Gregg Notehand is a book that teaches a personal use shorthand system for taking notes. Written by Louis A. Leslie, it includes integrated instruction on how to make notes effectively. The book is designed to help individuals who need to take notes quickly and efficiently, such as students, secretaries, and journalists. The Notehand system is based on the Gregg shorthand system, which was developed by John Robert Gregg in the late 19th century. The book includes detailed instructions on how to write the shorthand symbols, as well as exercises and practice sheets to help readers master the system. The Notehand system is designed to be easy to learn and use, and it can be adapted to suit individual needs and preferences. Overall, Gregg Notehand is a practical and useful guide for anyone who needs to take notes quickly and accurately.Shorthand Written By Charles Rader. Illustrated By David W. Corson.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
Many critics have interpreted Bob Dylan’s lyrics, especially those composed during the middle to late 1960s, in the contexts of their relation to American folk, blues, and rock'n'roll precedents; their discographical details and concert performances; their social, political and cultural relevance; and/or their status for discussion as “poems.” This open access book instead focuses on how all of Dylan’s 1965-1967 songs manifest traces of his ongoing, internal “autobiography” in which he continually declares and questions his relation to a self-determined existential summons.The ebook editions of this book are available open access under a CC BY-NC-ND 3.0 licence on bloomsburycollections.com. Open access was funded by Knowledge Unlatched.
Many critics have interpreted Bob Dylan’s lyrics, especially those composed during the middle to late 1960s, in the contexts of their relation to American folk, blues, and rock'n'roll precedents; their discographical details and concert performances; their social, political and cultural relevance; and/or their status for discussion as “poems.” This open access book instead focuses on how all of Dylan’s 1965-1967 songs manifest traces of his ongoing, internal “autobiography” in which he continually declares and questions his relation to a self-determined existential summons.The ebook editions of this book are available open access under a CC BY-NC-ND 3.0 licence on bloomsburycollections.com. Open access was funded by Knowledge Unlatched.
All Grown Up: A Boy and his Tiger is a fast-paced 1-act, 5-scene play, which is a parody of a beloved American comic strip about a boy and his comfort object. The main character Alvin is completing his PhD, while his love interest Sue has quit college and taken work as a cocktail waitress to financial support him. Alvin's father and mother divorced around the time he graduated high school. Dad lives alone and miserably in the family homestead, while Mom is living with her same-sex partner Martha. Although Alvin is in his mid 20s, he continues to have his Tiger as an imaginary friend much to Sue's and his family's dismay. His childhood nemesis Roxie and Joe are still branded deeply into his psyche. When Sue wants Alvin to come to terms with his past and attend a dinner party with Roxie and Joe, the fireworks begin All Grown Up is a story about coming to grips with one's past, standing up for oneself and letting go of an imaginary friend. It is funny, sad, thought provoking and uses classical music segments to establish mood. Moreover, this play incorporates a number of elements of Non-tradition Theater, most notably when the set transforms into a Second Empire drawing room and Alvin becomes the valet in Sartre's "No Exit", only to be shut down by Sue using audience participation.
Wood and Zurcher suggest that the social self--its experience and organization--reflects the great transformation of society from industrial to postindustrial. . . . Wood and Zurcher have contributed to our social psychological understanding of self-development in several ways. They pack information about theories of modern self-hood into a well-researched and accessible book. Readers will find a resource on theories of the postmodern self here. The authors also introduce a creative use of computerized content analysis, which they successfully demonstrate by transforming personal documents into social scientific data. Contemporary SociologyAccording to various observers, the postmodern self represents changes in contemporary culture--from rationality and unemotional performance to irrationality and mysticism; from institutional standards and duty-to-society to individual standards and duty-to-self; from structure and stability to transience and experimentation. Through an analysis of diaries from nineteenth- and twentieth-century Americans, this study deals with the nature of the postmodern self. It provides a framework for understanding the ideas that collectively comprise postmodern self theory and presents empirical data concerning its historical validity. The book reflects the use of a computer approach in which the statistical incidence of particular words is examined over time.
