only a heartless sadist could continue to eat animals when any fool knows their lives are snuffed out in screaming agony for the satisfaction of people who can't be bothered to take a moral stand." BETTER"Most compassionate people would stop eating meat if they saw how miserable the animals are."
Don't assume your audience knows the issues.
EXAMPLE"Don't support the cruel veal industry." BETTER"Calves factory-farmed for veal are tethered in small stalls and kept in complete darkness. Their mothers also endure sad fates, starting with the loss of their infants a few days after birth."
Inclusive language helps your audience identify with you.
EXAMPLE"Eating meat is bad for your health." BETTER"We know eating meat is bad for our health."
Use positive suggestions rather than negative commands.
EXAMPLE"Don't go to the circus." BETTER"Let's take our families to non-animal circuses."
Personalize your writing with anecdotes and visual images.
EXAMPLE"Leghold traps can trap an animal by the face, leg, or stomach." BETTER"Have you ever seen a yearling fox with her face caught in a leghold trap? I have, which is how I know traps tear into an animal's face, leg, or stomach."
Avoid speciesist language.
Instead of referring to an animal with an inanimate pronoun ("it"or "which"), use "she" or "he."
Avoid euphemisms
("negative reinforcement," "culling the herd"); say what you really mean ("painful electric shocks," "slaughtering deer").
Criticize the cruelty, not the newspaper.
EXAMPLE"There is no excuse for your article promoting the circus." BETTER"There is no excuse for the abuse that goes on in the circus."
Letters to the Businesses
Use your clout as a consumer to protest companies that exploit animals. Tell cosmetics manufacturers you will purchase other brands until they stop testing on animals, or tell a store you won't shop there until it stops carrying live animals – and explain why. If a business offers a fur as a prize, explain why you object to furs and ask the sponsor to offer a prize that does not reflect animal cruelty, such as a trip or jewelry.
Letters to the Legislators
While everyone's good at complaining about politics to their friends, too few citizens express their opinions to those who can do something about it: legislators. Constituent input really does make a difference.
If you don't communicate with the officials representing you, who will? While you're complaining to your friends about gruesome animal experiments, someone who disagrees with you is communicating with your lawmakers. You're probably not going to singlehandedly convince your legislators to outlaw the fur trade. But many legislators share your objectives and just need to be convinced that there is sufficient public support before putting their necks on the line. The Advocacy Institute explains: "When votes are secured or changed, it's most likely the aroused constituent-activists—the grassroots—who can claim the credit."
Here's how to make your voice count:
Find out who your town's representatives are. Get the names of your PMs and representative. To get the names and addresses of state representatives, consult the Blue Pages in your phone book, or call your local courthouse or municipal building.
Identify yourself as a concerned citizen,
NOT as a member of an organization; legislators want to get feedback from voters, not lobbyists.
Keep letters brief – no more than one page. If you're writing about a specific bill, mention the bill's name and number, if you know it, and whether you support or oppose it in the first paragraph. Include reasons and supporting data in the next paragraph or two. Conclude by asking for a response.
Keep letters brief – no more than one page. If you're writing about a specific bill, mention the bill's name and number, if you know it, and whether you support or oppose it in the first paragraph. Include reasons and supporting data in the next paragraph or two. Conclude by asking for a response.
Focus on a specific topic.
Don't ask the legislator just to "support animal rights bills"; very few legislators vote in favor of all animal protection bills because different issues are at stake with each one.
Be polite and concise.
Keep everything relevant to the bill or issue in question. Never be threatening or insulting.
Remember: Each letter pertaining to a particular piece of legislation is usually counted as a "yes" or "no."
Don't get overwhelmed by the project.
Just get those letters written and in the mail! As few as 10 letters on any one topic can sway a legislator's vote. Several hours of letter-writing every month can make a big impact. And don't be discouraged if you receive unfavorable responses; the more we communicate with public officials, the sooner they'll change their positions.
Remember...
Right now raccoons are chewing off their paws to escape from leghold traps. Right now baby chicks' beaks are being burned off. Right now animal performers are being beaten backstage. Right now millions of dogs, cats, cows, sheep, pigs, chimpanzees, rabbits, mice, and other animals are being tortured in laboratories.
Sunday, April 01, 2007
ARTS
1. Read and discuss the article “What to See, Region by Region” focusing on the following questions:
a. Who is Edward Hopper?
b. What characterizes the artwork of Francis Bacon?
c. Do you think architecture is an important art form? Why?
d. What is noteworthy about the “Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the Brush”?
e. Why do you think artists, such as Jan van Huysum, chose to paint flowers?
f. What types of materials does Robert Rauschenberg use in his work?
g. What countries are represented by the exhibits described in this article?
h. Which exhibits focus on women and their experiences?
i. Which exhibit appeals to you most? Why?
j. With which artists or types of art described in this article are you most familiar
? For each artist or genre, what do you find interesting about this artist or type of art?
2. Further Questions
-What art exhibits have you seen?
-What is the difference between viewing art live and looking at slides or prints?
-How might a museum or gallery use its space to enhance sculptures, paintings, etc.?
-In what activities can young people participate to engage them more fully when viewing art in a gallery or museum?
-What impact does art have on your life?
-How does art affect your community?
Extension Activities:
· Choose one of the exhibits from the article, “What to See, Region by Region.” Research the artist featured in it, as well as his or her body of work. Write an essay exploring the value of this exhibit. How important is this work? How does it help us to foster a deeper understanding of ourselves, our community and our culture?
· Create a scrapbook of works of art for one of the artists mentioned in the article. Write a brief introduction to the collection, and a caption for each example you include.
March 30, 2007
What to See, Region by Region
By BENJAMIN GENOCCHIO
Art exhibitions flourish across the country. Here is a selection of the latest offerings:
Northeast BOSTON “Edward Hopper.” This popular 20th-century American modernist gets another full-dress retrospective, this time focused on his seminal period as a painter, from 1925 to 1950. On display are 100 paintings, watercolors and graphic work, including several masterpieces of American art. May 6 to Aug. 19. Museum of Fine Arts, 465 Huntington Avenue; (617) 267-9300, mfa.org.
BUFFALO “Francis Bacon: Paintings From the 1950s.” Mysterious and dark imagery of screaming popes, snarling dogs and tortured figures trapped in isolation abound in this hard-hitting survey of the formative decade of this Irish-born artist’s career. Not for the fainthearted. May 4 to July 29. Albright-Knox Art Gallery, 1285 Elmwood Avenue; (716) 882-8700, albrightknox.org.
PORTLAND “Frank Lloyd Wright and the House Beautiful.” Thinking of redecorating in the modern style? Then try not to miss this selection of more than 100 original examples of the architect’s designs for furnishings and integrated interiors, including metalwork, stainedglass windows, furniture, textiles, flatware, lamps and light fixtures, all of which radiate a sense of the modern spirit in art and design. June 28 to Oct. 8. Portland Museum of Art, 7 Congress Square; (207) 775-6148, portlandmuseum .org.
NEW HAVEN “Paul Mellon’s Legacy: A Passion for British Art.” More than 250 little-exhibited treasures from the permanent collection will be assembled for this show commemorating the centennial of the birth of the center’s founder and chief benefactor, Paul Mellon (1907 to 1999). Highlights include rare books, manuscripts, maps and atlases, as well as important paintings by William Hogarth, William Blake and J. M. W. Turner. April 18 to July 29. Yale Center for British Art, 1080 Chapel Street; (203) 432 2800, yale.edu /ycba.
Mid-Atlantic BALTIMORE “Pissarro: Creating the Impressionist Landscape.” The luminous landscapes of this pioneering Impressionist get the standard survey treatment with 45 paintings from museums and private collections. Endless pretty scenes of the French countryside — plowed fields, bucolic towns and gentle rivers — chart the artist’s painting technique and subject matter over his career. Through May 13. Baltimore Museum of Art, 10 Art Museum Drive; (443) 573-1700, artbma.org.
PHILADELPHIA “Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the Brush.” Though they are legends in Japan, this is the first United States retrospective for the 18th-century Japanese master of ink painting Ike Taiga (1723 to 1776) and his wife, Tokuyama Gyokuran (1727 to 1784). Both rejected the academicism of the reigning Kano school to infuse traditional Japanese painting with a more modern outlook. May 1 to July 22. Philadelphia Museum of Art, Benjamin Franklin Parkway and 26th Street; (215) 763-8100, philamuseum.org.
WASHINGTON “Foto: Modernity in Central Europe, 1918 to 1945.” This show pulls together photographs, artists’ books and illustrated magazines to chart the evolution of artistic photography in central Europe in the 1920s and 1930s. The artists Laszlo Moholy-Nagy and Hannah Höch rub shoulders here with lesser-known contemporaries like Karel Teige, Kazimierz Podsadecki, Karoly Escher and Trude Fleischmann. June 10 to Sept. 3. National Gallery of Art, National Mall between Third and Seventh Streets at Constitution Avenue; (202) 737- 4215, nga.gov.
WASHINGTON “Moving Pictures: American Art and Early Film.” This exhibition makes connections between American artists and filmmakers in the early years of the 20th century, pairing films by Thomas Alva Edison, the Lumière Brothers and others with works by the period’s artists, like George Bellows, Thomas Eakins, Childe Hassam, Maurice Prendergast, John Singer Sargent and John Sloan. Through May 20. The Phillips Collection, 1600 21st Street, NW; (202) 387-2151, phillipscollection .org.
WASHINGTON “Encompassing the Globe: Portugal and the World in the 16th and 17th Centuries.” This show of 300 objects reflects the cross-cultural exchange that followed the establishment of Portugal’s world trading empire. A section on Portugal and West Africa will be at the National Museum of African Art nearby. June 23 to Sept. 16. Arthur M. Sackler Gallery, 1050 Independence Avenue, SW; (202) 633-4880. asia.si.edu.
South
DALLAS “Matisse: Painter as Sculptor.” With more than 40 sculptures, coupled with drawings, paintings and photographs of the artist at work in his studio, this exhibition makes the case for Matisse as a major 20thcentury sculptor. Sculptures by other modern artists help contextualize Matisse’s achievement. Through April 29. On view concurrently at the Dallas Museum of Art, 1717 North Harwood Street; (214) 922-1200, dallasmuseumofart.org, and the Nasher Sculpture Center, 2001 Flora Street; (214) 242-5100, nashersculpturecenter.org.
FORT WORTH “The Mirror and the Mask: Portraiture in the Age of Picasso.” Organized with the Thyssen-Bornemisza Museum in Madrid, this exhibition revisits the theme of portraiture in visual art with a collection of modern portraits and self portraits from 75 collections across Europe and North America. The checklist includes the usual big names. June 17 to Sept. 16. Kimbell Art Museum, 3333 Camp Bowie Boulevard, (817) 332-8451, kimbellart.org.
HOUSTON “The Temptations of Flora: Jan van Huysum (1682 to 1749).” Crowds will flock to this survey of the work of one the most successful flower painters in history. He is renowned for the microscopic realism of his paintings and his ability to paint elaborate arrangements of fruit and flowers. Through May 20. Museum of Fine Arts, 1001 Bissonnet Street; (713) 639-7300, mfah.org.
HOUSTON “Robert Rauschenberg: Cardboards and Related Pieces.” The dissection of the artist’s career continues with this first museum survey of his assemblages from the early 1970s: discarded cardboard boxes flattened out, torn, cut and bent into interesting shapes. To your average punter, the artwork looks like junk, but fortunately museum curators know better. Through May 13. Menil Collection, 1515 Sul Ross Street; (713) 525-9400, menil.org.
MIAMI “Make Your Own Life: Artists in and Out of Cologne.” These days you don’t see many multigenerational group shows. But along comes this traveling survey of the 1980s art scene in the German city of Cologne, perhaps the most important center for contemporary art in Europe. It includes paintings, installation, sculpture, video and experimental music. May 11 to July 15. Museum of Contemporary Art, 770 NE 125th Street; (305) 893-6211, mocanomi.org.
NEW ORLEANS “Femme, Femme, Femme: Paintings of Women in French Society from Daumier to Picasso From the Museums of France.” Though the title is a mouthful, this show, sponsored by the French government to assist the revival of New Orleans, contains nearly 85 works from the Louvre, the Musée d’Orsay and 40 other museums in France. The pictures are to die for, even if the theme is effete. Through June 3. New Orleans Museum of Art, 1 Collins Diboll Circle; 504-658-4100, noma.org.
Midwest
CHICAGO “Perpetual Glory: Medieval Islamic Ceramics From the Harvey B. Plotnick Collection.” This delightful exhibition offers a timely glimpse of a famous private collection of valuable Islamic ceramics. There are 100 pieces, ranging from the early Abbasid caliphate in Iraq (9th and 10th centuries) to the Timurid dynasty in eastern central Asia (14th and 15th centuries). March 31 to Aug. 12. The Art Institute of Chicago, 111 South Michigan Avenue; (312) 443- 3600, artic.edu.
CHICAGO “Rudolf Stingel.” The first solid museum exhibition in the United States for the Italian-born painter, conceptual and performance artist, best known for carpeting Grand Central Terminal in New York. Displays include an installation of several walls of silver panels that visitors can write on or cut into as part of the show. Through May 27. Museum of Contemporary Art Chicago, 220 East Chicago Avenue; (312) 280-2660, mcachicago.org.
MINNEAPOLIS “Kara Walker: My Complement, My Enemy, My Oppressor, My Love.” Born in California in 1969, Kara Walker seems young for a full-scale museum survey. But here it is, bringing together artworks ranging from her well-known blackpaper wall silhouettes to more recent film animations and several dozen works on paper. Through May 13. The Walker Art Center, 1750 Hennepin Avenue; (612) 375-7600, walkerart.org.
ST. LOUIS “Symbols of Power: Napoleon and the Art of the Empire Style, 1800 to 1815.” This eye-popping survey of the decorative arts of the Empire style created during the reign of Napoleon Bonaparte in the early 19th century contains almost 150 masterworks of decorative art, including furniture, silver, bronze, porcelain, jewelry, clothing, textiles and wallpaper. Highlights includeseveral rare objects from royal and imperial residences at Fontainebleau, Versailles and Malmaison. June 17 to Sept. 16. Saint Louis Art Museum, 1 Fine Arts Drive, Forest Park; (314) 721-0072; stlouis.art .museum.
West
LOS ANGELES “Oudry’s Painted Menagerie.” Paintings of antelopes, a rhinoceros, a lion, leopards, sheep and several kinds of exotic brush fowl grace this look at the oddball French painter Jean-Baptiste Oudry (1686 to 1755), who rose to prominence during the first half of the reign of Louis XV. May 1 to Sept. 2. J. Paul Getty Museum, 1200 Getty Center Drive; (310) 440-7300, getty.edu.
LOS ANGELES “WACK! Art and the Feminist Revolution.” In a year packed with exhibitions celebrating feminism in art, among the most substantial is this one, presenting the foundations and legacy of feminist art produced internationally from 1965 to the early ’80s. Includes work by 120 artists from 21 countries. Through July 16. The Geffen Contemporary at MOCA, Museum of Contemporary Art, 152 North Central Avenue, (213) 626-6222, moca.org.
LOS ANGELES “Vija Celmins: A Drawings Retrospective.” Traveling from the Centre Pompidou, Musée National d’Art Moderne in Paris, this comprehensive review of the artist’s drawings from the mid-1960s till now includes more than 70 works on paper. Highlights include her mesmerizing renderings of lunar landscapes, hazy cosmic clouds and distant galaxies. Through April 22. Hammer Museum, 10899 Wilshire Boulevard; (310) 443- 7000, hammer.ucla.edu.
PHOENIX “Curves of Steel: Streamlined Automobile Design.” A collection of 22 of some of the rarest, most beautiful American and European automobiles ever made — some being the only surviving examples. The impressive checklist features cars by Auburn, Alfa Romeo, Lincoln-Zephyr, Bugatti, Hispano-Suiza, Delage and Delahaye. April 1 to June 3. Phoenix Art Museum, 1625 North Central Avenue; (602) 257- 1222, phxart.org.
SAN FRANCISCO “Tezuka: The Marvel of Manga.” More than 200 items, including drawings, covers and posters that trace the artist’s development as well as adult-oriented cartoons, introduce American audiences to Osamu Tezuka (1928 to 1989), a grand master of the 20th-century Japanese manga (graphic novels) movement. June 2 to Sept. 9. Asian Art Museum, 200 Larkin Street; (415) 581-3500, asianart.org.
SEATTLE “Carsten Höller: Neon Circle.” Logging kilowatts of power this spring is the Belgian artist’s latest installation — a circular, mind-bending cage made of aluminum and cold cathode neon tubes, designed to induce mild visual hallucinations. Through May 13. Henry Art Gallery, University of Washington, 15th Avenue NE and NE 41st Street; (206) 543-2280, henryart.org.
a. Who is Edward Hopper?
b. What characterizes the artwork of Francis Bacon?
c. Do you think architecture is an important art form? Why?
d. What is noteworthy about the “Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the Brush”?
e. Why do you think artists, such as Jan van Huysum, chose to paint flowers?
f. What types of materials does Robert Rauschenberg use in his work?
g. What countries are represented by the exhibits described in this article?
h. Which exhibits focus on women and their experiences?
i. Which exhibit appeals to you most? Why?
j. With which artists or types of art described in this article are you most familiar
? For each artist or genre, what do you find interesting about this artist or type of art?
2. Further Questions
-What art exhibits have you seen?
-What is the difference between viewing art live and looking at slides or prints?
-How might a museum or gallery use its space to enhance sculptures, paintings, etc.?
-In what activities can young people participate to engage them more fully when viewing art in a gallery or museum?
-What impact does art have on your life?
-How does art affect your community?
Extension Activities:
· Choose one of the exhibits from the article, “What to See, Region by Region.” Research the artist featured in it, as well as his or her body of work. Write an essay exploring the value of this exhibit. How important is this work? How does it help us to foster a deeper understanding of ourselves, our community and our culture?
· Create a scrapbook of works of art for one of the artists mentioned in the article. Write a brief introduction to the collection, and a caption for each example you include.
March 30, 2007
What to See, Region by Region
By BENJAMIN GENOCCHIO
Art exhibitions flourish across the country. Here is a selection of the latest offerings:
Northeast BOSTON “Edward Hopper.” This popular 20th-century American modernist gets another full-dress retrospective, this time focused on his seminal period as a painter, from 1925 to 1950. On display are 100 paintings, watercolors and graphic work, including several masterpieces of American art. May 6 to Aug. 19. Museum of Fine Arts, 465 Huntington Avenue; (617) 267-9300, mfa.org.
BUFFALO “Francis Bacon: Paintings From the 1950s.” Mysterious and dark imagery of screaming popes, snarling dogs and tortured figures trapped in isolation abound in this hard-hitting survey of the formative decade of this Irish-born artist’s career. Not for the fainthearted. May 4 to July 29. Albright-Knox Art Gallery, 1285 Elmwood Avenue; (716) 882-8700, albrightknox.org.
PORTLAND “Frank Lloyd Wright and the House Beautiful.” Thinking of redecorating in the modern style? Then try not to miss this selection of more than 100 original examples of the architect’s designs for furnishings and integrated interiors, including metalwork, stainedglass windows, furniture, textiles, flatware, lamps and light fixtures, all of which radiate a sense of the modern spirit in art and design. June 28 to Oct. 8. Portland Museum of Art, 7 Congress Square; (207) 775-6148, portlandmuseum .org.
NEW HAVEN “Paul Mellon’s Legacy: A Passion for British Art.” More than 250 little-exhibited treasures from the permanent collection will be assembled for this show commemorating the centennial of the birth of the center’s founder and chief benefactor, Paul Mellon (1907 to 1999). Highlights include rare books, manuscripts, maps and atlases, as well as important paintings by William Hogarth, William Blake and J. M. W. Turner. April 18 to July 29. Yale Center for British Art, 1080 Chapel Street; (203) 432 2800, yale.edu /ycba.
Mid-Atlantic BALTIMORE “Pissarro: Creating the Impressionist Landscape.” The luminous landscapes of this pioneering Impressionist get the standard survey treatment with 45 paintings from museums and private collections. Endless pretty scenes of the French countryside — plowed fields, bucolic towns and gentle rivers — chart the artist’s painting technique and subject matter over his career. Through May 13. Baltimore Museum of Art, 10 Art Museum Drive; (443) 573-1700, artbma.org.
PHILADELPHIA “Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the Brush.” Though they are legends in Japan, this is the first United States retrospective for the 18th-century Japanese master of ink painting Ike Taiga (1723 to 1776) and his wife, Tokuyama Gyokuran (1727 to 1784). Both rejected the academicism of the reigning Kano school to infuse traditional Japanese painting with a more modern outlook. May 1 to July 22. Philadelphia Museum of Art, Benjamin Franklin Parkway and 26th Street; (215) 763-8100, philamuseum.org.
WASHINGTON “Foto: Modernity in Central Europe, 1918 to 1945.” This show pulls together photographs, artists’ books and illustrated magazines to chart the evolution of artistic photography in central Europe in the 1920s and 1930s. The artists Laszlo Moholy-Nagy and Hannah Höch rub shoulders here with lesser-known contemporaries like Karel Teige, Kazimierz Podsadecki, Karoly Escher and Trude Fleischmann. June 10 to Sept. 3. National Gallery of Art, National Mall between Third and Seventh Streets at Constitution Avenue; (202) 737- 4215, nga.gov.
WASHINGTON “Moving Pictures: American Art and Early Film.” This exhibition makes connections between American artists and filmmakers in the early years of the 20th century, pairing films by Thomas Alva Edison, the Lumière Brothers and others with works by the period’s artists, like George Bellows, Thomas Eakins, Childe Hassam, Maurice Prendergast, John Singer Sargent and John Sloan. Through May 20. The Phillips Collection, 1600 21st Street, NW; (202) 387-2151, phillipscollection .org.
WASHINGTON “Encompassing the Globe: Portugal and the World in the 16th and 17th Centuries.” This show of 300 objects reflects the cross-cultural exchange that followed the establishment of Portugal’s world trading empire. A section on Portugal and West Africa will be at the National Museum of African Art nearby. June 23 to Sept. 16. Arthur M. Sackler Gallery, 1050 Independence Avenue, SW; (202) 633-4880. asia.si.edu.
South
DALLAS “Matisse: Painter as Sculptor.” With more than 40 sculptures, coupled with drawings, paintings and photographs of the artist at work in his studio, this exhibition makes the case for Matisse as a major 20thcentury sculptor. Sculptures by other modern artists help contextualize Matisse’s achievement. Through April 29. On view concurrently at the Dallas Museum of Art, 1717 North Harwood Street; (214) 922-1200, dallasmuseumofart.org, and the Nasher Sculpture Center, 2001 Flora Street; (214) 242-5100, nashersculpturecenter.org.
FORT WORTH “The Mirror and the Mask: Portraiture in the Age of Picasso.” Organized with the Thyssen-Bornemisza Museum in Madrid, this exhibition revisits the theme of portraiture in visual art with a collection of modern portraits and self portraits from 75 collections across Europe and North America. The checklist includes the usual big names. June 17 to Sept. 16. Kimbell Art Museum, 3333 Camp Bowie Boulevard, (817) 332-8451, kimbellart.org.
HOUSTON “The Temptations of Flora: Jan van Huysum (1682 to 1749).” Crowds will flock to this survey of the work of one the most successful flower painters in history. He is renowned for the microscopic realism of his paintings and his ability to paint elaborate arrangements of fruit and flowers. Through May 20. Museum of Fine Arts, 1001 Bissonnet Street; (713) 639-7300, mfah.org.
HOUSTON “Robert Rauschenberg: Cardboards and Related Pieces.” The dissection of the artist’s career continues with this first museum survey of his assemblages from the early 1970s: discarded cardboard boxes flattened out, torn, cut and bent into interesting shapes. To your average punter, the artwork looks like junk, but fortunately museum curators know better. Through May 13. Menil Collection, 1515 Sul Ross Street; (713) 525-9400, menil.org.
MIAMI “Make Your Own Life: Artists in and Out of Cologne.” These days you don’t see many multigenerational group shows. But along comes this traveling survey of the 1980s art scene in the German city of Cologne, perhaps the most important center for contemporary art in Europe. It includes paintings, installation, sculpture, video and experimental music. May 11 to July 15. Museum of Contemporary Art, 770 NE 125th Street; (305) 893-6211, mocanomi.org.
NEW ORLEANS “Femme, Femme, Femme: Paintings of Women in French Society from Daumier to Picasso From the Museums of France.” Though the title is a mouthful, this show, sponsored by the French government to assist the revival of New Orleans, contains nearly 85 works from the Louvre, the Musée d’Orsay and 40 other museums in France. The pictures are to die for, even if the theme is effete. Through June 3. New Orleans Museum of Art, 1 Collins Diboll Circle; 504-658-4100, noma.org.
Midwest
CHICAGO “Perpetual Glory: Medieval Islamic Ceramics From the Harvey B. Plotnick Collection.” This delightful exhibition offers a timely glimpse of a famous private collection of valuable Islamic ceramics. There are 100 pieces, ranging from the early Abbasid caliphate in Iraq (9th and 10th centuries) to the Timurid dynasty in eastern central Asia (14th and 15th centuries). March 31 to Aug. 12. The Art Institute of Chicago, 111 South Michigan Avenue; (312) 443- 3600, artic.edu.
CHICAGO “Rudolf Stingel.” The first solid museum exhibition in the United States for the Italian-born painter, conceptual and performance artist, best known for carpeting Grand Central Terminal in New York. Displays include an installation of several walls of silver panels that visitors can write on or cut into as part of the show. Through May 27. Museum of Contemporary Art Chicago, 220 East Chicago Avenue; (312) 280-2660, mcachicago.org.
MINNEAPOLIS “Kara Walker: My Complement, My Enemy, My Oppressor, My Love.” Born in California in 1969, Kara Walker seems young for a full-scale museum survey. But here it is, bringing together artworks ranging from her well-known blackpaper wall silhouettes to more recent film animations and several dozen works on paper. Through May 13. The Walker Art Center, 1750 Hennepin Avenue; (612) 375-7600, walkerart.org.
ST. LOUIS “Symbols of Power: Napoleon and the Art of the Empire Style, 1800 to 1815.” This eye-popping survey of the decorative arts of the Empire style created during the reign of Napoleon Bonaparte in the early 19th century contains almost 150 masterworks of decorative art, including furniture, silver, bronze, porcelain, jewelry, clothing, textiles and wallpaper. Highlights includeseveral rare objects from royal and imperial residences at Fontainebleau, Versailles and Malmaison. June 17 to Sept. 16. Saint Louis Art Museum, 1 Fine Arts Drive, Forest Park; (314) 721-0072; stlouis.art .museum.
West
LOS ANGELES “Oudry’s Painted Menagerie.” Paintings of antelopes, a rhinoceros, a lion, leopards, sheep and several kinds of exotic brush fowl grace this look at the oddball French painter Jean-Baptiste Oudry (1686 to 1755), who rose to prominence during the first half of the reign of Louis XV. May 1 to Sept. 2. J. Paul Getty Museum, 1200 Getty Center Drive; (310) 440-7300, getty.edu.
LOS ANGELES “WACK! Art and the Feminist Revolution.” In a year packed with exhibitions celebrating feminism in art, among the most substantial is this one, presenting the foundations and legacy of feminist art produced internationally from 1965 to the early ’80s. Includes work by 120 artists from 21 countries. Through July 16. The Geffen Contemporary at MOCA, Museum of Contemporary Art, 152 North Central Avenue, (213) 626-6222, moca.org.
LOS ANGELES “Vija Celmins: A Drawings Retrospective.” Traveling from the Centre Pompidou, Musée National d’Art Moderne in Paris, this comprehensive review of the artist’s drawings from the mid-1960s till now includes more than 70 works on paper. Highlights include her mesmerizing renderings of lunar landscapes, hazy cosmic clouds and distant galaxies. Through April 22. Hammer Museum, 10899 Wilshire Boulevard; (310) 443- 7000, hammer.ucla.edu.
PHOENIX “Curves of Steel: Streamlined Automobile Design.” A collection of 22 of some of the rarest, most beautiful American and European automobiles ever made — some being the only surviving examples. The impressive checklist features cars by Auburn, Alfa Romeo, Lincoln-Zephyr, Bugatti, Hispano-Suiza, Delage and Delahaye. April 1 to June 3. Phoenix Art Museum, 1625 North Central Avenue; (602) 257- 1222, phxart.org.
SAN FRANCISCO “Tezuka: The Marvel of Manga.” More than 200 items, including drawings, covers and posters that trace the artist’s development as well as adult-oriented cartoons, introduce American audiences to Osamu Tezuka (1928 to 1989), a grand master of the 20th-century Japanese manga (graphic novels) movement. June 2 to Sept. 9. Asian Art Museum, 200 Larkin Street; (415) 581-3500, asianart.org.
SEATTLE “Carsten Höller: Neon Circle.” Logging kilowatts of power this spring is the Belgian artist’s latest installation — a circular, mind-bending cage made of aluminum and cold cathode neon tubes, designed to induce mild visual hallucinations. Through May 13. Henry Art Gallery, University of Washington, 15th Avenue NE and NE 41st Street; (206) 543-2280, henryart.org.
Friday, March 23, 2007
FAMOUS COUPLES
FAMOUS COUPLES
“Do you think teenage love can last a lifetime? Why or why not?”
share what you have written.
Are there ways in which teenage love is different from adult love?
What do teens have to worry about in love that adults do not have to worry about and vice versa?
How do teens typically respond when parents do not approve of a boyfriend of girlfriend?
Sharon Drager and Wyit Wright”
READ THE ARTICLE and discuss about the following questions:
a. Why might Sharon Drager's mother have feared that a relationship would get in the way of her daughter's career?
b. How might the women's movement of the 1960's have affected the lives and outlook of Sharon Drager and her parents?
c. Do you think that parents today would react in the same way to a situation like the young Sharon Drager's?
d. Do you think that this couple's reunion would have happened if it were not for the Internet? How has the Internet changed people's social networks?
e. Why do you think that 9/11 is mentioned in the article as a factor in the couple's relationship?
f. Why do you think that “their conversation changed” after 9/11?
g. What ethical issues are raised or implied in this article?
h. Before she died, Dr. Drager's mother offered her approval of Wyit Wright. How important is parental approval of romantic relationships?
i. Why doesn't Mr. Wright regret that he and Dr. Drager were apart for so long?
-Anthony and Cleopatra/Abelard and Heloise/-Shah Jahan and Mumtaz Mahal/-Abigail and John Adams-John Lennon and Yoko Ono/-Martin Luther King, Jr. and Coretta Scott King/-Queen Victoria and Prince Albert/-Robert and Elizabeth Browning/-Marie and Pierre Curie/-Annie Oakley and Frank Butler-Alfred Lunt and Lynne Fontanne/-John Alden and Pricilla Mullins-Simone de Beauvoir and Jean-Paul Sartre/-King Edward VIII and Wallis Simpson/John F. Kennedy and Jacqueline Bouvier Kennedy/-Lucille Ball and Desi Arnaz-Katharine Hepburn and Spencer Tracy
List of same-sex couples, include the likes of Gertrude Stein and Alice B. Toklas, Oscar Wilde and Lord Alfred Douglas, J. Edgar Hoover and Clyde Tolson.
Use the following questions to guide your research:
-Who were each of these people?
What is each one's background and basic life story?
-How, when and where did they meet?
-Were there any obstacles blocking their relationship?
-How long were they together?
-What ended the relationship?
-Did they ever marry? If not, why not?
-Are there any lasting testaments to their love (buildings, writings, etc.)?
-How did these people's roles in life (jobs, status, etc.) affect their relationship and vice versa?
-What does their relationship tell us about their time and place?
-What, if anything, can the story of their love teach us today?
Begin your research using all available resources (Internet, reference works, etc.). Keep a look out for any images or writings that you can include on your poster that will give the viewer a closer look at the relationship, such quotes from love letters, pictures of relevant buildings, poems dedicated to a lover, etc.).
4. HOMEWORK: Interview an adult couple that you know (parents or guardians, grandparents, other family members, family friends, etc.). Use your handout from class as an interview guide. From what you learn in your interview, write an article that tells the story of the couple that you interviewed, modeled on the “Vows” column about Sharon Drager and Wyit Wright.February 12, 2007
Vows: Sharon Drager and Wyit Wright By CAROL POGASH
WHEN 16-year-old Sharon Beth Drager plopped herself down on a bench next to Wyit David Wright, an intense 17-year-old, they began a conversation that with a three-decade interruption would last nearly a lifetime. It was the summer of 1962, and they were attending a National Science Foundation camp for gifted young scientists at Brown University. The exuberant, curly haired girl from the Upper West Side of Manhattan was drawn to Mr. Wright’s sullenness, which she mistook for a James Dean thing. As a New Yorker, she had never met anyone quite so exotic: someone quiet. Nor had Mr. Wright, who lived in Smithfield, R.I., ever met anyone he thought so “incredibly beautiful,” as he recalled. Like himself, “she lived in her mind.” They spent that summer together, and by the end of it had fallen hard in love. They parted with “much wailing and lamentations,” recalled Dr. Drager, 60, a vascular surgeon in San Pablo, Calif. Despite what seemed an unmanageable distance, he accompanied her to her senior prom at Hunter High School in Manhattan, a place where, she said, girls’ “ambitions were encouraged.” By the fall of 1963 she was a student at Pembroke College in Providence and was catching trains to Cambridge, Mass., where Mr. Wright was a freshman at Harvard. There the story might have progressed along a predictable continuum had Dr. Drager’s parents, Marvin and Lenore Drager, not noticed a slight dip in her grades. Her mother was determined that her three daughters would have careers. Dr. Drager, who decided at 7 to become a doctor, said of her parents, “I had a brilliant career ahead of me, and they were deeply invested.”Then came her first Christmas break at Pembroke and an ultimatum from her parents: stop seeing Mr. Wright, or you can’t return to college. The young woman was devastated. Mr. Wright was flabbergasted. He was accustomed to having mothers like him. “I’m a nice guy,” he said. “I know which fork to use.” They did not see each other for three years until Mr. Wright walked into a party in Providence, unaware that she was one of the hostesses. On seeing her, he was hopeful they could resume their relationship. Instead, she informed him she had graduated cum laude from Pembroke in three years and was heading for New York University School of Medicine. “I reacted in a mature way,” said Mr. Wright, 61, the owner of a wooden toy company, Mossy Creek Woodworks, in Wesley, Ark., and of a technology consulting firm, Logical Business Systems, in Fayetteville, Ark. “I got blindingly drunk and had a fling with one of her dear friends.” Over the years they occasionally thought of each other but did nothing. By the 1970s, Mr. Wright was working at the Smithsonian Astrophysical Observatory in Cambridge. He married, and he and his wife joined a utopian “back to the land” movement. They settled on a 40-acre farm in the Ozarks and reared a son. Mr. Wright tapped syrup from trees and slaughtered pigs. Dr. Drager meanwhile was in surgical training in New York, repairing stomachs and hernias and beginning what she now calls “a starter marriage.” In 1978, she and her husband moved to California, but by the early ’80s they were divorced. She soon remarried. Her new husband was an emergency room doctor, and they had two children, one of them born on the same day she performed an operation. By 1996 she was divorced again. She was also lonely and began looking online for old friends. She found Mr. Wright’s e-mail address. She remembered being both “apprehensive and excited” when she began typing, “I don’t know if you remember me.” His response came 15 minutes later. By then, he said, his home life was troubled. He was heartened “to hear from someone who you never thought you would hear from again.”They corresponded by e-mail off and on for five years. “Every time his name popped up,” Dr. Drager felt a bolt of excitement. After 9/11, their conversation changed. Mr. Wright, who had always thought he could fix anything, had by then concluded that his family life was irrevocably broken. He suggested to Dr. Drager that they meet in Las Vegas the next year and go on a group river-rafting trip through the Grand Canyon. He told his wife about the trip but not about his companion. When Dr. Drager and Mr. Wright met at the airport in Las Vegas they immediately recognized each other, though her hair was now short, straight and blond, and he had grown a beard. By then both could qualify for membership in A.A.R.P. They started by chatting about getting their luggage. But the conversation Mr. Wright was having with himself was about how much she seemed as she had always seemed. And by the time they reached the car rental desk, Dr. Drager knew, “I could have been happy with this man my whole life.” They told fellow rafters they were old friends. Each night they tugged their sleeping bags farther from the group until Dr. Drager joked they were practically in New Mexico. Afterward, Mr. Wright sent a picture of himself from the trip to Linda Minisce, one of his sisters. Looking at it, she recalled, she saw a twinkle in his eye and thought, “That boy is up to something, and it’s not river rafting.” When the trip ended, they knew they would be together.Mr. Wright and his wife separated in 2003, and they were divorced two years later. (She has since remarried.) Last Thanksgiving, Dr. Drager announced to her assembled family and friends, including her two children, that Mr. Wright had proposed. By the time the pumpkin chiffon pie was sliced, Dr. Drager had settled on a date, setting and invitations. Dr. Drager said she feels like Sleeping Beauty, informed that she would meet her true love at 16, but also that, “You won’t be able to marry him for 44 and a half years.” The wedding took place on Jan. 14 in Dr. Drager’s Berkeley home, which has expansive bay views. On the mantel in the living room, where they were married, sits an old black-and-white picture of two teenagers in love. The bride’s mother died a year ago, but not before having become reacquainted with Mr. Wright, whom she no longer considered an impediment. At the wedding, the bride’s father, 86, a debonair retired public relations man, declared, “It all worked out for the best!” Mr. Wright would agree. “I am the sum of my experiences, and she is, too,” he mused. If they had remained together in their youth, he noted, they might have separated over her determination to attend medical school and his desire to settle in the country. Those experiences, he said, have “given us happiness,” adding, “I can’t regret any of that.” Rabbi Jacqueline Mates-Muchin, who married the couple, spoke to them about love “kept in the recesses of your hearts.” As the ceremony was ending and the procession was leaving the room, the bride turned to her friends and family and gave two thumbs up and silently mouthed the word, “Yes!” Mr. Wright will spend half his time in Arkansas tending to his business and half in Berkeley. Dr. Drager said she wished he were with her all the time, adding, “But you can’t always get what you want.”
“Do you think teenage love can last a lifetime? Why or why not?”
share what you have written.
Are there ways in which teenage love is different from adult love?
What do teens have to worry about in love that adults do not have to worry about and vice versa?
How do teens typically respond when parents do not approve of a boyfriend of girlfriend?
Sharon Drager and Wyit Wright”
READ THE ARTICLE and discuss about the following questions:
a. Why might Sharon Drager's mother have feared that a relationship would get in the way of her daughter's career?
b. How might the women's movement of the 1960's have affected the lives and outlook of Sharon Drager and her parents?
c. Do you think that parents today would react in the same way to a situation like the young Sharon Drager's?
d. Do you think that this couple's reunion would have happened if it were not for the Internet? How has the Internet changed people's social networks?
e. Why do you think that 9/11 is mentioned in the article as a factor in the couple's relationship?
f. Why do you think that “their conversation changed” after 9/11?
g. What ethical issues are raised or implied in this article?
h. Before she died, Dr. Drager's mother offered her approval of Wyit Wright. How important is parental approval of romantic relationships?
i. Why doesn't Mr. Wright regret that he and Dr. Drager were apart for so long?
-Anthony and Cleopatra/Abelard and Heloise/-Shah Jahan and Mumtaz Mahal/-Abigail and John Adams-John Lennon and Yoko Ono/-Martin Luther King, Jr. and Coretta Scott King/-Queen Victoria and Prince Albert/-Robert and Elizabeth Browning/-Marie and Pierre Curie/-Annie Oakley and Frank Butler-Alfred Lunt and Lynne Fontanne/-John Alden and Pricilla Mullins-Simone de Beauvoir and Jean-Paul Sartre/-King Edward VIII and Wallis Simpson/John F. Kennedy and Jacqueline Bouvier Kennedy/-Lucille Ball and Desi Arnaz-Katharine Hepburn and Spencer Tracy
List of same-sex couples, include the likes of Gertrude Stein and Alice B. Toklas, Oscar Wilde and Lord Alfred Douglas, J. Edgar Hoover and Clyde Tolson.
Use the following questions to guide your research:
-Who were each of these people?
What is each one's background and basic life story?
-How, when and where did they meet?
-Were there any obstacles blocking their relationship?
-How long were they together?
-What ended the relationship?
-Did they ever marry? If not, why not?
-Are there any lasting testaments to their love (buildings, writings, etc.)?
-How did these people's roles in life (jobs, status, etc.) affect their relationship and vice versa?
-What does their relationship tell us about their time and place?
-What, if anything, can the story of their love teach us today?
Begin your research using all available resources (Internet, reference works, etc.). Keep a look out for any images or writings that you can include on your poster that will give the viewer a closer look at the relationship, such quotes from love letters, pictures of relevant buildings, poems dedicated to a lover, etc.).
4. HOMEWORK: Interview an adult couple that you know (parents or guardians, grandparents, other family members, family friends, etc.). Use your handout from class as an interview guide. From what you learn in your interview, write an article that tells the story of the couple that you interviewed, modeled on the “Vows” column about Sharon Drager and Wyit Wright.February 12, 2007
Vows: Sharon Drager and Wyit Wright By CAROL POGASH
WHEN 16-year-old Sharon Beth Drager plopped herself down on a bench next to Wyit David Wright, an intense 17-year-old, they began a conversation that with a three-decade interruption would last nearly a lifetime. It was the summer of 1962, and they were attending a National Science Foundation camp for gifted young scientists at Brown University. The exuberant, curly haired girl from the Upper West Side of Manhattan was drawn to Mr. Wright’s sullenness, which she mistook for a James Dean thing. As a New Yorker, she had never met anyone quite so exotic: someone quiet. Nor had Mr. Wright, who lived in Smithfield, R.I., ever met anyone he thought so “incredibly beautiful,” as he recalled. Like himself, “she lived in her mind.” They spent that summer together, and by the end of it had fallen hard in love. They parted with “much wailing and lamentations,” recalled Dr. Drager, 60, a vascular surgeon in San Pablo, Calif. Despite what seemed an unmanageable distance, he accompanied her to her senior prom at Hunter High School in Manhattan, a place where, she said, girls’ “ambitions were encouraged.” By the fall of 1963 she was a student at Pembroke College in Providence and was catching trains to Cambridge, Mass., where Mr. Wright was a freshman at Harvard. There the story might have progressed along a predictable continuum had Dr. Drager’s parents, Marvin and Lenore Drager, not noticed a slight dip in her grades. Her mother was determined that her three daughters would have careers. Dr. Drager, who decided at 7 to become a doctor, said of her parents, “I had a brilliant career ahead of me, and they were deeply invested.”Then came her first Christmas break at Pembroke and an ultimatum from her parents: stop seeing Mr. Wright, or you can’t return to college. The young woman was devastated. Mr. Wright was flabbergasted. He was accustomed to having mothers like him. “I’m a nice guy,” he said. “I know which fork to use.” They did not see each other for three years until Mr. Wright walked into a party in Providence, unaware that she was one of the hostesses. On seeing her, he was hopeful they could resume their relationship. Instead, she informed him she had graduated cum laude from Pembroke in three years and was heading for New York University School of Medicine. “I reacted in a mature way,” said Mr. Wright, 61, the owner of a wooden toy company, Mossy Creek Woodworks, in Wesley, Ark., and of a technology consulting firm, Logical Business Systems, in Fayetteville, Ark. “I got blindingly drunk and had a fling with one of her dear friends.” Over the years they occasionally thought of each other but did nothing. By the 1970s, Mr. Wright was working at the Smithsonian Astrophysical Observatory in Cambridge. He married, and he and his wife joined a utopian “back to the land” movement. They settled on a 40-acre farm in the Ozarks and reared a son. Mr. Wright tapped syrup from trees and slaughtered pigs. Dr. Drager meanwhile was in surgical training in New York, repairing stomachs and hernias and beginning what she now calls “a starter marriage.” In 1978, she and her husband moved to California, but by the early ’80s they were divorced. She soon remarried. Her new husband was an emergency room doctor, and they had two children, one of them born on the same day she performed an operation. By 1996 she was divorced again. She was also lonely and began looking online for old friends. She found Mr. Wright’s e-mail address. She remembered being both “apprehensive and excited” when she began typing, “I don’t know if you remember me.” His response came 15 minutes later. By then, he said, his home life was troubled. He was heartened “to hear from someone who you never thought you would hear from again.”They corresponded by e-mail off and on for five years. “Every time his name popped up,” Dr. Drager felt a bolt of excitement. After 9/11, their conversation changed. Mr. Wright, who had always thought he could fix anything, had by then concluded that his family life was irrevocably broken. He suggested to Dr. Drager that they meet in Las Vegas the next year and go on a group river-rafting trip through the Grand Canyon. He told his wife about the trip but not about his companion. When Dr. Drager and Mr. Wright met at the airport in Las Vegas they immediately recognized each other, though her hair was now short, straight and blond, and he had grown a beard. By then both could qualify for membership in A.A.R.P. They started by chatting about getting their luggage. But the conversation Mr. Wright was having with himself was about how much she seemed as she had always seemed. And by the time they reached the car rental desk, Dr. Drager knew, “I could have been happy with this man my whole life.” They told fellow rafters they were old friends. Each night they tugged their sleeping bags farther from the group until Dr. Drager joked they were practically in New Mexico. Afterward, Mr. Wright sent a picture of himself from the trip to Linda Minisce, one of his sisters. Looking at it, she recalled, she saw a twinkle in his eye and thought, “That boy is up to something, and it’s not river rafting.” When the trip ended, they knew they would be together.Mr. Wright and his wife separated in 2003, and they were divorced two years later. (She has since remarried.) Last Thanksgiving, Dr. Drager announced to her assembled family and friends, including her two children, that Mr. Wright had proposed. By the time the pumpkin chiffon pie was sliced, Dr. Drager had settled on a date, setting and invitations. Dr. Drager said she feels like Sleeping Beauty, informed that she would meet her true love at 16, but also that, “You won’t be able to marry him for 44 and a half years.” The wedding took place on Jan. 14 in Dr. Drager’s Berkeley home, which has expansive bay views. On the mantel in the living room, where they were married, sits an old black-and-white picture of two teenagers in love. The bride’s mother died a year ago, but not before having become reacquainted with Mr. Wright, whom she no longer considered an impediment. At the wedding, the bride’s father, 86, a debonair retired public relations man, declared, “It all worked out for the best!” Mr. Wright would agree. “I am the sum of my experiences, and she is, too,” he mused. If they had remained together in their youth, he noted, they might have separated over her determination to attend medical school and his desire to settle in the country. Those experiences, he said, have “given us happiness,” adding, “I can’t regret any of that.” Rabbi Jacqueline Mates-Muchin, who married the couple, spoke to them about love “kept in the recesses of your hearts.” As the ceremony was ending and the procession was leaving the room, the bride turned to her friends and family and gave two thumbs up and silently mouthed the word, “Yes!” Mr. Wright will spend half his time in Arkansas tending to his business and half in Berkeley. Dr. Drager said she wished he were with her all the time, adding, “But you can’t always get what you want.”
Sunday, December 17, 2006
CLONING
Meet Little Nicky the cloned cat
A woman in the US has paid $50,000 (£26,000) for Little Nicky, the first ever cat cloned to be someone's pet.
He looks just like any other nine-week old kitten, but Little Nicky was created from the DNA of another much-loved pet, also called Nicky.
The original cat died last year aged 17 and his owner Julie decided she'd rather have a clone than a new one.
Julie says the new Nicky is just like the old one, both in the way he looks and his personality.
Click here to find out more about cloning
But some animal groups really aren't happy with Julie's decison to clone her cat, so much so that she doesn't want to be fully identified.
Vote
Would you clone your pet?
Yes
No
One expert said that for the amount of money Julie spent she could have given homes to lots of strays.
The company that made the cat, Genetic Savings and Clone, says it has orders for five more cats and plans to clone a dog too before the end of the year.
Scientists are also worried that cloned animals suffer more health problems than traditionally bred animals.
Sunday, December 03, 2006
Saturday, December 02, 2006
REPORT
REPORT TITLE
By
OUTLINE TITLE
Introduction:
I. The first sub-topic
A. First supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
B. Second supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
II. The second sub-topic
A. First supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
B. Second supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
III. The third sub-topic
A. First supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
B. Second supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
Conclusion:
TITLE
First paragraph. All paragraphs in the body of the report are indented and double-spaced.
Additional paragraphs.
Works Cited
First reference. The text begins at the left margin of the paper. Lines are double-spaced. When the entry is longer than one line, the second line is automatically indented.
Additional references.
Checklist
1 The outline
q The introduction states the main topic or idea of the outline, and the conclusion summarizes it.
q Each sub-topic describes the main idea for a paragraph.
q Supporting information and details for a sub-topic are listed under the sub-topic, with each piece of information listed separately.
q When supporting information is listed under a sub-topic, there are at least two pieces of information listed. If there is only one piece of information to support a sub-topic, the information is included in the sub-topic.
2 The paper
q The paper follows the organization of the outline.
q Each paragraph in the paper matches a sub-topic in the outline, and presents the information and details listed under the sub-topic.
q Each paragraph includes a topic sentence that summarizes the main idea of the paragraph.
q Every sentence begins with a capital letter.
q Every sentence ends with a period, question mark, or exclamation mark.
q All words are spelled correctly.
q There are no missing words.
3 Works cited
q Every source has a specific reference in the paper. Include only the sources that are mentioned in the paper.
q Each entry follows the correct format for the type of reference.
q Entries are listed in alphabetical order, according to the author’s last name.
Tips for Writing Your Report
1 Create a schedule
q Identify the tasks you need to do.
q Arrange the tasks in the order you’ll need to do them.
q Estimate how long each task will take. Be sure to allow enough time for editing and making changes.
q Identify the date the report is due, and then set a schedule showing what work you’ll need to do each day in order to have your report ready on time.
2 Add interest
q Use graphs and charts to illustrate an idea.
q Add a picture, photo, or drawing.
q Include a map.
q Find a quotation and use it to make your point.
3 Make every word count
q Choose words your reader will understand. Remember that you want to communicate your ideas to the person reading your paper.
q Avoid clichés.
q Use a thesaurus to replace overused words and find new ways to express your ideas.
By
OUTLINE TITLE
Introduction:
I. The first sub-topic
A. First supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
B. Second supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
II. The second sub-topic
A. First supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
B. Second supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
III. The third sub-topic
A. First supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
B. Second supporting information for the sub-topic
1. Detail of the information
2. Detail of the information
Conclusion:
TITLE
First paragraph. All paragraphs in the body of the report are indented and double-spaced.
Additional paragraphs.
Works Cited
First reference. The text begins at the left margin of the paper. Lines are double-spaced. When the entry is longer than one line, the second line is automatically indented.
Additional references.
Checklist
1 The outline
q The introduction states the main topic or idea of the outline, and the conclusion summarizes it.
q Each sub-topic describes the main idea for a paragraph.
q Supporting information and details for a sub-topic are listed under the sub-topic, with each piece of information listed separately.
q When supporting information is listed under a sub-topic, there are at least two pieces of information listed. If there is only one piece of information to support a sub-topic, the information is included in the sub-topic.
2 The paper
q The paper follows the organization of the outline.
q Each paragraph in the paper matches a sub-topic in the outline, and presents the information and details listed under the sub-topic.
q Each paragraph includes a topic sentence that summarizes the main idea of the paragraph.
q Every sentence begins with a capital letter.
q Every sentence ends with a period, question mark, or exclamation mark.
q All words are spelled correctly.
q There are no missing words.
3 Works cited
q Every source has a specific reference in the paper. Include only the sources that are mentioned in the paper.
q Each entry follows the correct format for the type of reference.
q Entries are listed in alphabetical order, according to the author’s last name.
Tips for Writing Your Report
1 Create a schedule
q Identify the tasks you need to do.
q Arrange the tasks in the order you’ll need to do them.
q Estimate how long each task will take. Be sure to allow enough time for editing and making changes.
q Identify the date the report is due, and then set a schedule showing what work you’ll need to do each day in order to have your report ready on time.
2 Add interest
q Use graphs and charts to illustrate an idea.
q Add a picture, photo, or drawing.
q Include a map.
q Find a quotation and use it to make your point.
3 Make every word count
q Choose words your reader will understand. Remember that you want to communicate your ideas to the person reading your paper.
q Avoid clichés.
q Use a thesaurus to replace overused words and find new ways to express your ideas.
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