2,966 research outputs found
Do Community College Students Benefit When Transferring with Other Transfers? A Cross-Section Peer Effects Analysis
Using grouped data, Ehrenberg and Smith (2004) found that community college students who transfer to four-year colleges have higher graduation rates when attending four-year campuses with large shares of transfer students. I test this hypothesis with student-level data and control for heterogeneity among transfer students. âTraditionalâ transfersâtransfers who spend two or more years at community collegeâare the majority of community college transfers, and graduate at higher rates when attending campuses with larger shares of traditional transfer students. However, this effect is not significant when I omit students who have not declared a major at a late point in their academic careers from the estimations, or when I omit one outlier campus with a large number of transfer students with undeclared majors from the estimations. I also find that traditional transfers have significantly lower graduation rates when they declare majors in departments with large shares of traditional transfers. This last finding is robust to multiple specifications
« RĂ©pĂ©tez aprĂšs moi » ou Les rituels dâinteraction dans Billy Strauss de Lise Vaillancourt (1991)
QualifiĂ©e, par son auteure (Lise Vaillancourt), de « thĂ©Ăątre Ă©pique marqué », la piĂšce Billy Strauss rejette le conflit dramatique et la rĂ©solution cathartique de la mimesis aristotĂ©licienne en faveur de mĂ©canismes qui dĂ©voilent les rouages de la reprĂ©sentation thĂ©Ăątrale. Parmi ces mĂ©canismes, se trouve lâamplification, voire lâexacerbation, des rituels de communication. En observant de plus prĂšs ces rituels, on est frappĂ© par le primat de trois procĂ©dĂ©s particuliers : la rĂ©pĂ©tition, lâinterview et la confĂ©rence. Quelles sont les consĂ©quences de cette pratique sur la construction des personnages et quâest-ce que cette pratique rĂ©vĂšle de la reprĂ©sentation des relations sociales en rapport avec le contexte sociohistorique ? On constatera que lâidiome cĂ©rĂ©monial, traditionnellement employĂ© pour renforcer et gĂ©rer les connexions sociales, devient ici synonyme dâune violence postmoderne. Câest ainsi que Vaillancourt opĂšre une radiographie de la poussĂ©e individualiste et dâun malaise existentiel au fĂ©minin qui a pris de lâampleur Ă partir des annĂ©es 1980, et plus particuliĂšrement dans la dĂ©cennie qui a suivi lâĂ©poque du thĂ©Ăątre fĂ©ministe militant au QuĂ©bec.The play Billy Strauss has been described by its author, Lise Vaillancourt, as a clear example of epic theatre. It rejects the dramatic conflict and the cathartic resolution typically associated with Aristotelian mimesis in favour of mechanisms that expose the workings of theatrical representation. One of these devices is the exacerbation of communication rituals. A closer observation reveals the primacy of three operating process in particular: repeated speech, interviews and conferences. What effect does this practice have on the construction of the playâs characters and what does it reveal about the representation of social relationships in their social and historical context? One discovers that the ceremonial idiom, traditionally used to reinforce and manage social connections, is used here as a synonym of a type of post-modern violence. It is in this way that Vaillancourt performs an x-ray of the individualist trend and the accompanying existential malaise afflicting women in the 1980s, that is, in the decade following the heyday of a committed feminist theatre in QuĂ©bec
Daniel
Nancy thought about it often now: the day that Daniel was born. Her water had broken just hours after Bilko, her fourteen-year-old Labrador, had passed away. When the medics arrived, they were distracted by the red herring of his sheet-covered body on the dining room floor. Nancy heard them gasp when they ran to the supposed victim\u27s corpse and saw a flaccid set of hair front paws peeking out, curled under at a death-specific angle of resignation
SP-0533: Combined modality treatment: risk-adapted intensified strategies and quality of life
BIET, Christian, et Laurence SCHIFANO (dir.), ReprĂ©sentations du procĂšs. Droit, thĂ©Ăątre, littĂ©rature, cinĂ©ma, Nanterre, UniversitĂ© Paris X â Nanterre, 2003, 483 p.
âHe States That This is the Most Lovely Building He Has Ever Had the Pleasure of Seeing . . . â The Travel Writing and Collecting of Frederick Horniman
The travel journal, collecting, and exhibition of objects by museum founder, tea merchant and Member of Parliament Frederick Horniman (1835â1906) in the late nineteenth century demonstrate how material objects exemplify travel writing. Through an examination of objects he collected and later interpreted at the Horniman Free Museum, this article presents a case study of how collecting activities mirror and serve as a form of travel writing. This article presents a new model for understanding, beyond the written word, how travelers can capture the experience of a foreign expedition through the collecting and interpretation of objects
Preferences Toward Leniency under Mandatory Criminal Sentencing Guidelines: Role-in-the-Offense Adjustments for Federal Drug Trafficking Defendants
This paper tests whether judges and/or prosecutors manipulated mandatory federal sentencing guidelines to shorten prison sentences. It finds that, among drug traffickers convicted under the federal guidelinesâ former mandatory sentencing system, those who faced harsher underlying charges were found to have played significantly lower-level roles in their conspiracies. This is consistent with guideline manipulation for defendants facing longer sentences. Women received significantly larger role-in-the-offense reductions related to harsher underlying charges than men. Effects were insignificant if defendants were eligible for lower-cost alternative methods of sentence reduction, namely substantial assistance departures and safety-valve reductions from mandatory minimum sentences
The Father Birth
This creative dissertation is a fabulist and satirical novel. The book follows the story of main character and narrator Earleen, an atypical and hyper-intelligent sixteen-year-old who continues to be traumatized by her sociopathic father even after he dies. A self-taught bookworm born in the early 1980s, her formative years were spent trapped inside her parents\u27 rural methamphetamine cookhouse. When her parents blow up inside their house during a drug-manufacturing incident on the eve of Earleen\u27s early adolescence, she finds herself in the arms of an affluent adoptive couple (Dennis Stark, a fertility specialist, and his homemaker wife Beverly) who have been unable to conceive. Her presence is an unwelcome addition to Dennis\u27s mother, who is a mute stroke victim and was formerly the couple\u27s coddled center of attention.
Throughout her childhood, Earleen had a tumultuous relationship with her reckless father (known as Pops ), whose drug-addled paranoia often resulted in her abuse and torture. Although Earleen\u27s mother never reappears to haunt her after the explosion, Pops\u27 spirit is determined to find a way to get back to Earth and rejoin the living. He frequently visits Earleen â his ghost can return through the medium of liquid, and he\u27s convinced she\u27s the only one who can help him get back.
Though no longer starved and stabbed, Earleen is still invisible and voiceless in her new home. Her adoptive mother Beverly values Earleen only as a path to grandchildren and is disappointed Earleen doesn\u27t share her obsession with outward beauty. Dennis and Beverly live in total ignorance of Earleen\u27s hauntings, although Dennis\u27 mother seems to detect something amiss.
Dismayed by the social aspects of school, Earleen graduates early in order to take on secretarial work at Dennis\u27 fertility clinic. Her father\u27s ghost, which is growing weaker but also more desperate and therefore dangerous, decides that this is his ticket back to life: he is convinced he can enter into a donor sample just as he can enter other liquid, and hypothesizes that if Earleen impregnates herself with the sample, he can be reborn. Although Earleen doesn\u27t want to help him or to have him back among the living, she is afraid of him, and he threatens the safety of her new family if she doesn\u27t obey. Earleen chooses a donor and successfully impregnates herself, but weeks later she runs into the unknowing donor at the store and agrees to go on a date with him.
A relationship begins, and Earleen finds herself in the precarious situation of carrying the baby of a man who doesn\u27t know she\u27s pregnant, doesn\u27t know it\u27s by his sperm, and has never slept with her. Worse yet, though Huckle soon shows himself to be self-absorbed and misogynistic, Earleen never seems to have a say in how quickly their relationship is moving forward.
Inside a barn during a storm, she gives birth to an inky creature that crawls into the rain. Yet once born, her father does not stay away and leave her alone as promised. His development is not going as planned, and each year of his new life seems to make him weaker rather than stronger. When Earleen becomes a young bride and gets pregnant, Pops returns wanting to overtake the fetus and be reborn once more in the hopes that the process will be more successful the second time around. She must find a way to protect herself from Pops and cut him off from the living world
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