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However, even as scholarship continues to improve, and new standards of research evolve, Egyptologists are always aware that they stand academically on the shoulders of their predecessors, accumulating new knowledge and insights and building upon and refining earlier interpretations, as well as rejecting them where appropriate. With these ideas in mind, the purpose of this paper is to place into historical context the work of Professor James Henry Breasted in the study of ancient Egypt, and, moreover, to show that his two major works, A History of Egypt and the Ancient Records of Egypt actually mark a turning point in Egyptological studies, inaugurating the era of modern Egyptology. [ . . . etc., etc. . . . . ] Although compared to Europe, America had come late to Egyptology and Near Eastern studies, Breasted realized that developing the scientific methodologies of this new approach could be America's lasting contribution to these fields. In time Breasted came to realize the need to establish a new institute for the comprehensive study of the ancient Near East modeled along the lines of scientific enquiry. Sometimes he even referred to this institute as a “research laboratory.”1 Ultimately, he managed to convince some of the most rational of people, i.e., America's corporate industrial and commercial leaders, including John D. Rockefeller, Jr. (Standard Oil), Martin Ryerson (Inland Steel), and Julius Rosenwald (Sears and Roebuck). By 1919, with their help, he founded the Oriental Here was an international center for broad-ranging interdisciplinary research in the civilizations and languages of the ancient Near East. [ . . . etc., etc. . . . . ] By 1905, Breasted completed editing his compendium of Egyptian historical texts, and between 1906 and 1907, he published it as the Ancient Records of Egypt: Historical
This research was supported by National Science Foundation Grant BCS 0542694 arch Age differences were examined in affective processing, in the context of a visual search task. Young and older adults were faster to detect high arousal images compared with low arousal and Correspondence concerning this article should be addressed to Christina M. Leclerc,ndence neutral items. Younger adults were faster to detect positive high arousal targets compared with Department of Psychology, Boston College, McGuinn Hall, Room 512, 140 Commonwealth sychology, other categories. In contrast, older adults exhibited an overall detection advantage for emotional ut Avenue, Chestnut Hill, MA 02467. Email: firstname.lastname@example.org images compared with neutral images. Together, these findings suggest that older adults do not display valence-based effects on affective processing at relatively automatic stages. Keywords: aging, attention, information processing, emotion, visual search Paper adapted from “Effects of Age on Detection of Emotional Information,” by C. M. Leclerc and E. A. Kensinger, 2008, Psychology and Aging, 23, pp. 209–215. Copyright 2008 by the American Psychological Association. Effects of Age on Detection of Emotional Information Frequently, people encounter situations in their environment in which it is impossible to attend to all available stimuli. It is therefore of great importance for one’s attentional processes to select only the most salient information in the environment to which one should attend. Previous research has suggested that emotional information is privy to attentional selection in young adults (e.g., Anderson, 2005; Calvo & Lang, 2004; Carretie, Hinojosa, Marin-Loeches, Mecado, & Tapia, 2004; Nummenmaa, Hyona, & Calvo, 2006), an obvious service to evolutionary drives… From this research, it seems any that younger stimulus can be not limited to...
Cholera and the Pump on Broad Street: THE LIFE AND LEGACY OF JOHN SNOW Laura Ball Senior Division Paper AFTER ALL, IT REALLY IS ALL OF HUMANITY THAT IS UNDER THREAT DURING A PANDEMIC. -- Dr. Margaret Chan, Director General of the World Health Organization There is still a pump in the Golden Square neighborhood on what was once called Broad Street. It does not work, for it is merely a replica of the original, and like the original its handle is missing. It serves as a curiously simple monument to the events that took place over one hundred years ago, when the real pump supplied water to the Broad Street residents. In 1854, hundreds of these hapless locals dropped dead within days of each other as Soho experienced one of the most brutal outbreaks of cholera that London has ever seen. 1 Not even the most eminent physicians could say what caused the disease, or why it came and went as it did. John Snow’s solution to the cholera crisis broke the medical conventions of his era, slowed the progress of a virulent intercontinental disease, and forever changed the way society confronts public health problems.
A Matter of Style Activity: Furniture Design Purpose: to help students recognize that traditional elements of design (shape, ornament, motif, or decoration) on furniture are viable today as a medium of expression in our environment. Objective: After viewing Nineteenth Century Furniture, the students will design a piece of furniture by incorporating three design elements from a style of nineteenth century furniture into an original design drawing. Grade Level: 4-8 Time Required: one class period Materials: sketch paper for ideas, drawing paper, pencil, illustrated glossary from A Matter of Style Web module or the label drawings of the furniture pieces (pdfs) Motivation: Review with the students the six styles of nineteenth-century furniture that are featured in the Nineteenth Century Furniture module. Discuss why they like or dislike certain styles. Ask them to differentiate the six styles with descriptive adjectives – big, curvy, old-fashioned, artistic – and tell what elements make them fit these descriptions. Procedure: • Pass out copies of the glossary and remind students how to relate it to the online images or printouts of the images of the furniture and the labeled line drawings. (post them on the board for reference). • Students need to keep in mind is that they are to choose their favorite style, then pick three design elements or ornaments from this style. They will use these three elements or motifs in their furniture design, which does NOT otherwise have to look like nineteenth-century furniture (e.g., a plastic chair with embossed roses and cut-outs of tracery on it reflecting the Rococo Style). • They can choose modern materials for their furniture. How do modern materials affect the choice of ornament? They can choose any piece of furniture they want –a bed, a bookcase. • Students will sketch their ideas until they get one they like (timed). Students will transfer their sketch clearly to drawing paper (furniture should be large enough to see the details (8" or bigger square). Publication and Closure: each student should show and explain his or her design. From what style did the elements come from (this could be guessed by the audience)? What elements were borrowed? From what materials would it be made? Why did you design it the way you did? Assessment: the piece of furniture should clearly incorporate three design elements from one style of nineteenth-century furniture from A Matter of Style or its sources.
Creating PowerPoint Talking Storybooks Talking Object, Number, Alphabet Books Richard Walter – ACE Centre, UK Adapted by Sue Mistrett WHAT IS THE PURPOSE OF THIS GUIDE? Like its title suggests, this guide gives you step-by-step instructions on how to use Microsoft’s PowerPoint to create mouse-operated talking books using pictures scanned in from real books. It will also look at accessing these talking books using a single switch. It is, however, now possible to create your own books on the computer using hardware and software that is generally available in schools and many homes. These ‘talking books’ can be tailor-made to the interests and abilities of the pupils, text can be symbol-supported, and sounds and speech can be included to enable access to those with reading difficulties. Children can actively help to make their own accessible talking books, and this opens up more possibilities of creative and imaginative writing for pupils with learning difficulties. Before you start... Before you start gathering together piles of books to convert, be aware that putting together even a single talking book will take time. Creating a template (a master page that contains the page format and the buttons for turning the pages) at the outset will save hours of time when making a number of books, but even if you only intend to make one, do create a template first. We have created one for you – so that you can focus on adding pictures, text and sound today. First, plan your interactive stories on paper. A storyboard (that is, sketches of each page or slide) will help you keep track of the many possible scenes in your story. Make sure you write down titles for each page because you'll use those titles when creating the presentation in PowerPoint. On your storyboard, draw lines between slides—almost like a path—to show the choices the reader can make in following the story.
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