The Case of Dinosaur Metabolism

In lieu of an abstract, here is the article\u27s first paragraph: To learn the critical skill of scientific argumentation, students need learning experiences that involve constructing evidence-based explanations. Students often struggle to propose, support, critique, refine, justify, and defend a scientific position (Llewellyn 2013). This article describes a lesson in which biology students are challenged to support their claims with evidence-based reasoning as they research the thermoregulation of dinosaurs

Meeting the Stranger: Closing the Distance in Ernest Hemingway’s \u3ci\u3eA Moveable Feast\u3c/i\u3e

This thesis provides an in-depth analysis of Ernest Hemingway’s memoir, A Moveable Feast. The analysis focuses on how AMF functions as a memoir, given its complicated publication history. The thesis uses the 2009 Restored Edition, which is most closely associated with Hemingway’s original manuscripts. He crafts his memories of Paris between 1921-1926, develops interactive scenes for twenty-first century readers to discover his story, and constructs a blended voice that closes the distance between his present and his past by writing about his writing process. This thesis adds to the academic conversation of A Moveable Feast, attempting to present how important Hemingway’s final work is to the rest of his writing and how relevant it is to twenty-first century readers

Usar la filosofía de Wittgenstein para eliminar conceptos erróneos en la práctica de la danza. Un enfoque cuádruple

A fourfold use of Wittgenstein’s later philosophy in order to tackle fundamental conceptual misconceptions in the domain of dance practice is proposed: the extension to dance of the insights of his remarks on other arts, the application to dance instructions of his method of examination of the use of language, the extension to dance of the insights of his remarks on aesthetics, and the use of some of the fundamental concepts of his later philosophy, such as “aspect-seeing”, or “form of life”. In the first section, Wittgenstein’s paragraphs on Shakespeare are used in order to clarify the nature of representation, his remarks on architecture are used to shed light on the gestural character of a dance movement and to differentiate dance movement from mere bodily movement, and his remarks on music are used in order to elucidate the relation ship between a movement and its so called meaning. In the second section, an analysis looks at how language is used in the dance studio to tackle the problem of affectation in dance practice, and to propose measures to overcome this tendency, such as awareness of the use of the mirror in the studio. In the third section, Wittgenstein’s understanding of aesthetic satisfaction as something that clicks is understood as a tool to fight dualistic tendencies in dance practice. The fourth section discusses how insight into Wittgenstein’s concepts of “aspect-seeing” and “form of life” can contribute to superseding affectation. In dance, aspect seeing involves directing one’s gaze back to the movement in question. Instead of blaming the incorrect execution of a movement on a lack of dramatic skill on the part of the dancer, an approach that reinforces the idea of dance performance as a dualistic process, it can be attributed to aspect blindness, allowing for the redirection of the dancer’s attention to the movement. In this regard, it is proposed that dancers be helped to appreciate that a movement is charged with the atmosphere of a whole form of life. By understanding this relationship, it should become clear for dancers that expressivity is something that depends neither on their mental state nor on their ability to transfer the latter to the movement in question.Propongo un uso cuádruple de la filosofía madura de Wittgenstein con vistas a abordar confusiones conceptuales fundamentales en el ámbito de la práctica de la danza: extender a la danza aquellas de sus observaciones perspicaces sobre otras artes que sean relevantes, aplicar a las instrucciones de danza su análisis del uso del lenguaje, extender a la danza sus observaciones sobre la estética y usar en el contexto de la danza algunos de los conceptos fundamentales de su filosofía madura, tales como el de «ver aspectos» o el de «forma de vida». En la primera sección, se usan los parágrafos sobre Shakespeare de Wittgenstein para clarificar la naturaleza de la representación, sus observaciones sobre arquitectura para arrojar luz sobre el carácter gestual del movimiento de danza y para diferenciar un movimiento de danza de un simple movimiento corporal. Asimismo, sus observaciones sobre música se usan con el fin de dilucidar la relación entre un movimiento y su presunto significado. En la segunda sección, analizo cómo se usa el lenguaje en el estudio de danza con vistas a afrontar el problema de la afectación en la práctica de la danza y propongo una serie de medidas con el propósito de superar esta tendencia, como, por ejemplo, tomar conciencia del uso del espejo en el estudio de danza. En la tercera sección, la comprensión de Wittgenstein de la satisfacción estética como algo que hace click se propone como herramienta para encarar las tendencias dualistas en la práctica de la danza. La cuarta sección enfoca cómo la familiaridad con los conceptos de Wittgenstein de «ver aspectos» y «forma de vida» puede contribuir a superar la afectación. En la danza, ver aspectos supone reencauzar la mirada, enfocando de nuevo el movimiento en cuestión. En lugar de echar la culpa de una ejecución incorrecta de un movimiento a una falta de talento dramático por parte del bailarín, idea que refuerza la imagen de la representación de danza como un proceso dualista, se podría atribuir a la ceguera para los aspectos, y así reorientar la atención del bailarín al movimiento. De igual modo, se propone que los bailarines deberían ser llevados a apreciar que un movimiento ha de participar de la atmósfera de toda una forma de vida. Tras comprender esta relación, para el bailarín debería resultar evidente que la expresividad no es algo que dependa de su estado mental, ni de su habilidad para transferir ese estado mental al movimiento en cuestión

Performing Shakespeare in Contemporary Japan: The Yamanote Jijosha’s The Tempest

In considering the Yamanote Jijosha’s The Tempest, this paper explores the significance of performing Shakespeare in contemporary Japan. The company’s The Tempest reveals to contemporary Japanese audiences the ambiguity of Shakespeare’s text by experimenting with the postdramatic and a new acting style. While critically pursuing the meaning and possibility of theatre and performing arts today, this version of The Tempest powerfully presents a critical view of the blindness and dumbness of contemporary Japan, as well as the world represented in the play

Transgender and Art in the School Curriculum

The intention of this paper is two fold. First, it makes explicit a little known and poorly understood area of human experience: transgender. Second, it explores curriculum possibilities opened up by recent legitimating of transgender people through the Gender Recognition Act (2004). The Act foregrounds the necessity for a forum in schools to debate, reflect and understand the full implications of changes to legislation. This paper proposes that, rather than approaching transgender issues through biological science or through the levelling gaze of citizenship, issues of gender identity can be understood without censure through the visual arts. Moreover, the visual arts offer a ‘safe place’ to discuss issues around the body because they allow distance and, in offering visual representations rather than text based work, make visually concrete what science ethically cannot

The Cowl - v.31 - n.20 [2] - Apr 05, 1979

The Cowl - student newspaper of Providence College. Volume 31, Number 20 - April 5, 1979. 12 pages. Note:: This is the second Issue No. 20 in this volume (duplicates March 28 1979). Note:: The volume number printed on the banner page of this issue (XXXI) duplicates the volume number for the 1968-69 academic year