10,000 Matching Annotations
  1. Feb 2021
    1. Those prisoners which were not sold or redeemed we kept asslaves: but how different was their condition from that of the slaves in the West Indies! With us they do nomore work than other members of the community, even their master; their food, clothing and lodging werenearly the same as theirs, (except that they were not permitted- 27 -to eat with those who were free-born); and there was scarce any other difference between them, than asuperior degree of importance which the head of a family possesses in our state, and that authority which,as such, he exercises over every part of his household. some of these slaves have even slaves under them astheir own property, and for their own use

      repeated distinctions between african slavery and chattel slavery in New World

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  2. onedrive.live.com onedrive.live.com
    1. These hands that now were part of the drought,

      (p. 125) The idea of the hands losing their ability to create and becoming a part of the harsh reality is similar to the idea of the House of Hunger's narrator's head becoming the House of Hunger itself (60). In this passage, the narrator uses vivid imagery to convey this loss through the contrast of life and death. Initially, his hands are described as "dry and deathlike", as full of deep scars, as broken from the "slow-burning furnace of the drought" (125). In the middle of the paragraph, however, the narrator brings forth the memory of the hands which could create, to come in contact with the pure and beautiful, the soft and warm presence of another human being; the hands that could shape the future - "build a future out of the bricks of the past and of the present" (125). This juxtaposition of loss and creation makes the differences stand out to the reader and make him think what the reason for this contrast is. That is simple - it's the act of robbing someone of their future, of their life, of their choice. In "Protista" this is caused by the exile and the sudden loss of Maria. It takes the character's freedom, their future, their right to dream, their reason to live, and their life force. In "House of Hunger" this is caused by the British colonization. The misery, squalor, and unfairness, the conditions, and the society trap the individual, wrapping him in an unescapable spider web, robbing them of their future as well (They stretched the wings of our race (...) senile gods, p.60). Losing their freedom, the characters give in to the force exerted by reality and become another cog in its machine.

      *I believe it isn't a coincidence that the author names the girl Maria. This name means "sea of sorrow" or "sea of bitterness." A sea is a pool of water, so by leaving, Maria does take, in a sense, the water from the main character's life, leaving only the feeling of sorrow that haunts him.

    2. When I woke up I could feel him inside me; and he was trying to speak, but I could not. Aristotle muttered something about my tongue being abnormally thick and hard. Hippocrates then forced my mouth open and stuck blistering substances to my tongue to drain away the dark fluid. Celsus shook his head and said: 'All that the tongue needs is a good gargle and a massage.' But Galen, who would not be left out, said my tongue was merely too cold and wet. And Francis Bacon suggested a glass of hot wine.

      I personally find this part overly sexualized and I believe it was done intentionally. The description of the tongue is used to show that the environment of the narrator exposes him to constant assaults and what we would consider inappropriate behavior. At the same time the passage could also be interpreted as an example of the character's incompetence of speaking his mind.

    3. Harry knew evil. Evil was failure. There were a lot of failures where Harry came from. Uneducated shits who counted their pennies and paid the rent and made their wives pregnant for the umpteenth time and went without tobacco or beer in order to save up for a sewing machine. Calloused palms. Dirty bodies. Overalls. This was evil, failure. Toiling in factories and mines and on the roads and bridges and in farms and fields for -what? Failure.

      I think this summarises the entire novella and every piece of imagery Marechera presented. We can connect this to the film we watched and how disappointed the author was to return to Zimbabwe and see no change whatsoever since he left. However, this time we see everything from Harry's point of view, and it seems way more objective than Marechera's description. The whole notion of failure seems to be part of the theme of the novella, but I can't exactly wrap my head around it--why can no one imagine a better future? Perhaps, they have lived their entire lives in this "prison"; their mindsets don't allow them to see further than the present day. Why would Harry state that evil and failure are the same? I think this has to do with his masculinity--he cannot be seen vulnerable at any point, thus failure is the same as all the evil things that follow. (p.111)

    4. And that poor archbishop in Uganda probably did not want to be a goldfish in Amin's head, either.

      I am a little confused about what meaning and idea is hidden behind the word "goldfish". I believe that this sentence is key towards understanding this, which is why some more information is needed. The narrator refers to the Archbishop of the Church of Uganda from 1974 - Janani Luwum. He had a leading role in the criticizing the extremities of Idi Amin's regime. In 1977, Luwum delivered a note to the dictator, in which he protested against the arbitrary killings and unexplained disappearances. The Archbishop and two cabinet ministers were arrested and accused of treason, as he was portrayed as a secret agent of the previous president of Uganda with the agenda of staging a coup. The next day after the arrest, the three were found brutally killed, and it was announced on the radio that these deaths were caused by a car accident. However, there were speculations that the three had been taken to army baracks, where they had been beaten and shot.

    5. I left its name out of this

      I love how he is making an excuse that is so elaborate that it could be its own philosophy. He must really not want to kill the goat because that's one effortful excuse. I get what he is saying, that we are lying to ourselves if we think what we are doing is good, and that traditions such as this one are good because they are in the name of God. I am not sure why he seems to think that it is worse to kill and eat the goat than to simply kill it.

      In this passage he seems to be talking to his sister, but I don't actually think she is there because we don't see her talking to him, but somehow he is answering her. We might be witnessing the voices in his head.

    6. He was dressed in black. Her fleshless hand lay still in his fleshless fingers. His head had not been sewn back properly; it was precariously leaning to one side and it seemed as if it would fall off any moment. His skull had a jagged crack running down from the centre of the forehead to the tip of the lower jaw; the skull had been crudely welded back into shape, so much so it looked as though it would fall apart any moment.

      'fall off any moment', 'fall apart any moment' Any idea why he is using these exact words? Like everything is trying to keep it together, but just can't, and is slowly crumbling. It is breaking the stitches, eh? And he must be his father right? I think the narrator said in some previous page that his father's head had been sewn back. Apparently it was not sewn well enough because it was about to fall off at any moment.

      These short stories are weird. I can't get anything out of them. Not cool.

    7. When Harry and I returned to the dormitories we went to the showers and there the miracle happened - I almost cried with glee. They had gone! I could feel it. They had erased 47 themselves into the invisible airs of the storm. The daemon had been exorcised and gone into the Gadarene swine. For the first time in my life I felt completely alone. Totally on my own.

      47-48 This passage shows a rather important development in the narrator's mind. In this distant memory we see how he manages to free himself of the demons that were tormenting him everywhere he went. Everything happens during a storm, which directly reflects what's happening in the narrator's head. It is as if the storm not only represented the destructive force of nature, but also the force he used to cast the demons out once and forever. In the passage, he also says: "I almost cried with glee." The narrator's words show how much fear and paranoia these demons had striked into him to the point that the thought of them being gone is enough to make him cry out of happiness. This one of the few rare instances where the narrator shows such intense emotions. As he mentiones: " They had erased themselves into the invisible airs of the storm." This further shows that along with the natural disaster going outside, another storm was ongoing inside the narrator's mind which was able to curse out the demons that had been bothering him for so much time. The author also uses the following expression: "The daemon had been exorcised and gone into the Gadarene swine". This is a connection to the Bible that mentions one of Jesus's miracles, in which he excorcises a demon out of a man while being in a herd of swine.

    8. Julia

      (32) When we first meet Julia, we can clearly see a kind of hovering of a major idea of change for the better or worse, because there's Immaculate that has been mentioned earlier in the book and now Julia, who's been changed from a supposedly normal girl into a "beer hall doll" there's a change motif that I cannot put my head around.

    9. They took one look at me and dragged him off. And the corridor came and stone steps cut into me grazing my knuckles and knees and a foot kicking me tore through the faded cloth of my sanity and they took one hand each and they dragged the endless stone steps into the stains that had once been my raging brains.

      In an unjust world, in which a black policeman is brutally beating their own, everything is turned around and upside down. Led to the edge of sanity, the narrator has begun despising all people, and naturally himself. The absurd in the narrative, and therefore in the paragraph, is underlined by the reversal of roles (73). After beating up the narrator into unconsciousness, it is the black policeman that is being dragged off by the white officers. The narrator is clearly being dragged off to somewhere, yet the action is not portrayed legibly. Instead of him getting injured on the stairs, the stone steps “attack” his knuckles and knees, just as a foot kicks him and tears “through the faded cloth of (his) sanity” (73). While his head is being bashed into the stairs, it is portrayed as if the “stone steps” are the ones being brought to the narrator’s head, reducing his brains to stains: “they dragged the endless stone steps into the stains that had once been my raging brains”. This description could be also the result of his bad physical condition after the beating. It is as if the world is attacking the narrator and he is stuck in the horrid reality of it all, able only to receive the blows dealt to him. Such descriptions parallel perfectly the actual issues of the society the narrator lives in. His disdain for people (in general) is existent for a reason as he finds himself in a world of misery, inequality, and hatred.

    10. There's just dirt and shit and urine and blood and smashed brains. There's dust and fleas and bloody whites and roaches and dogs trained to bite black people in the arse. There's venereal disease and beer and lunacy and just causes. 74 There's technology to drop on your head wherever you stop to take a leak. There's white shit in our leaders and white shit in our dreams and white shit in our history and white shit on our hands in anything we build or pray for. Even if that was okay there's still sell-outs and informers and stuck-up students and get-rich-fast bastards and live-now-think-Iater punks who are just as bad, man. Just as bad as white shit. There's a lot of these bastards hanging around in London waiting to come back here and become cabinet ministers. The only cabinet they'll be in is a coffin. Don't get me wrong. I'm a pessimist, but I still add two and two and walk to the seven, smiling. You find friends and things happen to them, and the thunderstorm in their minds is staring incredibly out of their eyes. You mind your own business and the business springs up and hits you right between the eyes. You bang your head on the wall and the wall crumbles and there's another wall and you wake up with the whole Earth one big headache inside your head. You tuck your tail between your legs and some enterprising vandal sets fire to your fur, as you streak through the dry grass of your fears. And when you stop by that wall to figure out the next poem some character empties a heavy chamberpot of slogans right on top of your head. There's a lot of anger gets you nowhere.

      (pg. 74, 75) This is one of the most intriguing passages throughout the story. It seems that so many important details, intricacies, and descriptions are mentioned that they almost fully describe the way that Rhodesians (most particularly young ones, with bright futures, and dreams) felt throughout this period of Oppression and White Supremacy. A thing that caught my attention almost immediately is the use of the word "shit" numerous times. It is very intriguing as to why Philip starts this monologue with differentiating people from animals and why there is nothing that special to being human. Afterwards, he mentions the word "shit" in regards to the leaders, the dreams of the people, the history, their hands, etc. I am pretty sure that this whole passage is what Rhodesians despised the most about their situation – not that they were unable to do anything about their future, but rather the idea that their future couldn't do anything for them – they are just trapped in an endless cycle of coping with outside factors that no citizen should be forced to deal with. He continues to describe basically why their situation would not change anytime soon: "There's a lot of bastards hanging around in London waiting to come back here and become cabinet ministers." (pg. 75). Honestly, this is very true, even nowadays. However, what is more interesting is what he says afterwards: "The only cabinet they'll be in is a coffin." (pg. 75). Thus, this makes me believe that people indeed are ready for change and that they will not cope with being oppressed or ruled by anyone anymore, whether the leaders are Black or White. What he continues to say about how people mind their own business, but they still can't be left alone and how there is always another obstacle you have to pass until the day you die. This represent the tragedy, helplessness, and anger that people have towards the life they have to live. As Philip says: "There's a lot of anger that gets you nowhere.". Thus, this represents a feeling of both giving up or trying to find a more rational solution for the people to deal with their situation. Overall, I think there is a lot of significance in this passage, and the fact that very central ideas are stated explicitly makes it both unique to the whole story, yet fitting perfectly into the timeline and natural course of events of the story.

    11. final say of the storm.

      (p. 47) This whole passage showcases a way to combine environment and character to display conflict, a climax, resolution, and development in the span of a few pages. Everything starts with the storm. Through repetition and alliteration, Dambudzo Marechera induces a sense of gradation - "It drummed on the asbestos roofs (..) we could not stand it" (p. 44). Not only that, but the author turns water into heavy, sturdy, harmful masses, like solid objects that, if thrown with great strength, could wound or kill - "like the smack of a fist", "massive rocks of rain", "boulders of rain". All of this is described as the product of the angry sky that sticks "needles into the matter of" the student's brain, damps their words, roars "the lions out of voices" (44, 45). This vivid imagery creates an allusion to the main character's situation - the battle he is raging with the voices in his head. He feels the toll those nameless figures have on him (he can't stand it much like the students can't stand the rumbling rain). They come uninvited, torment him with arguments he cannot win, rob him (as the storm robs the lions of their voices) of his voice ("taken over the inner chords of my own voice"). Another allusion is seen on page 45, where the author describes the storm's blows as arguments - "The argument of it left us stunned. The words (...) of rain" (45). I don't think Marechera uses "arguments'' for no particular reason. The main character of the story is also faced with "mountains of arguments'' that overwhelm him. They are sent by the voices who are not planning to stop invading his mind, spliting his conscience in two parts (English and Shona), that are constantly battling each other. The quote "Its muddy feet ...dear" also alludes to the previous paragraph (45). There the character mentions that after he began hearing the voices of the figures he sees, everything he did - painted or wrote - contained something sinister. Every memory he recalled had some evil thought or wrongdoing - "The voices took out (...) slimy worm" (42). After all of this, we can conclude that the storm refers to the shadowy voices themselves, while the torment on the people refers to the torment of the main character. As we go forward (p. 46) and Harry plays a trick on the narrator, things change. The storm now becomes the main character. His fists hit Harry, his rage makes him smack him with a chair. Harry tries to run away (much like the main character would like to do), but the narrator is right behind him. Their fight outside in the mud resembles the one between English and Shona in the main character's head - never-ending, tiresome, with no one taking advantage. "And then something supremely white, blindingly so, erupted at the heart of the storm" (47). This is the climax and, if I am not mistaken, a form of catharsis for the main character (he overcomes his struggles and is free of the conflict inside of him). The storm is interrupted by something blinding (again, the juxtaposition of light and darkness) that clears everything, puts an end. The boys, tired of the struggle and struck by the lightning that split the sky, start laughing. This laughter reminds the reader of the voices' laughter - "Their laughter was of the crudest type, obscene. " (43). The boys remove their clothes and start painting each other with mud much like the narrator, who turns the world into a "turd" under the influence of the devouring laughter of the voices inside him. Afterward, they even scare their professor like the voices scare the main character ("Their laughter was of the (...) survive that impish laughter", 43). The roles have turned. The narrator on page 47 is associated with the voices on pg 43, who made him turn everything he touched into "stinking horror." Whether he has become a part of them or not isn't clear, but they have finally left his head, and he is now alone. This parallelism between scenes and characters prompts one to think about what else is left unsaid in this book and how the author has been and is going to use weather to drive the plot and character development in the future.

    12. The pane misted soothingly against my lips. I could see in the Great Hall thousands of heads opening and shutting against great glasses of secretive beer. On the platform were five heads; one was opening and shutting against an offended microphone. Three were furiously scratching the bellies of itchy guitars. The fifth head, tightly locked within itself, was butting against the stretched skin of drums that no longer knew pain. In the space directly beneath the platform there was a scarred head dancing clumsily with a haughty chair.

      Interesting way to describe a concert.

    13. The angry skies drove boulders of rain against the school until we felt our very sanity was under a relentless siege.

      This whole passage of the storm gives another perspective to what was going on in the narrators head - the rain being 'them' (the figures in his head), which destroys and floods everything, leaving it in ruins. (p.44)

    14. I do not quite know what happened next.

      p.60 First of all, me neither. However here is how I understand what happened: the priests reacted brutally to the shouting of the narrator and the rest. Something (or someone) hit the narrator on the head and caused bleeding. The wound was later stitched. Those stitches symbolize the memory from this crazy day. When he "rips off the bandages" the narrator causes more bleeding and maybe everything that follows is some type of hallucination that he saw??

    15. When Harry and I returned to the dormitories we went to the showers and there the miracle happened - I almost cried with glee. They had gone! I could feel it. They had erased 47 themselves into the invisible airs of the storm. The daemon had been exorcised and gone into the Gadarene swine. For the first time in my life I felt completely alone. Totally on my own. It is as if a storm should rage in one's mind and no one else has the faintest experience of it. It frightened me a little. I was learning to keep my claws sheathed.

      (p. 47) This excerpt provides a further development on the consequences that the rain had on the narrator. In the paragraph "It drummed on the asbestos… like glue to our clothes." (pg. 44, 45) the narrator presents the rain as this force that is unable to be defeated, that inflicts so much fear and craziness into the whole situation that even the narrator agrees that it affected the schoolchildren so much that "we felt our very sanity was under a relentless siege". However, the interesting thing is what the narrator shares after this experience. He states that his "demon" has been removed from him and that this is the first time he is "completely alone". This idea of being "alone" is such a paradox compared to the fact he wasn't alone all this time - there were demons inside of him. Furthermore, him mentioning the sentence "It is as if a storm should rage in one's mind and no one else has the faintest experience of it" that makes me think whether this storm actually happened at all or whether it had really happened and the author is just using it to reference and give us insight into what is going on in his mind. Also, immediately after he finishes telling this story, he goes back into reality for a brief moment and then returns back to his narrative. It is so strange that he jumps from story to story, admits that there are "demons" in his head, and doesn't tell the stories in a chronological order that makes this whole thing so unrealistic yet beautiful and believable. However, I am confident that this has more significance than I am managing to grasp now–mainly because of the confusion–since it seems he is trying to go somewhere with his chaotic, but significant stories from different periods of his life and I feel that the whole truth is going to emerge soon and it is going to be explosive.

    16. Gut-rot, that was what one steadily became. And whatever insects of thought buzzed about inside the tin can of one's head as one squatted astride the pit-latrine of it, the sun still climbed as swiftly as ever and darkness fell upon the land as quickly as in the years that had gone.

      Ok ok ok. This passage is cool and powerful. Very vivid image. Kind of disgusting. Love it.

    17. 'I'll beat it out of you yet.'

      We are led to believe that the narrator's brother is threatening to kill Immaculate's unborn child (14), but on the next page it is mentioned that "the baby in the next room was hollering its head off and must have been screaming for quite some time"(15). The violence in the scene is aimed not at the unborn child, which took away the woman's teaching job at the school, but at her undying spirit (in fact, we realise that the child is already born). Immaculate is full of passion, her "wide animal-like"eyes pulse with "raw courage" (14), and this characteristic of hers awakens fury in Peter, who longs for his unattainable freedom. Immaculate, however, has stated that "she would never give that up" (14). The world she lives in is starved and full of suffering, but her spirit, hopeful for life, maybe love (I am assuming), will not be stifled.

    1. Bronx was a particularly dangerous place for children and adolescents

      <br>

      Source Excerpt: Drawing on participatory action research with girls that have lived and worked in ollas in Bogotá’s center, Amy Ritterbusch provides this vivid description of the dangers of the Bronx for street-connected youth: <br>

      "Walking ten blocks south of Santa Fé and winding through the web of wholesale stores surrounding La Mariposa we come to “la L”—also known amongst the girls as el Bronx—located, ironically, behind the national military barracks with full-suited guards in fatigues and armed with rifles and next to a Catholic church… It is the most concentrated and dangerous olla (drug zone) in Bogotá. La L is where La Flaca, a former member of the YPAR [Youth Participatory Action Research] team, permanently disappeared into the depths of Homero (one of the rockolas (juke joints)). La L is where drugs are sold as in fresh produce market… however, this product is not so fresh, and according to urban (and VMC [street-affiliated youth] legend, is also mixed with the ashes of bones of those who did not make it. La L is where Mata's [a member of the Youth Participatory Action Research team] brother often stands next to the graffiti of an oxygen mask and smokes bazuco… it is where babies are born and tossed in the dumpster with the batch of other people who didn’t make it out in time."

      One member of Ritterbusch’s youth participatory action research team, Victoria, described the violence she experienced at the hands of the sayayines:

      "[The sayayines] beat on me as well for doing glue… because glue is competition for bazuco… it’s no use to them because they lose clients… they take the bottle from you and pour it on your head… one day I was doing glue like that… a salla turned to look and I didn’t notice him… when I did see him he was already onto me… pulls out his piece… and booomm! He whacks me across here [her head] with a pistol butt… then they pulled me into a rockola and hit me with a stick and slapped me in the face."

    2. “shock and awe” strategy

      <br>

      Analytic Note: The following video, posted on twitter by Julián Quintana—the head of the special investigation unit of the Fiscalía that took the lead in the intervention—shows the overwhelming presence of security forces during the intervention. Note that it is daylight when this video was filmed, meaning that they were already several hours into the intervention, which began at 4 a.m.

      Data Source: https://doi.org/10.5064/F630E3UT/YBHTES

      Tweet: https://twitter.com/julianquintanat/status/736523355910766592?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E736523355910766592&ref_url=https%3A%2F%2Fwww.semana.com%2Fnacion%2Farticulo%2Fbogota-fiscalia-y-policia-realizaron-operativo-en-bronx%2F475447

    3. twenty-five human rights violations

      <br>

      Source Excerpt: Diez ciudadanos (...) manifestaron que en desarrollo de las acciones de ocupación, sus lugares de residencia fueron allanados y de manera agresiva les apuntaron con armas de fuego, los golpearon, los amenazaron y supuestamente recibieron descargas eléctricas. Aseguran haber sido despojados de sus teléfonos celulares y del dinero en efectivo (...) Advierten los reclamantes que se desconoció la presunción de inocencia y que en ningún momento fueron notificados del procedimiento (...) Otras siete personas (...) expresaron que hubo uso excesivo de la fuerza y que en sus lugares de habitación quedaron sus documentos y pertenencias, sin que hayan podido recuperarlas (...) otros tres ciudadanos (dos mujeres y un hombre), quienes se identificaron como comerciantes en el oficio del reciclaje. Las mujeres aseguran ser madres cabeza de familia, propietarias de una empresa legalmente constituida, registrada en Cámara de Comercio y con empleados a su cargo, ninguno de ellos consumidores de droga (...) dos hermanos que declararon ser propietarios de un inmueble en el sector de “la L”, presentaron el número de matrícula inmobiliaria del predio (...) Añaden en su denuncia que en el inmueble que les pertenece habitan dos personas mayores en calidad de arrendatarios, de quienes suministraron los números de cédula y manifiestan que ante la imposibilidad de entrar y salir del sector, no solamente no han podido ir por sus bienes, sino que además estos dos residentes afrontan dificultades para ingresar alimentos y acceder a sus garantías fundamentales.

      Source Excerpt Translation: Ten citizens (...) stated that in the course of occupation actions, their places of residence were searched and they were aggressively targeted with firearms, beaten, threatened and allegedly received electric shocks. They claim to have been stripped of their cell phones and cash (...) Claimants claim that the presumption of innocence was ignored and that at no time were they notified of civil procedures (...) Seven other persons (...)expressed that there was excessive use of force and that their documents and belongings were left in their places of residence, without being able to recover them (...) Three other citizens (two women and one man) identified themselves as merchants in the area of recycling. The women claim to be the head of the family, owners of a legally constituted company, registered in the Chamber of Commerce and with employees under their charge, none of them drug users (...) two brothers who declared to be owners of a property in the sector of "the L", presented the real estate registration number of the property (...) added in their complaint that the property that belongs to them live two elderly people as tenants, who supplied the ID numbers and show that faced with the impossibility of entering and leaving the sector, not only have they not been able to go for their goods, but also these two residents face difficulties in obtaining food and enjoying their fundamental rights.

      Data Source: http://www.defensoria.gov.co/es/nube/noticias/5372/Defensor%C3%ADa-acumula-25-quejas-por-posibles-violaciones-a-los-derechos-humanos-durante-intervención-de-autoridades-al-Bronx-Bronx-Defensor%C3%ADa-del-Pueblo-Bogotá-derechos-humanos-Derechos-Humanos.htm

      Permanent link: https://perma.cc/4HPJ-WRAB

    1. Cline didn’t even try to count the stab wounds, there were somany. Her hands were not tied but, like Leno, she had a pillowcaseover her head and a lamp cord was wrapped around her neck. Thecord

      this would be considered the killer's signature

      "In the discipline of criminal profiling,signature is a term used to describe the behaviors committed by an offender that serve the person's psychological and emotional needs"

    2. His head and face were horribly battered, historso and limbs punctured by literally dozens of wounds.

      the way his body and face were battered, I would assume that the killer could be someone they knew or someone that had a grudge against them.

    1. “Nothing was less new to Maisie,” we are told by the end of this extended sequence, “than the art of not thinking singly” (176).

      My annotations have been stringing together nicely as much like in the novel, Maisie is once again being used as the point of reference, the object of our study, without having so much as a say in it. From an outsider perspective, without being able to see her thoughts, one might believe her to be intellectually underdeveloped. Her thoughts are only her own in her head, outside of that it's all influenced by the pushing and pulling force of those around her.

    2. fin-de-siècle

      Fin de siècle is a phrase “suggestive of everything new and odd”―a phrase which embraces “[a]ll, young or old, regardless of color, creed, and sex, who rush head over heels with new ideas towards the 20th century” (Critic fin de siècle, www.jstor.org/stable/20494209). According to Morag Shiac (“Reading the modernist novel; and introduction” by Morag Shiach; we read this article for the second class) “[f]in-de-siecle novelists created their fictional texts at a moment when key social institutions were under particular pressure” which there is no doubt that the family, in What Maisie Knew, stands as one clear example (128). “They were writing at a moment of significant historical transition. Technological innovations, rapid urbanization, changing patterns of Empire, political realignments, and the destabili-zation of a range of social institutions all generated particular pressures on the literary imagination of the 1890s” (Shiac 128). Although there is no consensus on when this movement begins (Wolf considers starting in 1910s, as the example given by Shiac) “there is nonetheless a broad recognition that the turn of the century saw transformations that generated a significantly, and often painfully, new social reality” (Shiac 128).

    1. on't gimme no lip neither, else Ah'll throw 'em outand put mah fist up side yo' head to boot."

      This shows the type of man he is and how he reacts to certain things

    2. since dat white 'oman from up north done teached 'im how to run a automobile, he done got too biggety to live--an' we oughter kill 'im," Old Man Anderson advised. A grunt of approval went around the porch.

      he works with white people and has a license to drive. the others think this has gotten to his head and dislike him for it

    3. "What's it got to do with you, Sykes? Mah tub of suds is filled yo' belly with vittles more times than yo' hands is filled it. Mah sweat is done paid for this house and Ah reckon Ah kin keep on sweatin' in it."

      She isn't the head of the house but she's the one maintaining it and paying for it

    4. Don't gimme no lip neither, else Ah'll throw 'em outand put mah fist up side yo' head to boot."

      seems like an abusive relationship. very common in the 1930s

    1. Emilia. I will be hang’d, if some eternal villain,Some busy and insinuating rogue,Some cogging, cozening slave, to get some office,Have not devised this slander; I’ll be hang’d else.2900Iago. Fie, there is no such man; it is impossible.

      His own wife nails it on the head, maybe partly because of the handkerchief scene between the two earlier.

    2. Iago. With her, on her; what you will.

      Iago always slowly builds the conversation by planting the thought in the persons head at first ( in this case when he mentions the handkerchief ) and then saying vague statements like this which portray him as a good guy who doesn't actually want to talk behind these peoples backs.

    3. Did Michael Cassio, when you woo’d my lady,Know of your love?Othello. He did, from first to last: why dost thou ask?1735

      Another instance of Iago purposely planting thoughts into Othello's head and making things seem like Cassio is cheating

    4. Iago. Ha! I like not that.Othello. What dost thou say?1665Iago. Nothing, my lord: or if—I know not what.

      Iago instigating the situation and planting thoughts into Othello's head

    1. Two roads diverged in a yellow wood

      Immediately the image of a tree branch diverging, their root once one comes to mind and after reading the rest of the poem, this first line is very effective in engraving the image of separation into the reader's head.

    1.   Shall I compare thee to a summer's day?  Thou art more lovely and more temperate:

      When I think of sonnets, these are the first lines that pop into my head. Shakespeare's couplet illustrates the nature of sonnets- love poems that attempt to define love, woo, or mourn unrequited love.

    1. bland, bespectacled face

      The author attaches unappealing characteristics to the military head so as to reduce his worth. She steers public opinion towards the opinion that this man is unworthy of the position of a leader and softens the blow of the publics actions in defacing his pictures.

    1. head and wept.

      I think that this poem is might be to reveal some homesickness within the narrator. Maybe it's for their homeland, but it could also be longing for a place they have never been able to go. It seems like they want to go to a warm tropical place but cannot for one reason or another.

    1. Camera Mouse is a free downloadable software that allows the user to control the mouse pointer using the camera on their computer by moving their head.

      This is actually really cool and I love that technology has come to this point for users with disabilities. I think this type of advancement will help so many users and be able to use websites that they usually cannot due to the website not being functional in that way.

    2. Disabled students may need to use assistive technology, such as screen readers, voice control, head pointers, specialized keyboards, or mouth sticks, to use and navigate a tool.

      I truly think the e-Learning has great potential to help students with disabilities in their studies.It includes so many tools including the assistant tools. So considering the factor of disability access needs to be built into the design process at the beginning. These technical moves to provide access will need to be done in conjunction with a pedagogical approach to course design that is inclusive for people with disabilities and the overcoming of discrimination on the part of teaching staff.

    3. Disabled students may need to use assistive technology, such as screen readers, voice control, head pointers, specialized keyboards, or mouth sticks, to use and navigate a tool.

      Even when the assistive technology is accessible it can still sometimes take extensive coaching and practice in order to use effectively. Last year a student of mine began working with eye gaze technology. This technology enabled the computer to know where the student was looking. It was tiring (for teachers too when they gave it a go) and took months to master. When presented with the need for assistive technology I have experienced different barriers including cost to purchase, training, and how/who to manage the equipment. Teachers and paraprofessionals are good at coming up with no-tech and low-tech solutions when needed!

    4. For example, many digital tools, online resources, flash-based games, and websites require the use of a mouse, which prevents visually impaired users from navigating the tool with a keyboard. This also prevents users with loss of motor functioning skills from operating the tool with their assistive technology (e.g., mouth stick, head pointer). Some tools are designed with small-sized buttons or input features that cannot be enlarged, which makes it hard for a user with dexterity issues or a mouth stick to interact with the tool. Many tools and apps do not interface with screen readers or voice control, which prevents students who depend on those assistive technologies from using them.

      I think there needs to be a lot more education about disabilities and the things people with disabilities need to operate and navigate tools. When a web designer or app developer has no knowledge about disabilities, they are not going to be able create a tool that is accessible. Same thing applies to tools that are not diverse or inclusive. When the person making a tool comes from a place of privilege and has never had to worry or think about accessibility or cost or diversity, they are not going to have the knowledge or foresight to make those things a part of their design.

    1. That’s the worst on’t wi’ crossing o’ breeds: you can never justly calkilate what’ll come on’t. The little un takes after my side, now: she’s twice as ’cute as Tom. Too ’cute for a woman, I’m afraid,” continued Mr Tulliver, turning his head dubiously first on one side and then on the other. “It’s no mischief much while she’s a little un; but an over-’cute woman’s no better nor a long-tailed sheep,—she’ll fetch none the bigger price for that.”

      too 'cute for a woman

    Annotators

    1. I first put my head into virtual reality in 1989. Before even the web existed, I visited an office in Northern California whose walls were covered with neoprene surfing suits embroidered with wires, large gloves festooned with electronic components, and rows of modified swimming goggles. My host, Jaron Lanier, sporting shoulder-length blond dreadlocks, handed me a black glove and placed a set of homemade goggles secured by a web of straps onto my head. The next moment I was in an entirely different place. It was an airy, cartoony block world, not unlike the Minecraft universe. There was another avatar sharing this small world (the size of a large room) with me—Lanier.

      我第一次把脑袋伸进虚拟现实头盔,是在 1989 年。那时,甚至连互联网都尚未诞生。我拜访了北加利福尼亚的一间办公室,墙上贴满了缝着金属线的氯丁橡胶冲浪套装、装点着电子元件的巨大手套和一排排改装过的游泳镜。办公室的主人,Jaron Lanier,蓄着及肩的金发脏辫儿,递给我一只黑色手套并把一套用条带网子系结起来的自制护目镜戴在了我头上。下一刻,我已身处一个完全不同的地方。那是一个轻盈的、卡通般的砖块世界,与当今 Minecraft 游戏中的世界不无相通之处。另一个虚拟存在者—— Lanier 和我共处在这个一间大屋子那么大的小小世界里。

    1. Every day for six weeks this advertisement appeared at the head of all the newspapers, and every day for six weeks the Secretary, when he saw it, said to himself; in the tone in which he had said to his employer,—‘I don’t think it promises!’

      I find that this section of the story and many of the scenes in previous chapters with the Inspector really do a great job of conveying the time period. Without much of the technology today, it simply would be incredibly difficult to find information on a lone figure who we have seen use false names in the middle of a city. Note how Dickens repeats himself, saying 'every day for six weeks' twice to emphasize the dubious chances of finding Julius Handford at this stage of the story.

    2. The schools—for they were twofold, as the sexes—were down in that district of the flat country tending to the Thames, where Kent and Surrey meet, and where the railways still bestride the market-gardens that will soon die under them. The schools were newly built, and there were so many like them all over the country, that one might have thought the whole were but one restless edifice with the locomotive gift of Aladdin’s palace. They were in a neighbourhood which looked like a toy neighbourhood taken in blocks out of a box by a child of particularly incoherent mind, and set up anyhow; here, one side of a new street; there, a large solitary public-house facing nowhere; here, another unfinished street already in ruins; there, a church; here, an immense new warehouse; there, a dilapidated old country villa; then, a medley of black ditch, sparkling cucumber-frame, rank field, richly cultivated kitchen-garden, brick viaduct, arch-spanned canal, and disorder of frowziness and fog. As if the child had given the table a kick, and gone to sleep.

      Dickens describes the schools very well and the surroundings which in my head makes me think that I am there and seeing it with my own eyes. It is very interesting and fascinating how good he describes it for the readers.

    3. ‘How to your father? Can you ask! By perpetuating the consequences of his ignorant and blind obstinacy. By resolving not to set right the wrong he did you. By determining that the deprivation to which he condemned you, and which he forced upon you, shall always rest upon his head.’

      Eugene is implying that Lizzie is hurting herself by not choosing to get an education. His message through this quote is to imply that now her father isn't present to influence her ability to get an education (because he forbid her), she should take advantage of the opportunity.

    4. The object he had expected to take in tow, floats by, and his own boat tows him dead, to where we found him, all entangled in his own line.

      I find it suspicious that Gaffer suddenly dies in the middle of this controversy with Riderhood. I also find that the inspector has such a long winded explanation off the top of his head when he hadn't conducted a legitimate full investigation yet.

    5. In short, the night’s work had so exhausted and worn out this actor in it, that he had become a mere somnambulist. He was too tired to rest in his sleep, until he was even tired out of being too tired, and dropped into oblivion.

      I like the definition used here to describe abnormal sleep. I have never head somnambulist until Dickens wrote this. It is a great word to use in this situation. You can also tell how tired he is even though he is not getting much sleep.

    1. A recurring flaw in AI alarmism is that it treats intelligence as a property of individual minds, rather than recognizing that this capacity is distributed across our civilization and culture.

      I think this has to be thought of any general AI designers. How do you incorporate diversity of intelligence required for each skill, and whether such diversity comes at a cost. ie Single agent that has to have some axioms/views/world-view in it's head to do it's task in real world. Say engineer vs product manager. Can a AI system hold such diversity of views at the same time while acting as a single will instead of a civilization of wills?

    1.  Their poverty was my single story of them. 

      She experienced first hand the harm of a single story, her mother's single story about her father's family shaped how she saw them. Even before going to meet them, she already had assumptions about how poor they were. That alone created what they were like in her head and although she was proven wrong and saw how harmful it was. Single stories on a bigger scale will be harder to dismantle and will continue to be the truth until proven otherwise.

    1. There is a widespread belief that the COVID-19 pandemic has increased global income inequality, reducing per capita incomes by more in poor countries than in rich. This supposition is reasonable but false. Rich countries have experienced more deaths per head than have poor countries; their better health systems, higher incomes, more capable governmentsand better preparednessnotwithstanding. The US did worse than some rich countries, but better than severalothers.Countries with more deaths saw larger declines in income. There wasthus not only no trade-off between lives and income; fewerdeaths meant more income. As a result, per capita incomes fell by more in higher-income countries. Country by country, international income inequality decreased.When countries are weightedby population, international income inequality increased, not because the poorest countries diverged from the richest countries, but because China—no longer a poor country—had few deaths and positive economic growth, pullingit away frompoorcountries. That these findingsare aresult of the pandemic is supportedby comparing global inequality using IMF forecastsin October 2019 and October 2020.
    1. It was done through official channels, rather half-heartedly. What they need is imagination. They neverrise to the challenge of a disaster. And the cures that they dream up would hardly cope with a head cold. Ifwe leave them to their own devices, they'll perish and so will the rest of us

      I'm not exactly sure what Tarrou means by this but he may not believe in the Prefecture's capability of establishing a volunteer health service.

    Annotators

    1. “One officer lost the tip of his right index finger. Others were smashed in the head with baseball bats, flagpoles and pipes. Another lost consciousness after rioters used a metal barrier to push her into stairs as they tried to reach the Capitol steps during the assault on Jan. 6.”

      Provides an account of the tragic horrors police encountered on the day of the insurrection, presenting numerous details

    1. It is ignoble, this style of warfare, he exclaims

      It is interesting that these soldiers wanted honor in fighting in these battles. So it would make sense why someone would want to venture out past the trenches and face the war head on.

    1. bruised, battered and shaken

      The Americanized idiom yields from the poem "Invictus" that states, "Under the bludgeonings of chance, my head is bloody but unbowed" by William Ernest Henley in 1875. Notably, Oklahoma City bomber Timothy McVeigh said the line verbatim at his execution in 2001.

    1. The main thing about the freeze was that it shouldbe as intricate, witty, insulting, or obscene as possible. “You try to put your head on your armand your toenails on your ears,” explains Ken of the Breakmasters crew. “When you spin on yourhead,” says another b-boy. “When you take your legs and put them in back of your head outof the spin.” A dancer might twist himself into a pretzel, or strike a cocky salute. He would quotethe sexy poses of a pinup girl, or perhaps present his ass to his opponent in a gesture ofcontempt. Through pantomime, he might extend the scatological insult even more graphi-cally, pretending to befoul his opponent. Or he might hold his nose, telling the other guy hestinks. He might put his hand to his spine, signaling a move so good it hurts. Sometimes thedancers in the opposing crew joined in, razzing the performer from the sidelines.

      Cf. Hazzard-Donald on signifyin', the dozens, and competitive one-upmanship in general (p. 509 in this volume).

    1. Can taking a selfie be a feminist act?

      The first line of this article got me thinking. I believe the answer to be "yes", selfies can be a feminist act. And I felt afraid there was a potential false dichotomy being created by the initial question. I feel that with many feminist issues that same "this or that" attitude rears its ugly head.

      Which is more feminist, having a career or staying home with babies? Which is more feminist, flaunting your body or "respecting yourself"? I was afraid this article would go more in the direction of which is more feminist, taking selfies or refusing to take part in this modern ritual?

      I'm glad the article didn't go as far in that direction as I suspected because to me, the answer is always that whatever each woman chooses for herself, unfettered, is the most feminist choice. And I feel that applies to taking a selfie.

    1. Ms. Miao, 27, had left restaurants before the pandemic and was working a stall at the Bronx Night Market, trying to get a business called Chi Desserts off the ground. But she never came up with a head-swiveling product that persuaded the crowds to stop, taste and buy.Once it became clear there would be no night markets this year, she reinvented Chi as Kemi Dessert Bar, fashioning sweets in her apartment in Jamaica, Queens, and making home deliveries. The change has given her imagination room to roam.

      Rhetoric: Pete repeats the syntax utilized earlier here by the counter of how Ms. Miao's initial strategy did not work, but her creativity prevailed and her new idea went off. This comparison takes the reader on a roller coaster, losing hope then gaining it right back. This contributes to the main purpose of Pete to put forth the benefits of COVID and how small business owners can benefit.

    1. t’s a much-needed shift for the industry, and it took a pandemic for things to finally change,” she said. “We saw our clients start freaking out in March and thought, okay, let’s do Zoom as a crutch to get through the pandemic. But pretty quickly the lightbulb went off in my head: This isn’t just something that’s going to get us through, but it’s going to create radical change in the industry.”

      Do you think there will be Zoom weddings after the pandemic?

    1. parmacetti

      Parmacetti is the pearly white, waxy, translucent solid, obtained from the oil in the head of the sperm whale: used chiefly in cosmetics and candles, and as an emollient.

    1. The Global Goals are all about getting to an A, and that’s why we’re going to be updating the People’s Report Card annually, for the world and for all the countries of the world, so we can hold our leaders to account to achieve this target and fulfill this promise.

      I think it's a great idea to hold world leaders accountable for the drive they push in their communities. however, how affective is this really? if you don't have the consequence of not earning a degree held over your head, are you still as likely to try your best in school? The world leaders are the ones who are safe as far as climate issues go, and if they're in positions of power, certainly are not worried about their own equality or hunger. it's important to offer consequences and incentives for earning certain grades for this method to be affective.

    1. "The Story of An Hour" Kate Chopin (1894) Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death. It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message. She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her. There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul. She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves. There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window. She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams. She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought. There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air. Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under hte breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body. She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome. There would be no one to live for during those coming years; she would live for herself.

      she moves on slowly?

    1. Mr. Summers consulted his list. “Clyde Dunbar.”he said. “That’s right. He’s broke his leg, hasn’t he? Who’s drawing for him?”“Me.I guess,”a woman said. AndMr. Summers turned to look at her. “Wife draws for her husband.”Mr. Summers said. “Don’t you have a grown boy to do it for you, Janey?”Although Mr. Summers and everyone else in the village knew the answer perfectly well, it was the business of the official of the lottery to ask such questions formally. Mr. Summers waited with an expression of polite interest while Mrs. Dunbar answered.“Horace’s not but sixteen vet.”Mrs. Dunbar said regretfully. “Guess I gotta fill in for theold man this year.”

      Mrs. Dunbar is the only woman to draw in the lottery, and the discussion of her role in the ritual and since women are considered so inferior that even a teenaged son would replace a mother as the “head of household.”

    2. Soon the men began to gather. Surveying their own children, speaking of planting and rain, tractors and taxes. They stood together, away from the pile of stones in the corner, and their jokes were quiet and they smiled rather than laughed. The women, wearing faded house dresses and sweaters, came shortly after their menfolk. They greeted one another and exchanged bits of gossip as they went to join their husbands. Soon the women, standing by their husbands, began to call to their children, and the children came reluctantly, having to be called four or five times.

      I can picture this quote perfectly in my head, I get the 50s vibe and how they lived during that time.

    1. The Wise Matriarch shook her head. "My child, do not give away your identity, your culture - they are part of you, who you are," she cried

      even when we have a figure like this in our lives, it can be so hard to listen to this piece of advice because we want to fit in so badly.

    1. "The Story of An Hour" Kate Chopin (1894) Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.

      It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.

      She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.

      There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.

      She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.

      There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.

      She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.

      She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

      There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.

      Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under hte breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.

      She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.

      There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and

    1. She spat twice on my head. Grandma, will you please stop spitting on my head. If you have anything to say, shut up. A little spit won't kill you. Come on, we'll be late for the Mass.

      Notice the lack of quotation marks. Yet we know it's still dialogue base on the structure of the sentence and how it seems separated from the rest.

  3. inte5340.studentagency.io inte5340.studentagency.io
    1. ering a Grandparent after Suicide

      Hey Liz,

      I think you made a great choice concerning using audio to tell this story. Audio gives us less information so that users can build a picture in their head. The other audio clips help fill in the blanks, but the story isn't force-fed. I think users also have to pay attention and listen more carefully. What are the locations, the mood, and even the date/time-period of the story.

      Good call using audio, and it was executed well, on a technical level. The voiceover is clear, and the different layers of audio clips tie in well. Nice job!

    1. In Japan, the head of state is Emperor Akihito, who publicly personifies and represents the spirit of the national community; he also upholds that community’s legitimacy. In contrast, the prime minister of Japan is the chief executive officer of the government administration. To make the under-standing of the state even more precise, we can also distinguish it from the nation,

      I find this example to be very clear in the distinction between head of state and head of government.

    1. College... or University in my case is a big question mark. There's so much you can't say about it that you feel like you should. The sleepless nights that keep you awake with stressful thoughts that fill you with more frustration than kind of annoyance. The friends that move in and out of your life like ghosts wandering through a long abandoned house that you exchange glances and a half-hearted wave with but never choose to acknowledge further. The parties where you sit in a corner sipping on a cup of water because you don't want to want to feel even more out of place until you feel you've spent an adequate amount of time there and leave. Studying alone because it "helps you focus more". Sitting one seat removed from the closest person because you don't want to seem eager or weird. Wondering how the people around you already seem to have everything figured out while you're left just trying to keep your head above water and your grades respectable enough for grad school. The feeling that this is your life, this is the most important thing up to this point in it and you desperately don't want to mess it up. The fact that film is around to at least try to give the seemingly inarticulate something of a recognizable voice is why I never get tired and never stop trying. Bring it on world! Do your worst!

      Review style 4/4.

      This kind of review is interesting as it can be argued that it isn't really a review in a familiar form. Instead of a user writing out all their feelings and thoughts concerning the film, they use the film and often its themes as well to dive deep into specific ideas that, while related to the film, aren't really about it. It's almost as though the film filled the user with a spark and now they have something they have to say because of the film. This style seems to be popular because of the nature of human conscious and how what we are exposed to will influence us. Mental and actual conversations occur because ideas spring up both consciously and unconsciously all the time.

      Examples:

    1. {"@type":"NewsArticle","@context":"http://schema.org","url":"https://kotaku.com/destiny-2s-season-of-the-chosen-is-good-so-far-1846234532","author":[{"@type":"Person","name":"Ethan Gach"}],"headline":"Destiny 2's Season Of The Chosen Is Good So Far","description":"Season of the Chosen went live in Destiny 2 today, and with it a whole new set of things to grind for. So far, these things—new armor, guns, and exotic gear—seem pretty cool, with interesting new perks to make them worth chasing. But I’d be lying if I said I wasn’t already feeling daunted by yet another set of artifacts, upgrade nodes, and season pass rewards to rank up.","dateline":"02/09/2021 at 19:00","datePublished":"2021-02-09T19:00:00-05:00","dateModified":"2021-02-09T19:00:03-05:00","mainEntityOfPage":{"@type":"WebPage","url":"https://kotaku.com/destiny-2s-season-of-the-chosen-is-good-so-far-1846234532"},"image":{"@type":"ImageObject","height":675,"width":1200,"url":"https://i.kinja-img.com/gawker-media/image/upload/c_fill,f_auto,fl_progressive,g_center,h_675,pg_1,q_80,w_1200/qllyzsvzfppnvounujeg.png","thumbnail":{"@type":"ImageObject","height":180,"width":320,"url":"https://i.kinja-img.com/gawker-media/image/upload/c_fill,f_auto,fl_progressive,g_center,h_180,pg_1,q_80,w_320/qllyzsvzfppnvounujeg.png"}},"articleBody":"Season of the Chosen went live in Destiny 2 today, and with it a whole new set of things to grind for. So far, these things—new armor, guns, and exotic gear—seem pretty cool, with interesting new perks to make them worth chasing. But I’d be lying if I said I wasn’t already feeling daunted by yet another set of artifacts, upgrade nodes, and season pass rewards to rank up.\n\nThe villains du jour this time around are remnants of the Red Legion, a faction that now controls the Cabal and is loosely inspired by the Roman Empire. Empress Caiatl, daughter of year one raid boss Callus, wants you and the Vanguard to pledge allegiance to her, but of course Zavala, Osiris and co. aren’t having it. And so the two sides are at war (again), providing a new reason to shoot legions of lumbering space Goombas in search of new rewards and lore dumps.\n\nI’ve played around with the new content for about three hours now. So far most of my impressions are pretty positive, though I’m less hopeful about the larger existential questions swirling around Destiny 2 as it passes the halfway point of its fourth year. Here’s a quick rundown:\n\nThe launching area for Season of the Chosen is called the H.E.L.M., which is an acronym for Destiny gibberish that exited one ear shortly after entering the other. It’s a big space full of hallways and closed doors that seem likely to open up later in the season or sometime further down the road. In the meantime it’s kind of empty and lonely, though I do love the Star Trek: The Next Generation-style polished wood surrounding the war table.\n\nThe war table is where you grab seasonal bounties, upgrade seasonal nodes, and cash in seasonal currency for new seasonal engrams. It seems modeled after Variks’ upgrade nodes from Europa, which were nice and streamlined compared to seasons past.\n\nThe H.E.L.M. is also where the Prismatic Recaster, brought back from Season 11, is now located. Here you can refocus Umbral Engrams, which have also returned, transforming them into Season of the Chosen weapons and armor or into random gear from the rest of the game’s current loot pool. It appears to be currency-based, rather than upgrade-driven like the original version, which is a relief, since grinding that thing the first time around was painful enough.\n\nThe highlight of Season of the Chosen is the new Battlegrounds activity. It can be accessed from the surface on Nessus and Europa, or from the Strike Playlist after completing some initial story quests. You fight waves of enemies in a patrol area, then head deeper into one of the nearby underground caverns, fight more waves of enemies, and eventually end up at a Cabal boss in a small arena filled with still more waves of enemies. It’s short, varied, and a breezy way to burn through bounties—everything you’d want from a seasonal activity you might be running dozens of times a week.\n\nAt the end of a run you get your normal Strike Playlist rewards chest, followed by a second Battlegrounds chest you can smash open if you’ve charged up your Cabal hammer artifact. This Hammer is like Season of Opulence’s Chalice. You insert gold coins you earn throughout other activities in order to unlock the extra chest, and the way you upgrade the hammer will affect what rewards are inside. Opening treasure chests is fun. Smashing them is even more fun. Again, nothing new here, but this loot loop feels better optimized than many of Destiny 2’s past ones.\n\nThe Crow has finally left the Tangled Shore and is ready to hang. He’s even got a Phantom of the Opera mask Osiris makes him wear so that no one else in the Last City recognizes him and goes “Oh shit, you killed Cayde-6, aka Nathan Fillion.” It’s a nice touch. Hopefully he becomes more involved as the season progresses.\n\nThere’s a new exotic bow called Ticuu’s Divination that reminds me of Gears of War’s Torque Bow. Fire it from the hip and three homing shots will whip around corners to hone in on a target. Hold down and fire a precision shot at that target and it will explode with a detonation that is both satisfying and perfect for ripping through Cabal mobs. I don’t normally like bows, but I like this one. The rest of the new exotic gear looks similarly powerful, which is good for providing new loot to chase but also makes the older stuff I already have feel boring by comparison.\n\nThe new patch is live, and seasonal challenges have replaced weekly bounties. As someone who almost never finished weekly bounties, I’m looking forward to this change. In a game that feels increasingly transient, having season long challenges is both easier to keep track of and feels more substantial. Swords have been nerfed too, but I (and everyone else I see) are still using them just fine in Battlegrounds. Meanwhile, rocket launchers were buffed, but I’m still not sold on them. Bungie also boosted recoil for PC players ahead of the cross-play update planned in the near future. I imagine this will suck for PC players, but I don’t play on PC so I can’t say at the moment.\n\nSunsetting is more of a bummer than ever. As some of my favorite weapons get closer to their power cap (I’ll never let you go, Gnawing Hunger), Bungie’s current approach to loot sustainability and sandbox balancing feels more misguided than ever. Philosophical disagreements aside, it is still completely bonkers to me that players have to grind for new versions of re-issued weapons rather than being able to infuse up the older but otherwise identical versions. Also I got another Long Shadow sniper rifle in one of my first few Legendary drops this season, and it’s still at an older cap than the current season’s. Why is this loot game wasting my time with arbitrary expiration dates?\n\nThe Devil’s Lair and Fallen SABER strikes from Destiny 1 are back and I missed them. The more time marches on, the more I long for the comparatively simple and straightforward pleasures of the first game.\n\nThere’s a lot planned for Season of the Chosen according to its content roadmap, including new versions of Battlegrounds and a new strike based in the Last City called Proving Grounds. Based on my first few hours with what’s already live, Season 13 seems like it will have as many good reasons for Destiny players to keep playing Destiny as any previous season. But so far it hasn’t shown any signs of doing anything bold to change up the game’s underlying formula or how players interact with it. At times that’s enough for me, but increasingly I find myself hoping for something more, and disappointed when it never quite materializes. \n\n\n","articleSection":"Impressions","keywords":["destiny","windows games","multiplayer video games","cabal","heroes of the storm","grinding","video gaming","games","video games","first person shooters","role playing video games","playerunknowns battlegrounds"],"publisher":{"@type":"Organization","@context":"http://schema.org","name":"Kotaku","url":"https://kotaku.com","logo":{"@type":"ImageObject","url":"https://x.kinja-static.com/assets/images/logos/amp/logo-kotaku-amp.png"},"sameAs":["https://www.facebook.com/kotaku","https://www.youtube.com/user/KotakuNYC","https://twitter.com/kotaku","https://instagram.com/kotakudotcom"]},"video":[]}Ethan GachTuesday 7:00PM411

      5: This is my cited example for my fifth annotation. This is an active article, it is a measurement for audience engagement and success is shown in this bar. As I write this it has 41 comments, one can argue that the more shares, bookmarks, and comments on this article, the more it is pushed to the front page of Kotaku. This is active success, versus my articles passive success. My article merely participates in the visual rhetoric of Kotaku, but still labels it as part of the community.

    1. I'm in a zoom course now with through a major institution and the prof is highly respected in his field. Now I'm doing it for fun as I have my PhD so it's a fun learning opportunity (no I don't really have the time for this.) The syllabus is such a mess I can't quite figure out what readings are due, and the numbers of readings don't match the number of classes. The lectures so far are three weeks behind the readings. (It's only lecture). Questions from students in the chat are never addressed, or the prof will read them at the end of the class and say they'll be answered next week and they're not. The lectures basically go through the text that we read, reading paragraphs as a way of explaining the paragraph, basically allowing the prof to make the connections in his head without articulating those connections to us. It was my professional development money and the topic is interesting but I certainly question how well that money was spen

      This one caught my attention, regarding professional development and best practices

    1. When I meet with any thing, that I think fit to put into my common-place-book, I first find a proper head. Suppose for example that the head be EPISTOLA, I look unto the index for the first letter and the following vowel which in this instance are E. i. if in the space marked E. i. there is any number that directs me to the page designed for words that begin with an E and whose first vowel after the initial letter is I, I must then write under the word Epistola in that page what I have to remark.

      I must do some research into Niklas Luhmann to see if he was aware of Locke's work or the broader idea of commonplace books in general as it seems pretty obvious that his refinesments on their systems brought him to his conceptualization of the zettelkasten.

    1. Younger fliers care more about quick, flexible ways to redeem and spend air miles than they do about their steady, predictable accrual, and they also care about the perks that come with membership in loyalty programs, said Sid Krishna, head of loyalty and co-brand at Spirit Airlines Inc.

      Very interesting take that can be used in our messaging.

    1. Suddenly a foreign man came and sat on the bench beside his head and began to recite the Koran in a moving and gentle voice, accom-panying it with deep sighs and sobs. He recited beautifully, instilling the sentiments into the soul, and infusing them with a power to move (even) the insensible. Our comrade abstained from sleeping that he might enjoy the beauty of what he heard, with all its yearning and emotion. At last the man ended his reciting and said: 'If evil deeds have taken me far from You My honest thoughts have brought me near again,' repeating the words in tones of harmony that would cleave stones and break the heart.

      These are eloquent and tender words for a traveler that is recounting something entirely alien to them and seems devoid of skepticism or judgment

    1. “For auld lang syne.” The weary throat gave out, The last word wavered, and the song was done. He raised again the jug regretfully And shook his head, and was again alone. There was not much that was ahead of him, And there was nothing in the town below– Where strangers would have shut the many doors That many friends had opened long ago.

      This makes me want to cry. This really depicts what it’s like to get old. To have been somebody, to have done things, to have gone places. But when you get old it doesn’t matter because it’s all gone and everyone just sees an old person when they look at you, not a young person who got old. Society marginalizes and dismissed the old. When your old you’ve lost people and there’s no one left to reminisce with who you about who you’ve lost or care that now you yourself are lost with out a community. All these writers and thinkers are coming up with the same conclusions: all things in this world fade and there’s no stopping them. If you cling onto them you’ll only be disappointed. This determines for me,more than ever, that my hope must be placed in something that lasts, something eternal.

    1. And dear John gathered me up in his arms, and just carried me upstairs and laid me on the bed, and sat by me and read to me till it tired my head.

      Throughout the text, John infantilizes his wife but this is the most obvious example. He's literally treating her like a child here. From carrying her to bed to reading to her until she falls asleep. It's what a parent does to their child, not what a husband does to his wife.

    2. Even when I go to ride, if I turn my head suddenly and surprise it—there is that smell! Such a peculiar odor, too! I have spent hours in trying to analyze it, to find what it smelled like. It is not bad—at first, and very gentle, but quite the subtlest, most enduring odor I ever met.

      I've heard at some point that the cause of her madness may be arsenic poisoning. This makes sense considering how many things arsenic was used for, but this makes John's ignorance of her condition all the more egregious.

      Perhaps I am taking this a little too personally. But considering that the other people in my household have medical knowledge, I can't shake the feeling that John of all people should recognize his wife being poisoned--if not mentally, than physically.

    3. He said that after the wall-paper was changed it would be the heavy bedstead, and then the barred windows, and then that gate at the head of the stairs, and so on.

      This is most likely an allusion to the resistance to social change we can often see such arguments. First something small may change but the changes would only grow more radical overtime, is the sentiment at least. I shows a lack of trust and connects well with the concept of relations in society.

    4. And dear John gathered me up in his arms, and just carried me upstairs and laid me on the bed, and sat by me and read to me till it tired my head.

      Not only is the woman utterly dependent on her husband to provide physical support and reason to calm her nerves, but she has basically surrendered to his assessments of her. He thinks he knows what’s best for her and is controlling the situation, ironically though, the very room he is taking her to, and his methods to make her well, is actually causing the insanity. Also, the fact that he is a doctor plays into the entire irony of the piece. His scientific approach to her unraveling is furthering her madness.

    5. The paint and paper look as if a boys’ school had used it. It is stripped off—the paper—in great patches all around the head of my bed

      This is so creepy. So did she scratch up the wall paper from going crazy but not remembering the episode? Or was there someone else before her? This room sounds like it’s old, like others were locked in there before her, but maybe she scratched up the wall and even scratched in all the “designs” that remind her of suicide and dying. But maybe she just doesn’t remember.

    6. barred windows, and then that gate at the head of the stairs, and so on.

      the barred windows makes it seem like she is in a prison as well as the gate and then staring at the same yellow wallpaper every day also makes her feel like she's going crazy.

    1. Here, it becomes a metaphor within a metaphor: the hajj is movement and movement is language. Like words, motions signify.

      I agree with this statement. In this section he is conveying how hajj is a another form of understanding Islam, besides through the holy Quran. Furthermore, there are seven steps to Hajj that every pilgrim needs to accomplish. Step one consists of circulating the Kaaba seven times. Step two is to pray all day on Mount Arafat. Step 3 involves staying overnight in Muzdalifah. Step 4 is stoning of the Devil. Fifth step is to run 7 times between Al-Safa and Al-Marwa. Sixth step is to perform stoning of the Devil up to three days in Mina. The final seventh step is to perform Farewell Tawaaf in counter-clock wise direction. When my grandparents completed the hajj, they told me the purpose of it was to wipe clean past sins and start afresh before God, as the author of this reading stated as well. They added on by explaining how muslims seek to deepen their faith on the hajj. For instance, like muslim women alter the head covering, called the "hijab".

    1. The towel covering Tua Tagovailoa’s head kept him from seeing the confetti cannon positioning behind Alabama’s bench.There were a few angry faces staring into the distance as Clemson’s band fired off one more fight song before the clock hit zero. Nobody had the four fingers in the air in the closing moments of the Crimson Tide’s most lopsided loss of the Nick Saban era. The drama had long-since died at that point.The stunning scene at the end of Clemson 44, Alabama 16 was different from the one witnessed in Tampa two years ago.

      What is cool about this opening is that Casagrande is setting the scene as he is opening the article. He is drawing in the reader, making them wonder why the is Tua hiding from the confetti, and "who are the angry people staring into the distance" or "why is the band celebrating?" He then reveals the context of the setting he is illustrating; it is the College Football Championship game in Santa Clara. He flashbacks to 2 years prior when the game was closer to show how much can change in just a short amount of time between two teams on the same mission

    1. Johnson’s contract was extended in August 2017 to run through the 2022-23 season. It included an $8 million buyout if Johnson was dismissed before April 15, 2019. It drops to $6 million after that.

      What is good about this section is how simple Casagrande broke down the buyout clause in Johnson's contact and later explaining how much Johnson made in the previous year as the head basketball coach at Alabama. By putting off of those resources in one place, the reader does not have to look it up themselves.

    1. et it had happened and here I was, talking about algebra to a lot of boys who might, every one of them for all I knew, be popping off needles every time they went to the head. Maybe it did more for them than algebra could.

      This speaks volumes about the experience for black folks back in these days, whose opportunities were so limited by years institutional racism and slavery. I believe this was also written before the civil rights movement, which means even less opportunities were available.

    1. <:https://via.hypothes.is/https://www.colbyrussell.com/LP/debut/plain.txt.htm>

      If you do view this document on via.hypothes.is as suggested and you notice some extra script cruft here near the "bottom" of the text, know this: this is in fact not part of the original document, but instead part of the support code that gets inserted by Hypothesis. This could be avoided by more care on the part of Hypothesis. Refer to a series of posts by me from last week (motivated by this case):

      If you're writing bookmarklets or Web extensions or you run a tool like the Wayback machine that requires you for some reason to inject "invisible" elements into the page, then don't just assume they aren't going to show up (especially if adding them to the body and not the head).

      Always include a style attribute on the injected element to mark it "display: none". Always—even if it's a "script", "style", "link", "meta", or whatever other element that makes you think you don't "need" to.

      If you really want to be a pal, also set the class on the injected element to an abbreviated address like <style class="example.org/sidebar/2.4/injected-content/">. And then drop a page there explaining the purpose and requirements (read: assumptions) of your injected element. This is virtually guaranteed not to conflict with any other class use (e.g. CSS rules in applied style sheets), and it makes it easier for other add-ons (or the page author or end user) to avoid conflicts with you.

    1. woman portrayed in that little photograph assures me that the banknote’s mine. But can you teally trust a charming little head like that, so ruffled by the wind?

      What do we do with these strange moments where the narrator appears to be imagining interactions with the picture?

    1. Some years you felt strong enough to head down that concrete walkway, knowing that it led to one of your bad places, and some years you didn’t. Avoid a building or stare it in the face, depending on your reserves that morning.

      This passage seems especially beautiful to me because it describes a situation most people know: being confronted with a place you associate with bad memories. The passage is not overly dramtic, in fact it is really soberly written but still so relatable and somewhat metaphoric. You could use it as metaphor for anything one coul want to avoid like people, situations and so on.

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    1. His head is the finest gold;

      verse 11 - 16: It is evident that she is infatuated by him. Heavily descriptive. She describes his exterior features with great passion. Distinguishes him from other men.

    1. nd having no Body in Tow n, at that Time, to w hom she w as oblig'd to beaccountable for her Actions, did in every Thing as her Inclinations or Humours render'd most agreeable to her:Therefore thought it not in the least a Fault to put in practice a little Whim w hich came immediately into her Head,to dress herself as near as she cou'd in the Fashion of those Women who make sale of their Favours, and set herselfin the Way

      Was this the narrators way of saying that the young lady could be free to enjoy the company of men since she was young and had not be paired with anybody yet at her age?

    1. The most perfect Valentine’s Day gift cards, no matter who you’re trying to impress!

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      Is distance in the way between you and a special someone this February 14? Spending holidays apart from your loved ones can be hard, but we make it a little bit easier. GIFTA can bridge the gap and help surprise your long-distance Valentine with a gift that arrives to their phone. Say goodbye to the stress of delivery delays and paying exorbitant postage fees. To really score points, customise the gift card with a personalised video message. Now that’s something they won’t forget!

      With hundreds of gift cards to choose from, it’s easy to find a gift that’s the right amount of cheesy! Whether your Valentine’s is new on the scene, a long-term partner or just a best friend, we’ve compiled a list of the best gifts that are way better than chocolates and flowers. Not to mention, these ideas don’t require a gift receipt. We can guarantee the recipient will love their gift nearly as much as they love you! Here are our top picks for Valentine’s Day gift card:

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      A weekend getaway! In dire need of a holiday? You may not be able to travel far and wide, but you can still enjoy quality time with your loved one. Pack your bags and head down the coast, to the country or anywhere in between with one of our travel gift cards. A spur-of-the-moment getaway might be just what you need. Otherwise, your gift card can be safely stored in your GIFTA wallet to use at a later date.

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    1. The more the media normalizes suicide, the more suicide is put into people’s head as a possibility, the more people who are on the edge start to take it seriously and consider it for themselves.

      This is why we should talk about suicide awareness but NEVER treat it as normal.

  4. parsejournal.com parsejournal.com
    1. More than 100 such associations exist in Sangam Vihar today (one for each DJB borehole), according to Mohaniya, but they have no legal basis. They are strictly voluntary, operating without government oversight and with no clear procedures for electing members or collecting money. At this point, almost anyone can form one. According to S.C.L. Gupta, a former legislator from the opposition Bharatiya Janata Party, the groups have basically maintained the status quo: “Many of the water-user associations are headed by the same people who were running the wells in the first place,” Gupta says. What was a private mafia, he says, became one that was legitimized by the government. “The same people continued their same business,” he says, “except that the government now paid the electricity bill for each pump.” Sanghwan, in particular, didn’t waste any time jumping on the association bandwagon: He became the head of one in 2014.

      Connecting the anecdote from Mohaniya's perspective, to S.C.L Gupta's perspective and then relating Sanghwan back to the narrative. Quite non linear i think

    1. The habit is simple. When you feel strong emotion–happiness, anger, pride, vindication–and that emotion pushes you to share a “fact” with others, STOP. Above all, these are the claims that you must fact-check.

      This statement is powerful and so important to remember. This can be traced back to when we were children and our parents taught us not to say things out of emotion. You have to check yourself so that your emotion and feelings on a topic don't cloud your judgement or words. Authors are human and therefore, can feel every feeling that we do, so why should we not use our head to examine how the author could be using their emotions to jade our view of the situation unbiasedly.

    1. "Yes; but what sort of science?" asked Mustapha Mond sarcastically. "You've had no scientific training, so you can't judge. I was a pretty good physicist in my time. Too good–good enough to realize that all our science is just a cookery book, with an orthodox theory of cooking that nobody's allowed to question, and a list of recipes that mustn't be added to except by special permission from the head cook. I'm the head cook now. But I was an inquisitive young scullion once. I started doing a bit of cooking on my own. Unorthodox cooking, illicit cooking. A bit of real science, in fact." He was silent."What happened?" asked Helmholtz Watson.The Controller sighed. "Very nearly what's going to happen to you young men. I was on the point of being sent to an island."The words galvanized Bernard into violent and unseemly activity. "Send me to an island?" He jumped up, ran across the room, and stood gesticulating in front of the Controller. "You can't send me. I haven't done anything. lt was the others. I swear it was the others." He pointed accusingly to Helmholtz and the Savage. "Oh, please don't send me to Iceland. I promise I'll do what I ought to do. Give me an-other chance. Please give me another chance." The tears began to flow. "I tell you, it's their fault," he sobbed. "And not to Iceland. Oh please, your fordship, please ..." And in a paroxysm of abjection he threw himself on his knees before the Controller. Mustapha Mond tried to make him get up; but Bernard persisted in his grovelling; the stream of words poured out inexhaustibly. In the end the Controller had to ring for his fourth secretary."Bring three men," he ordered, "and take Mr. Marx into a bedroom. Give him a good soma vaporization and then put him to bed and leave him."

      they understand Bernard's backhanded mentality

    2. His head banged against the wall. "Little idiot!" she shouted; and then, suddenly, she began to slap him. Slap, slap ..."Linda," he cried out. "Oh, mother, don't!""I'm not your mother. I won't be your mother.""But, Linda ... Oh!" She slapped him on the cheek."Turned into a savage," she shouted. "Having young ones like an ani-mal ... If it hadn't been for you, I might have gone to the Inspector, I might have got away. But not with a baby. That would have been too shameful."

      she's ashamed

    3. It upset me very much at the time. More than it ought to have done, I dare say. Because, after all, it's the sort of accident that might have happened to any one; and, of course, the social body persists although the com-ponent cells may change." But this sleep-taught consolation did not seem to be very effective. Shaking his head, "I actually dream about itsometimes," the Director went on in a low voice. "Dream of being woken up by that peal of thunder and finding her gone; dream of searching and searching for her under the trees." He lapsed into the silence of reminiscence.

      Director shows feeling

    1. The griffin is defined in the Wikipedia (current at the time of writing, 2020) as “a legendary creature with the body, tail, and back legs of a lion; the head and wings of an eagle; and sometimes an eagle's talons as its front feet”. The Wikipedia adds, “the lion was traditionally considered king of the beasts and the eagle the king of birds”. The Elamite griffin fits Wikipedia description—the griffins that appeared in the Aegean a millennium after the Elamite griffin had disappeared, do not.

      that deffinition is not correct. You can't use a broad definition to point out details.

      The clear division of lion+eagle is what makes griffin, because griffin, the word even, is coined by greeks, but there were mythological creatures that were very similar before.

      To call that griffins is like calling abacus "computer of ancients".

    1. David Risher was a senior vice president of retail at Amazon from 1997 to 2002, and he worked closely with Mr. Jassy. “If the past is prequel, he’ll lead from the heart as well as the head,” says Mr. Risher. “He leads with genuine empathy—the kind you can’t fake.” The two are still in touch; Mr. Jassy is a member of the advisory council for Mr. Risher’s Worldreader nonprofit, which gives underprivileged children access to digital books.

      Do you think that a company can be run profitably by a leader with "heart"?

    1. They rose when she entered--a small, fat woman in black, with a thin gold chain descending to her waist and vanishing into her belt, leaning on an ebony cane with a tarnished gold head. Her skeleton was small and spare; perhaps that was why what would have been merely plumpness in another was obesity in her. She looked bloated, like a body long submerged in motionless water, and of that pallid hue. Her eyes, lost in the fatty ridges of her face, looked like two small pieces of coal pressed into a lump of dough as they moved from one face to another while the visitors stated their errand.

      describes her aging rapidly as if she's close to death.

    1. Clement Greenberg, excerpts from “Modernist Painting,” originally published as Forum Lectures (Washington, D. C.: Voice of America), 1960, content reproduced from http://www.sharecom.ca/greenberg/modernism.html

      Hi! If you are seeing this annotation, you are in the Public view of Hypothes.is. Head on over to our course group (see instructions on Canvas if you need help or send me an email) and you will see ALL of our class annotations--please come join our conversation!

    1. n the chapter called "Night Watch," the two women meet at a . circus, where a lioness seems to recognize Robin as a kindred spirit: "~he turned her furious great head with its yellow eyes afire and went down, her paws thrust through the bars and, as she regarded the girl, " as if a river were falling behind impassable heat" (N 54). There begins the love affair that is Nightwood's chief interest. Robin soon wanders, • from cafe to cafe, drinking heavily. In "The Squatter," Robin leaves Nora for Jenny Petherbridge, which becomes Nora's great tragedy, an " obsession that she attempts unsuccessfully to conquer during the rest the novel. In the next three chapters ("Watchman, What of the "Where the Tree Falls," and "Go Down Matthew"), Dr. provides what consolation he can for those who desire inoom: Felix, Nora, and Jenny. But Nora is inconsolable, saying to '" herself: "In the resurrection, when we come up looking backward at 'each other, I shall know you only of all that company." Robin re-sponds: "Don't wait for me" (N 58-9).

      explanation of nightwood

    Annotators

    1. My lord, I did, But answer made it none. Yet once methought It lifted up its head and did address Itself to motion, like as it would speak;230 But even then the morning cock crew loud, And at the sound it shrunk in haste away And vanished from our sight.

      Horatio believes in what Hamlet says and they will probably come to an agreement that the late King is not at peace and the truth must be revealed.

    2. In my mind’s eye, Horatio

      Hamlet's vision of his father, he is aware that he was the only one to see him and probably no one would believe him, so saying it was in his head was the best thing to do.

    Annotators

    1. Just how I would do it I could never decide: by reading law, by healing the sick, by telling the wonderful tales that swam in my head,—some way. With other black boys the strife was not so fiercely sunny: their youth shrunk into tasteless sycophancy, or into silent hatred of the pale world about them and mocking distrust of everything white; or wasted itself in a bitter cry

      His outlook on life fascinates me, instead of pushing back and creating friction with the social norm at the time, he seeks out to maneuver through it and find a smoother way to coexist. I wonder why he has this particular reaction to other's racism, and what caused it.

    1. He shakes his head at the desecration,then elaborates on a discovery that offers a glimmer of hope for anyone trying toestablish what happened to the more than , Guatemalans who were “disap-peared” in the years of civil strife between  and , missing and presumeddead, many of whom are believed to be interred not only in known mass graves incemeteries like Quetzaltenango’s but also strewn around the country in clandes-tine ones now being exhumed

      hisotrical purpose

    1. unfamiliar—that is, a metaphorical Journey in which designers move into unchartered territory by attempting to formulate what hasn’t yet been formulated.

      Head Scratcher: using this simple explanation of "unfamiliar" we can see that it is difficult to navigate through territory that has not been properly formed yet or mapped out.

      How do we move forward as Instuctional Designers into the future of Education and Instruction?

      My best efforts so far have been to never be afraid to try new models or technology to lead your instruction.

    2. innovative learning in situ provides a progressing basis for improvements in designer practices, which informs how they can relate to future work, and might, in that sense, contribute to shifts in professional identity and practical wisdom over time.

      This has me wondering, how often should IDs update their work? We have talked a lot about the process, but not about a time frame. Innovative learning makes me think of something that should be revisited and revised often, specially in the realm of education and technology. If I think of it outside of this realm, and it is something a company budgets for, it may not be revisited for many years. Is that effective?

    3. In this sense, it can be said that the artifact, as it is used (and possibly studied; e.g., Howard, Boling, Rowland, & Smith, 2012) in various ways, will reveal something about the designer; and the learning that occurred in the design process—for example, that the designer had a particular perspective, used certain techniques, made certain assumptions, and so on.

      As I read this, I wonder though, should the artifact not be more reflective of the client than the designer?

    1. Critical and creative thinkers engage in active planning and forethought to set goals, outline strategies, and determine the best methods through which they can achieve their goals

      Head Scratcher: How are we promoting critical and creative thinkers in our instruction?

      As a high school math teacher this can be easier at times, and more difficult at times depending on the class and the course material. At times it is easy to promote creative when dealing with honors classing and higher math courses. But when working with remedial Algebra classes it can be more difficult to promote creativity and critical thinking because of high levels of apathy and prior knowledge. Sometimes the best way to promote success in those classes is through repetition and memeorization of steps to solve common test promblems.

    2. but what does it mean to be clever, and how can you teach someone to be clever?

      Head Scratcher: How do you teach "cleverness"? This is a tough question and I feel that it is hard to understand for most instructors. How do I get my students to be more creative and clever, I believe we usually feel that students either are or are not creative and thats the end of the story. So really maybe we are the ones at fault for not teaching studetns to be "creative".

    3. But how do we develop students who are critical and creative thinkers, able to   Figure 1. Conceptual model of critical and creative thinking processes.   meet the challenges of 21st century thinking, learning, and doing?

      As an educator, this is a question I ask myself every day.

    1. We still must decide how to present certain information, but it doesn’t have to be at the cost of another medium.

      Headscratcher: How do we make sure, in our times creating instuction, that we do not neglect a medium that could be used for instruction?

      I feel that one way could be to allow learners choice in how they respond to prompts and learning. I feel that this could allow for students to use their gifting and talents to excel and produce amazing work.

    2. While this may not be unique to the design of creative instruction, the importance of knowing the characteristics of the target population and the instructors will be critical for creating engaging instruction.

      Often I think this may be the struggle in our public school system. Many people making decisions about instruction are far removed from the classroom and the students in it.

    3. it doesn’t allow for moving back and forth among the steps as new information and insights are gained.

      "The critics" as the author refers to them as would definitely point to ADDIE as being restrictive and linear in design, but I wonder if they would feel the same way about SAM which is typically more flexible, dynamic, and iterative?

    1. As if that light had power to bnng what was dreaded into the zone of their catastrophe, Nora saw the body of another woman swim up into the ,statue's obscurity, with head hung down, that the added eyes might not augment the illumination; he~ ~rms about Robin's neck, her body pressed to Robm s, her legs slackened in the hang of the embrace.

      another woman

    Annotators

    1. To each of the earlmen, when to Æschere’s head they Came on the cliff.

      The mother of Grendel did the same that Beowulf did when he placed Grendel's hand in the palace . What the men felt when they saw the head of Aeschere is what Grendel's mother felt.

    1. Charter for Compassion

      When I read this title, I expect to read about ways to be compassionate or what it means to be compassionate. Personally, ways to be compassionate can come in many forms. Some examples off the top of my head are holding the door for someone who is behind you or listening to the problems of others and helping them take steps to resolving those issues. Both of these examples have an underlying theme of being kind and courteous; which to me, is what it means to be compassionate.

    1. Anne’s position as the head of state allows her unprecedented reach and control, despite the film’s depiction of her as both a dilettante and a dolt.

      Rare:woman in power

    1. Even with Anne (Olivia Colman) as head of state, patriarchy rules the realm,

      Definitely present throughout. I was very surprised at how little power the Queen had

    1. monarchy

      A monarchy is a form of government in which a person, the monarch, is head of state for life or until abdication. The political legitimacy and authority of the monarch may vary from purely symbolic, to restricted, to fully autocratic, and can expand across the domains of the executive, legislative and judicial.

    1. Mr Charlie Hall, a Head and Neck Consultant at Gloucestershire Hospitals NHS Foundation Trust said: "This is an exciting project that has the potential to revolutionise our diagnostic approach to cancers occurring in the head and neck region. Early and accurate diagnosis is the key to better cancer treatment outcomes and will also have significant economic benefits to the wider NHS."

      What is the last benefit?

    1. I remember playing with cockroaches in the cafeteria and eating semifrozen peanut butter and jelly Uncrustables for lunch. I remember the smell of rot, the broken toilets, the broken windows

      Paints an image in my head

  5. luky-my.sharepoint.com luky-my.sharepoint.com
    1. Additionally, players need to know what patterns or combinations of ele-ments the game’s internal design grammar allows. They need to know, giventhe situated meanings they have given to each element in the pattern or com-bination, what the whole pattern or combination means in a situated wayuseful for action

      Going back to my Ghost of Tsushima comment, this game allows players to clear out an enemy camp using various different methods. You can use your Ghost tools to sneak through the camp killing the enemies one by one in a sneak-attack type of way. OR you can call out to the entire enemy camp and attack them head on using different sword stances that you learn throughout the game. You can also use a combination of both of these, which I typically do, where I go around the perimeter and Ghost kill the people defending the camp in the towers and at the gates, and then call out the remaining enemies and fight them head on. You have to know the different combinations available, and utilize the button combinations correctly when interacting with enemies.

    2. Because if youknow the design grammar—that is, the underlying principles and patternsthat determine what counts and what doesn’t count as a piece of modernistarchitecture—you can make judgments about buildings you have never seenbefore or even ones never actually built, but only modeled in cardboard. If allyou have is a list, you can’t make any judgments about anything that isn’t onyour list

      This is probably silly, but this reminds me how I feel when trying to do simple math in my head. When I was going through grade school and learning multiplication tables, we were basically taught to memorize the table, so I am really good at multiplication within the realm of that table, but when you start asking me what 13x14 is I have to pause and really think about it. This reminds me a lot of how I feel in that situation.

    1. .17 As Mary Ann Doane has argued, the individual of mixed ancestry, "whose looks and ontology do not coincide, poses a threat to... the very idea of racial cate- gorization"

      She hit it right on the head here. The fact that people could look white but come from an African American heritage, and other white people couldn't tell the difference and therefore treated them as equals without running into any problems, threatened racial categorization, because it proved that "black people" (based on ancestry rather than skin color, but still all the same to them) could fit into the middle class white group unproblematically - so why racially segregate when it was proven that African Americans weren't all savages and criminals, but rather equals when their heritage wasn't physically apparent?

    2. Du Bois's pho- tographs repeat the visual tropes of the criminal mugshot "with a difference," directing reading of the images by "indirection" and thereby inverting the dominant signification of these particu- lar photographic signs.13 Du Bois's ini- tial portraits portray expressionless subjects photographed from the shoul- ders up, both head on and in right- angle profile, repeating with uncanny precision the full-face and profile head- shots of the prison record.

      Why do we believe Du Bois decided to depict his photographs this way? And what can we pinpoint the difference to actually be? I see how he picked backgrounds that were neutral to not really evoke emotion based on color, or props that would deter from the subject at hand. But I am still curious.

    3. 13 Du Bois's ini- tial portraits portray expressionless subjects photographed from the shoul- ders up, both head on and in right- angle profile, repeating with uncanny precision the full-face and profile head- shots of the prison record

      aha

    1. Why was I going to America? Why had I been foolish enough to leave my village? For days I could not lift my head. Turn back? Did the ship turn back for me? No, child. A steamer never turns back for an individual. Not for death or birth or storm. No more does life

      I find this to be a very powerful section where a lot of emotion is being released.

    1. The “posterior” head of Smedβ-catenin-a(RNAi) and SmedDvl-a/b(RNAi) animals contained a characteristically anterior nervous system and gut as did the “anterior” head (Fig. 1H,I,L,M). In contrast, the “anterior” tail of SmedAPC(RNAi) animals was devoid of discernible brain tissue and exhibited posterior structures as did the “posterior” tail (Fig. 1J,N).

      Researchers examined the regerated structures beyond the surface level by examing two organs of the CNS. The presence or lack there of indicated the degree of the erroneous regeneration, and isolate the genes relationship to the development of those structures. Missing here is a description of the viability of the animals in their post amputated state, or the number of animals that survived amputation.

    1. Evolutionary biolo-gy had not yet synthesized knowledge of genetics,population biology, and evolutionary biology. Ge-ology, paleontology, and biogeography were justbeginning to provide a coherent narrative of thetemporal dynamics and spatial distribution of lifeon Earth.

      It's incredible to look at how far we've come, with understanding everything we learn about in our science classes. I'd personally be interested on learning more about the discoveries, and how we gained such a great understanding over all these years. A question that runs through my head after reading this is, what ultimately led to scientists wanting to learn more about these different fields of biology, and how did it all start?

    1. This nurse seemed to take initiative, although she appeared to be shy and with- drawn, unlike the head nurses on the medi- cal wards who happened to have a more outgoing personality.

      Γιατί ακριβώς η ίδια η δομή της κλινικής (αλλά και η ιδιότητά της ως head) τής επιτρέπει να ορίσει την κατάσταση (γιατί της δίνεται πιο σημαντικός ρόλος σε αντίθεση με τις απλές νοσηλεύτριες του medical)

    1. A tramping of sea boots was heard in the entry; the door was flung open, and in rolled a wild set of mariners enough. Enveloped in their shaggy watch coats, and with their heads muffled in woollen comforters, all bedarned and ragged, and their beards stiff with icicles, they seemed an eruption of bears from Labrador. They had just landed from their boat, and this was the first house they entered. No wonder, then, that they made a straight wake for the whale’s mouth—the bar—when the wrinkled little old Jonah, there officiating, soon poured them out brimmers all round. One complained of a bad cold in his head, upon which Jonah mixed him a pitch-like potion of gin and molasses, which he swore was a sovereign cure for all colds and catarrhs whatsoever, never mind of how long standing, or whether caught off the coast of Labrador, or on the weather side of an ice-island.

      Testing the API

    1. The circumstances which may have led to any national miscarriage or misfortune are sometimes so complicated that, where there are a number of actors who may have had different degrees and kinds of agency, though we may clearly see upon the whole that there has been mismanagement, yet it may be impracticable to pronounce to whose account the evil which may have been incurred is truly chargeable.

      The author wishes for the executive head to be held more accountable for the mismanagement of government by reiterating his claim that plurality in the executive causes too much confusion.

    2. The experience of other nations will afford little instruction on this head. As far, however, as it teaches any thing, it teaches us not to be enamoured of plurality in the Executive. We have seen that the Achaeans, on an experiment of two Praetors, were induced to abolish one. The Roman history records many instances of mischiefs to the republic from the dissensions between the Consuls, and between the military Tribunes, who were at times substituted for the Consuls

      I enjoy the use and emphasis of historical moments in history when ancient societies government's fell. The author clearly uses these rhetorical devices to seem more logical and appealing to the audience.

    3. They have with great propriety, considered energy as the most necessary qualification of the former, and have regarded this as most applicable to power in a single hand, while they have, with equal propriety, considered the latter as best adapted to deliberation and wisdom, and best calculated to conciliate the confidence of the people and to secure their privileges and interests

      This passage speaks of the importance of the separation of powers to different branches and its correlation to an energized executive head.

  6. www.guernicamag.com www.guernicamag.com
    1. My mother’s hand sits on my head for a while. Then she turns and leaves

      Instead of comforting him she just injects him with more "Good." she was most likely raised in a similar fashion and finds this to be the only way she knows how to show any ounce of affection

    1. emotional perspective to the climate movement.

      In the Activism Project I write about "head, heart and hand" and this emotional component is really important to the movement - people can't only act on emotions, but connecting to people through emotions is a powerful motivator.

    1. Der stehende Gott ist mit einer kräftigen Statur wiedergegeben und mit einem Schendit-Schurz bekleidet. Er trägt am Kinn einen gebogenen Bart sowie auf dem Kopf eine Kappe mit einem Schlitz zum Einsetzen von zwei hohen Federn. Es handelt sich um ein Abbild des Gottes Amun-Re, einem Schöpfergott, der Luft und Himmel beherrscht.(J. Helmbold-Doyé)

      the standing god is represented with a strong stature and is dressed in a shendit apron. he wears a curved beard on his chin and a cap with a slit on his head for inserting two tall feathers. it is an image of the god amun-re, a creator god who rules air and sky. (j. helmbold-doyé)

    1. Copernicus and Galileo had broken many professorial necks about 1600; Columbus had stood the world on its head towards 1500

      I.e. new discoveries that completely turned our understanding of the world on its head, forcing people of that time period to admit they were wrong, and that they must completely relearn everything they thought to be correct. Understandably, this is an extremely difficult thing to accept, especially when you realize you've spent your life teaching misinformation.

    1. ctice for the Secretary of State to succeed the President. Nothing. could be more expedient, in any republic, than this practice. It has the advantage of placing at the head of the administration a man ex- perienced in the management of a nation. In entering upon his duties, he is fully prepared and brings with

      I am confused didn't he state earlier the President was going to be in charge for life? What changed? Am I missing something?

    1. Senfibilityisbynomeansthediftin-guifhingmarkofagreatgenius.Hewillhave,letusfay,anabftradtloveofjuftice,buthewillnotbe(movedtotemperitwithmercy.Itisthehead,nottheheart,whichworksinandforhim

      While yes, I think its valid to say that sensibility or feeling does not necessarily make a person a great actor, I think the absence of any sensibility or feeling in a performance makes an actor boring and hard to watch. Using craft and tools (head) to create a performance is important, but incorporating some of the heart is necessary as well.

    1. '"A wicked boy, at all events," remarked the old lady, "and quite unfit for a decent house! Did you notice hislanguage, Linton? I'm shocked that my children should have heard it."'I recommenced cursing - don't be angry, Nelly - and so Robert was ordered to take me off. I refused to gowithout Cathy; he dragged me into the garden, pushed the lantern into my hand, assured me that Mr.Earnshaw should be informed of my behaviour, and, bidding me march directly, secured the door again. Thecurtains were still looped up at one corner, and I resumed my station as spy; because, if Catherine had wishedto return, I intended shattering their great glass panes to a million of fragments, unless they let her out. She saton the sofa quietly. Mrs. Linton took off the grey cloak of the dairy-maid which we had borrowed for ourexcursion, shaking her head and expostulating with her, I suppose: she was a young lady, and they made adistinction between her treatment and mine. Then the woman-servant brought a basin of warm water, andwashed her feet; and Mr. Linton mixed a tumbler of negus, and Isabella emptied a plateful of cakes into herlap, and Edgar stood gaping at a distance. Afterwards, they dried and combed her beautiful hair, and gave hera pair of enormous slippers, and wheeled her to the fire; and I left her, as merry as she could be, dividing herfood between the little dog and Skulker, whose nose she pinched as he ate;

      Hindley forced Heathcliff into a lower, classThe Lintons are very judgemental, being from a higher class, and careful to keep out anyone of a lower class. After realizing that Catherine was from a high status they insisted on her staying.

    1. Now, with a $20 million gift from the Craigslist founder Craig Newmark, she and her partner at ProPublica, the data journalist Jeff Larson, are starting The Markup, a news site dedicated to investigating technology and its effect on society. Sue Gardner, former head of the Wikimedia Foundation, which hosts Wikipedia, will be The Markup’s executive director. Ms. Angwin and Mr. Larson said that they would hire two dozen journalists for its New York office and that stories would start going up on the website in early 2019. The group has also raised $2 million from the John S. and James L. Knight Foundation, and $1 million collectively from the Ford Foundation, the John D. and Catherine T. MacArthur Foundation, and the Ethics and Governance of Artificial Intelligence Initiative.

      现在,在Craigslist创始人克雷格·纽马克(Craig Newmark)2000万美元的捐赠下,Angwin和她在ProPublica的合作伙伴、数据记者杰夫·拉森(Jeff Larson)正在创办一个致力于调查技术及其对社会影响的新闻网站The Markup。维基百科的所有者维基媒体基金会的前负责人苏·加德纳(Sue Gardner)将担任The Markup的执行董事。Angwin和Larson表示,他们将为其纽约办事处雇佣20多名记者,2019年初网站上将开始刊登新闻报道。该组织还从John s. and James l. Knight Foundation筹集了200万美元,并从福特基金会、麦克阿瑟基金会以及人工智能伦理与治理倡议组织募集了100万美元。

    1. Head of House Hufflepuff would be the last person anyone would suspect, which ought to put her near the top of Harry's list

      That's a thought he'll have multiple time. Saying it to Quirell, convincing Quirell to use her as his pawn

    1. Noting her chagrin at him discarding her workwithout trying tofind which set of calculations actually contains theerror, he chides her for becoming emotional. She argues that he shouldnot arbitrarily impose his will when‘lives are at stake’. When he refusesto relent, she asks‘Aren’t you human? Are you made of ice?’

      Scenes like this are what makes Ripley's relationship with Ash in Alien so interesting. These hallmarks of sexism exist in a lofty contextual sense when Ash initially disobeys Ripley's command to keep quarantine towards the beginning of the inciting incidents of the film. He's insistent that his way is right and refuses to take orders from Ripley. I say 'lofty contextual' because to an educated viewer, we know why he refuses to follow Ripley's order. To the uneducated however, he simply seems like he thinks his way is right and he goes over Ripley's head. As things persist he grows more cold and commanding towards Ripley until finally he tries to kill her by shoving a phallic object down her throat. This idea of sexism in sci-fi being the killer of women in the genre is given literal physical form in Ash.

    1. He is about forty, not a young man, and his hat is tilted slightly backward, revealing a balding forehead. Sitting in the baby carriage under the shade is a three- or four-year-old child with rosy cheeks.

      A lot of detail is used to describe the man, his bike, and the baby throughout the story. These details are not really relevant to the events in the story but really paint a clear image in the reader's head so as the accident unfolds we can picture what is happening in detail.

    2. The front wheel of the bicycle passes the front of the bus, and the man starts pedalling harder—maybe he will just make it. At the same time, he reaches out to touch the red-and-blue checkered shade, as if he is trying to push it down. When his hand touches the shade, the carriage flies off, bouncing away on its single wheel. The man’s legs are caught as he throws up his arms and falls backward off the bicycle. In the clamor of the horn, the brakes, and the woman’s screams, but before onlookers have time to gasp, the man is crushed under the wheels of the bus. The bicycle he was riding is twisted and thrown ten feet away.

      Throughout the story so far, there has been a lot of detail describing the setting, and at this point it all came together with the detail of the crash to picture it clearly in the readers head.

    1. Call us what you will, wee are made such by love; 20Call her one, mee another flye,

      Love makes people do crazy actions or makes them feel in and over their head. Despite backlash, hate, or disapproval, the love affair is between the lovers, not anyone else. Love has a powerful to make others feel, therefore being called names is one ear out the other.

    1. Instead of wheels, the wheel-less automobiles have enlarged toenails called hooves; instead of head-lights or perhaps rear-vision mirrors, eyes; instead of a coat of lacquer,something called hair; instead of gasoline for fuel, hay, and so on. Inthe end, horses are only what they are not.

      Okay... but these are purely visual. I think the world 'nevertheless' which the author used earlier has no visual or oral connotation. When written, it exists in a new state of mixed oral and written history in the reader's mind.

    1. The first occurred on January 3, 2020, when Robert Redfield, the director of the Centers for Disease Control and Prevention, spoke with George Fu Gao, the head of the Chinese Center for Disease Control and Prevention, which was modelled on the American institution. Redfield had just received a report about an unexplained respiratory virus emerging in the city of Wuhan.

      第一次发生在2020年1月3日,当时美国疾病控制与预防中心(Centers for Disease Control and Prevention)主任罗伯特 · 雷德菲尔德(Robert Redfield)与中国疾病控制与预防中心(Chinese Center for Disease Control and Prevention)主任高福(George Fu Gao)进行了交谈,该中心以美国的研究机构为蓝本。雷德菲尔德刚刚接到报告,武汉市出现了一种不明原因的呼吸道病毒。

    1. ShareSave Close search Site Search Navigation Search NYTimes.com Clear this text input Go Site Navigation Home Page World U.S. Politics N.Y. Business Business Opinion Opinion Tech Science Health Sports Sports Arts Arts Books Style Style Food Food Travel Magazine T Magazine Real Estate Obituaries Video The Upshot Reader Center Conferences Crossword Times Insider Newsletters The Learning Network Multimedia Photography Podcasts NYT Store NYT Wine Club nytEducation Times Journeys Meal Kits Subscribe Manage Account Today's Paper Tools & Services Jobs Classifieds Corrections More Site Mobile Navigation I Was a Low-Income College Student. Classes Weren’t the Hard Part. By ANTHONY ABRAHAM JACK SEPT. 10, 2019 Schools must learn that when you come from poverty, you need more than financial aid to succeed. #main, #page { max-width: none!important; } .hide { visibility: hidden; } #masthead { position: absolute; } body { margin-bottom: 0 !important; } .shell { padding-top: 0 !important; } #main, .viewport-large-30 #main, .viewport-medium-10 #main, .viewport-medium-30 #main { width: 100%; padding: 0; } .article-wrapper { min-height: 100vh; } #story > .interactive-header, .story-info.interactive-credit, #sharetools-footer { display: none; } #masthead { position: absolute !important; } #masthead.in-content { position: fixed !important; } .interactive-graphic { background: #fff; } #related-coverage { margin: 20px; } .viewport-medium #related-coverage { margin: 0 auto; } .rad-cover { position: relative; margin-bottom: 10px; margin-left: auto; margin-right: auto; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-align: start; 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} } .section-magazine .d-pullquote-wrapper .d-pullquote, .d-pullquote { padding: 0 !important; } .section-magazine .d-pullquote-wrapper .d-pullquote p, .d-pullquote p { text-align: left !important; font-family: "nyt-mag-slab", georgia, "times new roman", times, serif !important; font-size: 32px !important; line-height: 1 !important; } .rad-interactive .rad-interactive-wrapper { border-top: none !important; border-bottom: none !important; } .rad-story-body .dropcap { float: left; display: block; position: relative; font-family: "nyt-mag-slab", georgia, "times new roman", times, serif; font-weight: 200; font-size: 3.2rem; line-height: 1; height: auto; margin-right: 34px; margin-top: 3px; overflow: hidden; } @media screen and (min-width: 720px) { .rad-story-body .dropcap { font-weight: 100; height: auto; -webkit-font-smoothing: antialiased; } } .rad-lead-in { font-family: "nyt-cheltenham-sh", georgia, "times new roman", times, serif; text-transform: uppercase; letter-spacing: 0.05em; font-weight: 600; font-size: 90%; -webkit-font-smoothing: antialiased; text-rendering: optimizeLegibility; -webkit-font-feature-settings: "kern"; -moz-font-feature-settings: "kern"; font-feature-settings: "kern"; } .rad-corrections { max-width: 600px; margin-left: 20px; margin-right: 20px; } @media screen and (min-width: 1155px) { .rad-corrections { max-width: 630px; } } @media screen and (min-width: 640px) { .rad-corrections { margin-left: auto; margin-right: auto; } } @media screen and (min-width: 720px) { .rad-corrections { padding: 0; } .rad-corrections:before { width: 100px; } } .rad-corrections p { font-family: "imperial-normal-500", georgia, "times new roman", times, serif; font-size: 15px; line-height: 24px; } .rad-corrections p { font-style: italic; } .rad-corrections h5 { font-size: 15px; font-family: "nyt-franklin", arial, helvetica, sans-serif; font-weight: 400; color: #cccccc; margin-bottom: 0.5em; margin-top: 2em; } @media screen and (min-width: 720px) { .rad-corrections h5 { font-size: 15px; } } .rad-corrections h5 strong { font-weight: bold; color: #000000; padding-right: 10px; } .rad-article-credits, .interactive-credit { max-width: 600px; margin-left: 20px; margin-right: 20px; } @media screen and (min-width: 1155px) { .rad-article-credits, .interactive-credit { max-width: 630px; } } @media screen and (min-width: 640px) { .rad-article-credits, .interactive-credit { margin-left: auto; margin-right: auto; } } @media screen and (min-width: 720px) { .rad-article-credits, .interactive-credit { padding: 0; } .rad-article-credits:before, .interactive-credit:before { width: 100px; } } .rad-article-credits p, .interactive-credit p { color: #999999; font-family: "nyt-mag-sans", arial, helvetica, sans-serif; font-size: 15px; margin-bottom: 15px; line-height: 1.3; } .rad-article-credits:before { display: block; content: ' '; width: 100px; height: 1px; background-color: #e2e2e2; margin-top: 20px; margin-bottom: 20px; } .media.audio, .media.photo, .media.video { margin: 0 auto; padding-bottom: 24px; } @media screen and (min-width: 720px) { .media.audio, .media.photo, .media.video { padding-bottom: 30px; } } @media screen and (min-width: 1155px) { .media.audio, .media.photo, .media.video { padding-bottom: 30px; } } .media.audio .rad-media-wrapper, .media.photo .rad-media-wrapper, .media.video .rad-media-wrapper { padding: 0 20px; } .full_bleed.media.audio .rad-media-wrapper, .full_bleed.media.photo .rad-media-wrapper, .full_bleed.media.video .rad-media-wrapper, .jumbo.media.audio .rad-media-wrapper, .jumbo.media.photo .rad-media-wrapper, .jumbo.media.video .rad-media-wrapper { padding: 0; } @media screen and (min-width: 600px) { .media.audio .rad-media-wrapper, .media.photo .rad-media-wrapper, .media.video .rad-media-wrapper { padding: 0; } } .media.audio .image, .media.photo .image, .media.video .image { padding: 0; margin-bottom: 0; overflow: hidden; box-sizing: border-box; } .media.audio.large, .media.photo.large, .media.video.large { max-width: 600px; } @media screen and (min-width: 1155px) { .media.audio.large, .media.photo.large, .media.video.large { max-width: 630px; } } .media.audio.jumbo, .media.photo.jumbo, .media.video.jumbo { max-width: 1070px; } .media.audio.full_bleed, .media.photo.full_bleed, .media.video.full_bleed { max-width: 1400px; } .media.audio.jumbo .rad-caption-wrapper, .media.photo.jumbo .rad-caption-wrapper, .media.video.jumbo .rad-caption-wrapper { padding-left: 20px; padding-right: 20px; margin-left: 0; } @media screen and (min-width: 720px) { .media.audio.jumbo .rad-caption-wrapper, .media.photo.jumbo .rad-caption-wrapper, .media.video.jumbo .rad-caption-wrapper { max-width: 600px; } } @media screen and (min-width: 1155px) { .media.audio.jumbo .rad-caption-wrapper, .media.photo.jumbo .rad-caption-wrapper, .media.video.jumbo .rad-caption-wrapper { padding-left: 0; max-width: 630px; } } .media.audio.full_bleed .rad-caption-wrapper, .media.photo.full_bleed .rad-caption-wrapper, .media.video.full_bleed .rad-caption-wrapper { padding-left: 20px; padding-right: 20px; margin-left: 0; } @media screen and (min-width: 720px) { .media.audio.full_bleed .rad-caption-wrapper, .media.photo.full_bleed .rad-caption-wrapper, .media.video.full_bleed .rad-caption-wrapper { max-width: 600px; } } @media screen and (min-width: 1155px) { .media.audio.full_bleed .rad-caption-wrapper, .media.photo.full_bleed .rad-caption-wrapper, .media.video.full_bleed .rad-caption-wrapper { max-width: 630px; } } .paragraph + .media.audio, .paragraph + .media.photo, .paragraph + .media.video { margin-top: 24px; } @media screen and (min-width: 720px) { .paragraph + .media.audio, .paragraph + .media.photo, .paragraph + .media.video { margin-top: 30px; } } @media screen and (min-width: 1155px) { .paragraph + .media.audio, .paragraph + .media.photo, .paragraph + .media.video { margin-top: 30px; } } .media.audio .rad-caption-wrapper, .media.photo .rad-caption-wrapper, .media.video .rad-caption-wrapper { display: block; margin: 0 auto; padding: 5px 0 0; max-width: 600px; } @media screen and (min-width: 1155px) { .media.audio .rad-caption-wrapper, .media.photo .rad-caption-wrapper, .media.video .rad-caption-wrapper { max-width: 630px; } } @media screen and (min-width: 600px) { .small.media.audio .rad-caption-wrapper, .small.media.photo .rad-caption-wrapper, .small.media.video .rad-caption-wrapper { padding-right: 0; padding-left: 0; } } @media screen and (min-width: 720px) { .full_bleed.media.audio .rad-caption-wrapper, .full_bleed.media.photo .rad-caption-wrapper, .full_bleed.media.video .rad-caption-wrapper, .jumbo.media.audio .rad-caption-wrapper, .jumbo.media.photo .rad-caption-wrapper, .jumbo.media.video .rad-caption-wrapper, .large.media.audio .rad-caption-wrapper, .large.media.photo .rad-caption-wrapper, .large.media.video .rad-caption-wrapper { box-sizing: border-box; } } .media.audio .rad-caption-text, .media.photo .rad-caption-text, .media.video .rad-caption-text { font-family: "nyt-mag-sans", arial, helvetica, sans-serif; color: #666666; font-size: 14px; line-height: 17px; margin-bottom: 8.5px; } .media.audio .rad-credit, .media.photo .rad-credit, .media.video .rad-credit { clear: both; font-family: "nyt-mag-sans", arial, helvetica, sans-serif; color: #999999; font-size: 13px; line-height: 17px; margin-bottom: 8.5px; } @media screen and (min-width: 720px) { .media.audio .rad-credit, .media.photo .rad-credit, .media.video .rad-credit { padding: 0; } } .full_bleed.media.audio .rad-credit, .full_bleed.media.photo .rad-credit, .full_bleed.media.video .rad-credit, .jumbo .media.audio .rad-credit, .jumbo .media.photo .rad-credit, .jumbo .media.video .rad-credit { padding-right: 3px; } .image img.rad-lazy { width: 100%; opacity: 0.3; transition: opacity 0.5s; margin-bottom: 0; height: 0; } .image img.rad-lazy.ll-loaded { height: auto; opacity: 1; z-index: 3; position: relative; } @media screen and (min-width: 720px) { .media.video.small .rad-caption-wrapper { box-sizing: border-box; padding-right: 200px; } } @media screen and (min-width: 1155px) { .media.video.jumbo .rad-caption-wrapper { padding-left: 20px; } } .media.photo.small { margin: 0 auto; margin-top: 24px; margin-bottom: 24px; padding: 0; position: relative; } @media screen and (min-width: 720px) { .media.photo.small { margin-top: 30px; } } @media screen and (min-width: 1155px) { .media.photo.small { margin-top: 30px; } } @media screen and (min-width: 720px) { .media.photo.small { margin-bottom: 30px; } } @media screen and (min-width: 1155px) { .media.photo.small { margin-bottom: 30px; } } @media screen and (min-width: 600px) { .media.photo.small { margin: 0 auto; } } @media screen and (min-width: 1005px) { .media.photo.small { max-width: 1070px; } } @media screen and (min-width: 1335px) { .media.photo.small { max-width: 600px; } } @media screen and (min-width: 600px) { .media.photo.small .rad-media-wrapper, .media.photo.small .rad-interactive-wrapper { width: 33.33333333%; position: relative; float: right; margin: 7px 20px 20px; } } @media screen and (min-width: 960px) { .media.photo.small .rad-media-wrapper, .media.photo.small .rad-interactive-wrapper { width: 300px; } } @media screen and (min-width: 1335px) { .media.photo.small .rad-media-wrapper, .media.photo.small .rad-interactive-wrapper { width: 50%; margin: 0 calc(-50% - 2em) 2rem 2rem; } } .rad-diptych { max-width: 1110px; margin-left: 20px; margin-right: 20px; margin-bottom: 0; padding-top: 24px; overflow: hidden; clear: both; } @media screen and (min-width: 720px) { .rad-diptych { padding-top: 30px; } } @media screen and (min-width: 1155px) { .rad-diptych { padding-top: 30px; } } .rad-diptych .media.video .rad-media-wrapper, .rad-diptych .media.photo .rad-media-wrapper { padding: 0; } .rad-diptych .media.photo, .rad-diptych .media.video { max-width: 100%; } .rad-diptych .media.photo .rad-caption-text, .rad-diptych .media.video .rad-caption-text, .rad-diptych .media.photo .rad-credit, .rad-diptych .media.video .rad-credit { padding-left: 0; padding-right: 0; } .rad-diptych .media.video .rad-caption .rad-caption-wrapper, .rad-diptych .media.photo .rad-caption .rad-caption-wrapper { padding: 5px 0 0; max-width: 600px; margin: 0; } @media screen and (min-width: 1155px) { .rad-diptych .media.video .rad-caption .rad-caption-wrapper, .rad-diptych .media.photo .rad-caption .rad-caption-wrapper { max-width: 630px; } } @media screen and (min-width: 720px) { .rad-diptych { margin: 0 auto; margin-top: 24px; } .rad-diptych .media.photo.small, .rad-diptych .media.photo.large, .rad-diptych .media.video.small, .rad-diptych .media.video.large { width: 50%; box-sizing: border-box; float: left; margin: 0; margin-bottom: 36px; padding: 0 10px 0 20px; } .rad-diptych .media.photo.small .rad-media-wrapper, .rad-diptych .media.photo.large .rad-media-wrapper, .rad-diptych .media.video.small .rad-media-wrapper, .rad-diptych .media.video.large .rad-media-wrapper { width: 100% !important; margin: 0 !important; } .rad-diptych .media.photo.small + .photo.small, .rad-diptych .media.photo.large + .photo.small, .rad-diptych .media.video.small + .photo.small, .rad-diptych .media.video.large + .photo.small, .rad-diptych .media.photo.small + .photo.large, .rad-diptych .media.photo.large + .photo.large, .rad-diptych .media.video.small + .photo.large, .rad-diptych .media.video.large + .photo.large, .rad-diptych .media.photo.small + .video.small, .rad-diptych .media.photo.large + .video.small, .rad-diptych .media.video.small + .video.small, .rad-diptych .media.video.large + .video.small, .rad-diptych .media.photo.small + .video.large, .rad-diptych .media.photo.large + .video.large, .rad-diptych .media.video.small + .video.large, .rad-diptych .media.video.large + .video.large { padding-left: 10px; float: right; padding-right: 20px; } } @media screen and (min-width: 720px) and screen and (min-width: 720px) { .rad-diptych { margin-top: 30px; } } @media screen and (min-width: 720px) and screen and (min-width: 1155px) { .rad-diptych { margin-top: 30px; } } @media screen and (min-width: 720px) and screen and (min-width: 720px) { .rad-diptych .media.photo.small, .rad-diptych .media.photo.large, .rad-diptych .media.video.small, .rad-diptych .media.video.large { margin-bottom: 45px; } } @media screen and (min-width: 720px) and screen and (min-width: 1155px) { .rad-diptych .media.photo.small, .rad-diptych .media.photo.large, .rad-diptych .media.video.small, .rad-diptych .media.video.large { margin-bottom: 45px; } } .media.video { margin: 0 auto; padding-bottom: 24px; } @media screen and (min-width: 720px) { .media.video { padding-bottom: 30px; } } @media screen and (min-width: 1155px) { .media.video { padding-bottom: 30px; } } .media.video.small { max-width: 600px; } @media screen and (min-width: 1155px) { .media.video.small { max-width: 630px; } } .media.video.large { max-width: 1070px; } .media.video.jumbo { max-width: 1400px; } .media.video.small .rad-caption-wrapper, .media.video.large .rad-caption-wrapper { max-width: 600px; margin-left: 20px; margin-right: 20px; } @media screen and (min-width: 1155px) { .media.video.small .rad-caption-wrapper, .media.video.large .rad-caption-wrapper { max-width: 630px; } } @media screen and (min-width: 640px) { .media.video.small .rad-caption-wrapper, .media.video.large .rad-caption-wrapper { margin-left: auto; margin-right: auto; } } .paragraph + .media.video { margin-top: 24px; } @media screen and (min-width: 720px) { .paragraph + .media.video { margin-top: 30px; } } @media screen and (min-width: 1155px) { .paragraph + .media.video { margin-top: 30px; } } .media.video .rad-credit { display: block; margin-top: 0; padding: 0 3px 0 0; } .rad-spinner { position: absolute; top: 50%; left: 50%; z-index: 2; transform: translate3d(-50%, -50%, 0); } .rad-spinner:after { content: ''; display: block; box-sizing: border-box; width: 40px; height: 40px; border-radius: 100%; border: 5px solid rgba(255, 255, 255, 0.2); border-top-color: rgba(255, 255, 255, 0.5); animation: spin 1s infinite linear; } @keyframes spin { 100% { transform: rotate(360deg); } } .media.audio { float: none; margin: 30px auto; padding: 0; max-width: 600px; margin-left: 20px; margin-right: 20px; } @media screen and (min-width: 1155px) { .media.audio { max-width: 630px; } } @media screen and (min-width: 640px) { .media.audio { margin-left: auto; margin-right: auto; } } .media.audio .rad-media-wrapper { padding: 0; } .media.audio.small { max-width: 600px; width: 600px; } @media screen and (min-width: 1155px) { .media.audio.small { max-width: 630px; width: 630px; } } .media.audio.large { width: inherit; } .media.audio.jumbo { max-width: 1400px; width: 1400px; } .media.audio.small .rad-caption-wrapper, .media.audio.large .rad-caption-wrapper { max-width: 600px; margin-left: 20px; margin-right: 20px; } @media screen and (min-width: 1155px) { .media.audio.small .rad-caption-wrapper, .media.audio.large .rad-caption-wrapper { max-width: 630px; } } @media screen and (min-width: 640px) { .media.audio.small .rad-caption-wrapper, .media.audio.large .rad-caption-wrapper { margin-left: auto; margin-right: auto; } } .rad-interactive { max-width: 2000px; margin-left: auto; margin-right: auto; margin-bottom: 2px; margin-top: 24px; position: relative; overflow: hidden; } @media screen and (min-width: 720px) { .rad-interactive { margin-top: 30px; } } @media screen and (min-width: 1155px) { .rad-interactive { margin-top: 30px; } } .rad-interactive .rad-interactive-wrapper { padding: 15px 0; border-top: 1px solid #e2e2e2; border-bottom: 1px solid #e2e2e2; margin-bottom: 24px; } @media screen and (min-width: 720px) { .rad-interactive .rad-interactive-wrapper { margin-bottom: 30px; } } @media screen and (min-width: 1155px) { .rad-interactive .rad-interactive-wrapper { margin-bottom: 30px; } } .rad-interactive.small { overflow: visible; margin: 0 auto; margin-top: 24px; margin-bottom: 24px; padding: 0; position: relative; } @media screen and (min-width: 720px) { .rad-interactive.small { margin-top: 30px; } } @media screen and (min-width: 1155px) { .rad-interactive.small { margin-top: 30px; } } @media screen and (min-width: 720px) { .rad-interactive.small { margin-bottom: 30px; } } @media screen and (min-width: 1155px) { .rad-interactive.small { margin-bottom: 30px; } } @media screen and (min-width: 600px) { .rad-interactive.small { margin: 0 auto; } } @media screen and (min-width: 1005px) { .rad-interactive.small { max-width: 1070px; } } @media screen and (min-width: 1335px) { .rad-interactive.small { max-width: 600px; } } @media screen and (min-width: 600px) { .rad-interactive.small .rad-media-wrapper, .rad-interactive.small .rad-interactive-wrapper { width: 33.33333333%; position: relative; float: right; margin: 7px 20px 20px; } } @media screen and (min-width: 960px) { .rad-interactive.small .rad-media-wrapper, .rad-interactive.small .rad-interactive-wrapper { width: 300px; } } @media screen and (min-width: 1335px) { .rad-interactive.small .rad-media-wrapper, .rad-interactive.small .rad-interactive-wrapper { width: 50%; margin: 0 calc(-50% - 2em) 2rem 2rem; } } .rad-interactive.large { max-width: 600px; } @media screen and (min-width: 1155px) { .rad-interactive.large { max-width: 630px; } } .rad-interactive.jumbo { max-width: 1070px; } .rad-interactive.full_bleed { margin: 0 auto; max-width: 100%; } .rad-interactive.full_bleed .rad-interactive-wrapper { border: none; padding: 0; } .rad-interactive.small, .rad-interactive.large, .rad-interactive.jumbo { padding: 0 20px; } @media screen and (min-width: 720px) { .rad-interactive.small, .rad-interactive.large, .rad-interactive.jumbo { padding: 0; } } .rad-interactive img { margin-bottom: 0; } .rad-interactive .interactive-summary { font-family: "nyt-cheltenham-sh", georgia, "times new roman", times, serif; font-size: 13px; line-height: 1.4; color: #666666; padding-top: 5px; } .rad-interactive .credit, .rad-interactive .notes, .rad-interactive .source { display: block; padding: 0 3px; margin-top: 5px; margin-bottom: 0; font-family: "nyt-mag-sans", arial, helvetica, sans-serif; color: #999999; font-size: 13px; line-height: 17px; margin-bottom: 8.5px; } .rad-interactive + .media.photo { margin-top: 24px; } @media screen and (min-width: 720px) { .rad-interactive + .media.photo { margin-top: 30px; } } @media screen and (min-width: 1155px) { .rad-interactive + .media.photo { margin-top: 30px; } } @media screen and (min-width: 720px) { .rad-interactive + .media.photo { margin-top: 0; } } .rad-series-box { max-width: 600px; margin-left: 20px; margin-right: 20px; padding-top: 48px; } @media screen and (min-width: 1155px) { .rad-series-box { max-width: 630px; } } @media screen and (min-width: 640px) { .rad-series-box { margin-left: auto; margin-right: auto; } } @media screen and (min-width: 720px) { .rad-series-box { padding-top: 60px; } } @media screen and (min-width: 1155px) { .rad-series-box { padding-top: 60px; } } .rad-series-box h2 { font-weight: 700; font-family: "nyt-franklin", arial, helvetica, sans-serif; font-size: 15px; line-height: 1.1; margin-bottom: 20px; } @media screen and (min-width: 720px) { .rad-series-box h2 { font-size: 17px; } } .rad-series-links { color: #000000; } .rad-series-links .rad-caption { display: none; } .rad-series-links a { color: #000000; display: table; width: 100%; margin-bottom: 1rem; } .rad-series-links a:hover { text-decoration: none; } .has-no-touch .rad-series-links a:hover h3 { border-bottom: 2px solid #cccccc; text-shadow: 0 2px 0 #fff; } .rad-series-links .promo-info, .rad-series-links .promo-image { display: table-cell; vertical-align: middle; } .rad-series-links .promo-info { padding: 0 0 0 20px; } .rad-series-links h3 { display: inline; font-family: "nyt-cheltenham-sh", georgia, "times new roman", times, serif; font-size: 17px; font-weight: 400; line-height: 1.1; margin-right: 5px; } @media screen and (min-width: 769px) { .rad-series-links h3 { font-family: "nyt-cheltenham", georgia, "times new roman", times, serif; font-size: 21px; line-height: 1.2; } } .rad-series-links .pubdate { display: inline; color: #cccccc; font-family: "nyt-franklin", arial, helvetica, sans-serif; font-size: 12px; text-transform: uppercase; letter-spacing: 0.02em; white-space: nowrap; } .rad-series-links .promo-image { width: 33%; margin: 0; padding: 0; } .rad-series-links .promo-image:empty:after { display: block; content: ' '; width: 100%; padding-bottom: 66.667%; } .rad-series-links .media.photo { margin: 0; padding: 0; } .rad-series-links .media.photo .rad-media-wrapper { margin: 0; padding: 0; } #story { opacity: 1; position: relative; transform: none; transition: all 0.45s ease-in-out; } .rad-fade #story { transform: translateY(0); opacity: 0; } .rad-unload #story { transform: translateY(-60px); } #masthead { position: relative; opacity: 1; transform: translateY(0); transition: transform 0.45s ease-in-out; } .rad-fade #masthead { opacity: 0 !important; transform: translateY(0); transition: opacity 0.45s ease-in-out; } .rad-unload #masthead { opacity: 0; transform: translateY(-60px); transition: all 0.45s ease-in-out; } #related-coverage, .viewport-medium #related-coverage { margin-top: 48px; } @media screen and (min-width: 720px) { #related-coverage, .viewport-medium #related-coverage { margin-top: 60px; } } @media screen and (min-width: 1155px) { #related-coverage, .viewport-medium #related-coverage { margin-top: 60px; } } .rad-article + .rad-article { border-top: 2px solid #e2e2e2; transform: translate3d(0, 0, 0); transition: transform 0.4s ease-in; } .rad-article + .rad-article.is-loaded { transform: none; } .rad-article .rad-series-link-wrapper { max-width: 600px; margin-left: 20px; margin-right: 20px; margin-bottom: 5rem; } @media screen and (min-width: 1155px) { .rad-article .rad-series-link-wrapper { max-width: 630px; } } @media screen and (min-width: 640px) { .rad-article .rad-series-link-wrapper { margin-left: auto; margin-right: auto; } } .rad-article .rad-series-link { color: #326891; position: relative; text-shadow: 3px 1px 0 #ffffff, -3px 1px 0 #ffffff, 0 1px 0 #ffffff; background-image: linear-gradient(to bottom, rgba(50, 104, 145, 0) 50%, rgba(50, 104, 145, 0.4) 50%); background-repeat: repeat-x; background-size: 2px 2px; background-position: 0 calc(100% - 1px); text-decoration: none; font-family: "nyt-franklin", arial, helvetica, sans-serif; font-weight: bold; opacity: 1; transition: opacity 0.4s ease-in; } .rad-article .rad-series-link:hover { text-shadow: 3px 1px 0 #ffffff, -3px 1px 0 #ffffff, 0 1px 0 #ffffff; text-decoration: none; background-image: linear-gradient(to bottom, rgba(50, 104, 145, 0) 50%, #326891 50%); } .rad-article .rad-series-link:active { top: 1px; } @media screen and (min-width: 720px) { .rad-article .rad-series-link { background-position: 0 calc(100% - 1px); } .rad-article .rad-series-link:hover { text-shadow: 3px 1px 0 #ffffff, -3px 1px 0 #ffffff, 0 1px 0 #ffffff, 4px 1px 0 #ffffff, -4px 1px 0 #ffffff; } } @media screen and (min-width: 1155px) { .rad-article .rad-series-link { background-position: 0 calc(100% - 1px); } .rad-article .rad-series-link:hover { text-shadow: 3px 2px 0 #ffffff, -3px 2px 0 #ffffff, 0 2px 0 #ffffff, 4px 2px 0 #ffffff, -4px 2px 0 #ffffff; } } .rad-article.article-active .rad-series-link, .rad-article.article-loading .rad-series-link { opacity: 0; pointer-events: none; } .rad-article.article-active + .rad-article { transform: translate3d(0, 300px, 0); } .rad-article.article-active.is-loaded + .rad-article { transform: translate3d(0, 0, 0); } .rad-article .rad-story-body-inner { transition: all 0.4s ease-in; opacity: 0; max-height: 0; overflow: hidden; } .rad-article.article-active .rad-story-body-inner { opacity: 1; max-height: 100%; } .rad-article .rad-story-body-mask { display: block; margin-top: -150px; width: 100%; height: 150px; background: linear-gradient(to bottom, rgba(255, 255, 255, 0) 0%, rgba(255, 255, 255, 0.5) 10%, #ffffff 100%); opacity: 1; transition: opacity 0.3s ease-in; position: relative; z-index: 10; } .rad-story-body-mask .rad-spinner:after { border-color: rgba(0, 0, 0, 0.2); border-top-color: rgba(0, 0, 0, 0.7); height: 30px; width: 30px; border-width: 3px; box-shadow: 0 0 3px #fff; } .rad-story-body-mask .rad-spinner { opacity: 0; transition: opacity 0.4s ease-in; } .article-loading .rad-story-body-mask .rad-spinner { opacity: 1; } .rad-article.article-active .rad-story-body-mask { pointer-events: none; opacity: 0; } .rad-social .sharetool { display: inline-block; } .rad-social .sharetool a { width: 32px; height: 32px; display: inline-block; padding: 0; border-radius: 20px; color: white !important; line-height: 1.2 !important; background-size: contain; background-repeat: no-repeat; } .rad-social .sharetool a .sharetool-text { visibility: hidden; } .rad-social .sharetool a[data-share="twitter"] { background-image: url('data:image/svg+xml;base64,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'); } .rad-social .sharetool a[data-share="twitter"]:hover { background-image: url('data:image/svg+xml;base64,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'); } .rad-social .sharetool a[data-share="facebook"] { background-image: url('data:image/svg+xml;base64,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'); } .rad-social .sharetool a[data-share="facebook"]:hover { background-image: url('data:image/svg+xml;base64,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'); } .rad-social .sharetool + .sharetool a { margin-left: 5px; } .rad-social .sharetools-menu { margin: 15px 0; } .ad.top-ad { border-color: transparent; } .rad-ad-wrapper { margin: 0 auto; margin-top: 36px; margin-bottom: 48px; text-align: center; background: rgba(0, 0, 0, 0.05); } @media screen and (min-width: 720px) { .rad-ad-wrapper { margin-top: 45px; } } @media screen and (min-width: 1155px) { .rad-ad-wrapper { margin-top: 45px; } } @media screen and (min-width: 720px) { .rad-ad-wrapper { margin-bottom: 60px; } } @media screen and (min-width: 1155px) { .rad-ad-wrapper { margin-bottom: 60px; } } .rad-ad-wrapper.has-border { padding: 30px 0; border-color: #e2e2e2; border-style: solid; border-width: 1px 0; } .rad-ad-wrapper .ad { margin: 30px auto 50px; } .rad-ad-wrapper .ad:before { display: block; content: 'Advertisement'; text-transform: uppercase; font-family: "nyt-franklin", arial, helvetica, sans-serif; color: #cccccc; font-size: 10px; letter-spacing: 0.05em; text-align: center; width: 100%; padding-bottom: 5px; } .rad-ad-wrapper:last-child { border-width: 0; margin: 40px 20px; padding: 30px 0; } @media screen and (min-width: 720px) { .rad-ad-wrapper:last-child { max-width: 705px; margin: 40px auto 0; } } @media screen and (min-width: 960px) { .rad-ad-wrapper:last-child { max-width: 945px; } } .rad-ad-wrapper .rad-ad { display: inline-block; width: 100%; } @media print { * { background: #fff !important; } .quick-navigation, #masthead .story-meta, .user-tools, .search-flyout-panel, .notification-modals, .announcments, #navigation, #mobile-navigation, .rad-ad-wrapper, figure, .rad-interactive, .media.video, .media.photo, #footer, #related-coverage, .visually-hidden, #page-footer li, .ad, .last-nav, .rad-cover-container, .cover-caption, .cover-replay, .nyt-logo, .location-header-wrapper img { display: none !important; } #page-footer ul { list-style: none; margin: 0; padding: 0; } #page-footer nav ul li:first-child { display: block !important; text-align: center; } .masthead { padding-bottom: 0.2in; margin-bottom: 0.2in; margin-top: 45px; position: static !important; } .masthead .branding { float: none !important; display: block !important; height: 20px; margin: 0 auto; text-align: center; } a { color: #000 !important; text-decoration: none !important; } .rad-cover { height: auto !important; margin-bottom: 0 !important; } .rad-cover .story-heading { color: #111 !important; position: static !important; text-align: center !important; margin: 0 !important; } .rad-cover .interactive-header { position: static !important; max-width: 600px; margin: 0 auto !important; } .rad-cover .interactive-header p { position: static !important; max-width: 600px; color: #111 !important; } .rad-cover .interactive-header p br { display: none !important; } } .topnav { position: fixed; height: 50px; top: 0; left: 0; right: 0; transition: top 0.25s ease-in-out, opacity 0s linear 0.25s, background-color 0.25s linear; z-index: 5555; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; } @media screen and (min-width: 1020px) { .topnav { display: block; height: 67px; top: -67px; opacity: 0; background-color: #000; } .topnav path { fill: #fff; } .topnav .toggler { display: none; } } .topnav .toggler { outline: 0; padding: 4px 10px 6px; background: transparent; outline: none; border: 0px; } .topnav .toggler.is-active { transform: rotate(-180deg); } .topnav .toggler img { opacity: 0; width: 14px; margin: 0px; transition: opacity 0.25s linear; } .topnav__wrapper { display: -ms-flexbox; display: flex; width: 100%; } @media screen and (min-width: 1020px) { .topnav__wrapper { width: auto; } } .topnav__contents { position: fixed; height: calc(100vh - 50px); opacity: 0; top: -100vh; left: 0; right: 0; transition: top 0.5s ease-in-out, opacity 0s linear 0.5s; background: #000; overflow-y: auto; -ms-flex: 1; flex: 1; display: -ms-flexbox; display: flex; } .topnav__contents.show-nav { top: 50px; opacity: 1; transition: top 0.5s ease-in-out, opacity 0s linear 0s; } @media screen and (min-width: 1020px) { .topnav__contents.show-nav { top: auto; } } @media screen and (min-width: 1020px) { .topnav__contents { position: relative; top: auto; height: auto; left: auto; right: auto; max-width: calc(100% - 260px); overflow-y: hidden; opacity: 1; } } .topnav--show-nav { top: 0; opacity: 1; background-color: #000; transition: top 0.25s ease-in-out, opacity 0s linear 0s, background-color 0.25s linear 0s; } .topnav--show-nav .toggler img { opacity: 1; } .topnav--show-nav .topnav__kicker span { opacity: 1; } .topnav--show-nav .topnav__kicker path { fill: #fff; } .topnav--show-nav .topnav__kicker span { color: #ff2700; } .topnav__control { display: none; position: absolute; top: 0; bottom: 0; height: 67px; width: 50px; z-index: -1; opacity: 0; -ms-flex-pack: center; justify-content: center; -ms-flex-align: center; align-items: center; background: #000; transition: opacity 0.25s linear; width: 32px; background-position: 50% 50%; background-repeat: no-repeat; background-size: auto 17px; } @media screen and (min-width: 1020px) { .topnav__control { display: -ms-flexbox; display: flex; } } .topnav__control img { width: 25px; opacity: 0; } .topnav__control--show { z-index: 1; opacity: 1; } .topnav__control--show:hover { opacity: 1; } .topnav__control--prev { left: 260px; background-image: url('data:image/png;base64,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'); } .topnav__control--next { right: 0; width: 32px; background-image: url('data:image/png;base64,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'); background-position: 50% 45%; background-repeat: no-repeat; background-size: auto 17px; } .topnav__control--next img { opacity: 0; } .topnav__kicker { position: relative; z-index: 2; -ms-flex: 0 0 auto; flex: 0 0 auto; padding: 10px 0 10px 20px; display: -ms-flexbox; display: flex; font-family: "nyt-mag-sans", arial, helvetica, sans-serif; letter-spacing: 0.025em; font-size: 13.5px; color: #fff; text-align: left; line-height: 1; box-sizing: border-box; height: 50px; -ms-flex-align: left; align-items: left; -ms-flex-pack: justify; justify-content: space-between; -ms-flex-align: center; align-items: center; width: 100%; } .topnav__kicker span { opacity: 0; transition: opacity 0.25s linear; } .topnav__kicker path { fill: #000; } .topnav__kicker span { color: #000; } .topnav__kicker svg { display: inline-block; max-width: calc(75vw - 100px); margin-right: 15px; } @media screen and (min-width: 1020px) { .topnav__kicker { padding: 10px 20px; width: auto; -ms-flex-align: start; align-items: flex-start; height: 67px; -ms-flex-pack: center; justify-content: center; -ms-flex-direction: column; flex-direction: column; background: #000; } .topnav__kicker span { opacity: 1; } .topnav__kicker path { fill: #fff; } .topnav__kicker svg { margin-right: 0; max-width: 220px; margin-top: -2px; } .topnav__kicker:before { content: ''; display: block; position: absolute; top: 10px; bottom: 10px; right: 0; width: 1px; background: #fff; } } .topnav ul { -ms-flex: 1; flex: 1; display: -ms-flexbox; display: flex; width: auto; position: relative; z-index: 1; -ms-flex-direction: column; flex-direction: column; -ms-flex-align: center; align-items: center; margin: 0; overflow: hidden; } @media screen and (min-width: 1020px) { .topnav ul { margin: 0 32px 0 0; padding-top: 0; -ms-flex-direction: row; flex-direction: row; -ms-flex-align: start; align-items: flex-start; -ms-flex-pack: start; justify-content: flex-start; } } .topnav ul li { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: start; justify-content: flex-start; padding: 30px 20px; font-family: "nyt-mag-sans", arial, helvetica, sans-serif; font-size: 15.5px; color: #fff; box-sizing: border-box; line-height: 1.1; position: relative; border-bottom: 1px solid #5f5f5f; -ms-flex: 0 0 auto; flex: 0 0 auto; letter-spacing: 0.025em; } @media screen and (min-width: 1020px) { .topnav ul li { width: calc(33vw - 92px); } } @media screen and (min-width: 1607px) { .topnav ul li { width: calc(25vw - 72px); } } .topnav ul li:last-of-type { border-bottom: 0; } .topnav ul li a { color: #fff; text-align: center; padding: 0; line-height: 1.55; max-width: 70%; margin: 0 auto; } @media screen and (min-width: 1020px) { .topnav ul li a { line-height: 1.1; padding: 0; text-align: left; max-width: 320px; margin: 0; } } .topnav ul li a:hover { text-decoration: none; } @media screen and (min-width: 1020px) { .topnav ul li { border-bottom: 0; height: 67px; padding: 12px 15px; font-size: 13.5px; } .topnav ul li:before { content: ''; display: block; position: absolute; top: 12px; bottom: 12px; right: 0; width: 1px; background: #fff; } } .topnav ul li:last-of-type:before { display: none; } #masthead { width: 100% !important; margin-left: 0 !important; border-bottom: 0px !important; display: none; } @media screen and (min-width: 1020px) { #masthead { display: block; } } #masthead .branding { display: inline-block; text-align: left !important; top: 5px; display: none; } #masthead .branding .branding-heading { float: left; margin-left: 20px; text-align: left; } #masthead .branding svg path { fill: #fff !important; } @media screen and (min-width: 1020px) { #masthead .branding { box-sizing: border-box; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; -ms-flex-align: center; align-items: center; color: #ff2700; font-family: "nyt-mag-sans", arial, helvetica, sans-serif; font-size: 14px; letter-spacing: 0.025em; left: 25px; top: 10px; opacity: 1; } #masthead .branding.vertical { max-width: calc(50vw - 25px); padding-right: 25px; } #masthead .branding.horizontal { width: calc(23.648649vw + 122px); min-width: 460px; } #masthead .branding span { -ms-flex: 0 0 auto; flex: 0 0 auto; } #masthead .branding .branding-heading { float: none; margin-left: 0; -ms-flex: 1; flex: 1; } } #masthead .branding .branding-label { display: none !important; } #masthead.in-content { background: transparent; box-shadow: none; display: none; } #masthead.in-content .container { background: transparent; box-shadow: none; border-bottom: 0; } #masthead.in-content .container .branding { display: none; } #masthead.in-content .container .user-tools { background: transparent; box-shadow: none; opacity: .4; } #masthead.in-content .container .user-tools .save-sharetool { display: none; } @media screen and (min-width: 1020px) { #masthead.in-content { top: 67px; display: block; } } #masthead .container { width: 100% !important; max-width: 100% !important; padding: 2px 60px 0 15px; z-index: 1; box-sizing: border-box; } @media screen and (min-width: 1020px) { #masthead .container { padding-right: 0; padding-top: 0; } } #masthead .container.slug-24mag-mushrooms .branding { top: 5px; } #masthead .container .quick-navigation { display: none !important; } #masthead .container .sharetools-menu > .facebook-sharetool, #masthead .container .sharetools-menu > .twitter-sharetool, #masthead .container .sharetools-menu > .email-sharetool { display: none !important; } #masthead .container .story-meta { display: none !important; } .rad-cover, .rad-cover.full-bleed { height: auto; margin-bottom: 60px; } .rad-cover .rad-header, .rad-cover.full-bleed .rad-header { position: relative; display: block; box-sizing: border-box; font-family: "nyt-mag-sans", arial, helvetica, sans-serif; padding: 0; max-width: 600px; margin: 60px auto 0; background: transparent; color: #000; } .rad-cover .rad-header .rad-second-byline, .rad-cover.full-bleed .rad-header .rad-second-byline { display: block; } @media screen and (min-width: 1020px) { .rad-cover, .rad-cover.full-bleed { margin-bottom: 120px; } .rad-cover .rad-header, .rad-cover.full-bleed .rad-header { margin-top: 0; } .rad-cover.vertical, .rad-cover.full-bleed.vertical { background: #000 !important; height: 100vh; } .rad-cover.vertical .rad-header, .rad-cover.full-bleed.vertical .rad-header { position: absolute; color: #fff; padding: 50px; } .rad-cover.vertical .media, .rad-cover.full-bleed.vertical .media { float: right; max-width: 50vw; } .rad-cover.vertical .media .rad-caption, .rad-cover.full-bleed.vertical .media .rad-caption { max-width: 100%; float: right; box-sizing: border-box; padding: 0 30px; } .rad-cover.vertical .rad-header, .rad-cover.full-bleed.vertical .rad-header { max-width: 50vw; text-align: center; height: 100%; display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; -ms-flex-align: center; align-items: center; } .rad-cover.vertical .rad-header .rad-headline, .rad-cover.full-bleed.vertical .rad-header .rad-headline, .rad-cover.vertical .rad-header .rad-summary, .rad-cover.full-bleed.vertical .rad-header .rad-summary, .rad-cover.vertical .rad-header .rad-byline-pubdate, .rad-cover.full-bleed.vertical .rad-header .rad-byline-pubdate { text-align: center; max-width: 600px; } } @media screen and (min-width: 1020px) { .rad-cover.horizontal, .rad-cover.full-bleed.horizontal { background: #000 !important; height: 100vh; } .rad-cover.horizontal .rad-header, .rad-cover.full-bleed.horizontal .rad-header { position: absolute; color: #fff; padding: 50px; } .rad-cover.horizontal .media, .rad-cover.full-bleed.horizontal .media { float: right; width: 76.351351vw; max-width: calc(100vw - 335px); } .rad-cover.horizontal .media .rad-caption, .rad-cover.full-bleed.horizontal .media .rad-caption { max-width: 100%; float: right; box-sizing: border-box; padding: 0 30px; } .rad-cover.horizontal .rad-header, .rad-cover.full-bleed.horizontal .rad-header { width: 23.648649vw; min-width: 335px; padding: 30px; } } /*! * Hamburgers * @description Tasty CSS-animated hamburgers * @author Jonathan Suh @jonsuh * @site https://jonsuh.com/hamburgers * @link https://github.com/jonsuh/hamburgers */ .topnav--show-nav .hamburger { opacity: 1; } .topnav--show-nav .hamburger .hamburger-inner, .topnav--show-nav .hamburger .hamburger-inner::before, .topnav--show-nav .hamburger .hamburger-inner::after { background-color: #fff; } .hamburger { opacity: 0; transition: opacity 0.25s linear; position: relative; z-index: 1; padding: 14px 20px 10px; display: inline-block; cursor: pointer; transition-property: opacity, filter; transition-duration: 0.15s; transition-timing-function: linear; font: inherit; color: inherit; text-transform: none; background-color: transparent; border: 0; margin: 0; overflow: visible; } @media screen and (min-width: 1020px) { .hamburger { opacity: 1; } } .hamburger:focus { outline: 0; box-shadow: none; } .hamburger.is-active .hamburger-inner, .hamburger.is-active .hamburger-inner::before, .hamburger.is-active .hamburger-inner::after { background-color: #fff; } .hamburger-box { width: 20px; height: 12px; display: inline-block; position: relative; } .hamburger-inner { display: block; top: 50%; margin-top: -2px; } .hamburger-inner, .hamburger-inner::before, .hamburger-inner::after { width: 20px; height: 1px; background-color: #000; border-radius: 4px; position: absolute; transition-property: transform; 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margin: 50px; } .rad-article[data-slug="15mag-puerto-rico-oak"] .rad-article-credits { display: none; } The Education Issue The Disappearing Schools of Puerto Rico The Koch Foundation Is Trying to Reshape Foreign Policy. With Liberal Allies. I Was a Low-Income College Student. Classes Weren’t the Hard Part. What College Admissions Offices Really Want Anthony Abraham Jack, a professor at the Harvard Graduate School of Education. Joshua Rashaad McFadden for The New York Times I Was a Low-Income College Student.Classes Weren’t the Hard Part. Schools must learn that when you come frompoverty, you need more than financial aid to succeed. By ANTHONY ABRAHAM JACK SEPT. 10, 2019 Night came early in the chill of March. It was my freshman year at Amherst College, a small school of some 1,600 undergraduates in the hills of western Massachusetts, and I was a kid on scholarship from Miami. I had just survived my first winter, but spring seemed just as frigid. Amherst felt a little colder — or perhaps just lonelier — without the money to return home for spring break like so many of my peers. At that moment, however, I thought less of home and more about the gnawing feeling in the pit of my stomach. I walked past Valentine Hall, the cafeteria, its large windows ghostly in the moonlight. Only the emergency exit signs blazed red in the darkness. There was just enough light to see the chairs stacked on top of the tables and the trays out of reach through the gates that barred me from entry. Amherst provided no meals during holidays and breaks, but not all of us could afford to leave campus. After my first year, I knew when these disruptions were coming and planned for hungry days, charting them on my calendar. Back home in Miami, we knew what to do when money was tight and the family needed to be fed. At the time, in the late ’90s, McDonald’s ran a special: 29-cent hamburgers on Wednesdays and 39-cent cheeseburgers on Sundays. Without that special, I am not sure what we would have done when the week outlasted our reserves before payday. But up at Amherst, there was no McDonald’s special, no quick fix. I worked extra shifts as a gym monitor to help cover the unavoidable costs of staying on campus during breaks. At the gym, the vending machines were stocked with Cheetos and Yoo-hoos, welcome complements to the ham-and-cheese and peanut-butter-and-jelly sandwiches I got from CVS; there are no corner stores or bodegas in Amherst. Not so welcome was the air conditioning on full force in the gym, despite lingering mounds of snow outside. I would check in 20 or so people during my 10-hour shifts, mostly faculty and staff who lived in the area. I recognized them, but they didn’t pay me much mind. Friends would not return until the Friday and Saturday before classes began again. Many came back tan. But what I noticed more was how so many of them returned rested — how different our holidays had been. We like to think that landing a coveted college spot is a golden ticket for students from disadvantaged backgrounds. We think less critically about what happens next. I lived this gap as a first-generation college student. And I returned to it as a first-generation graduate student, spending two years observing campus life and interviewing more than 100 undergraduates at an elite university. Many students from low-income families described having to learn and decode a whole new set of cues and terms like professors’ “office hours” (many didn’t know what they were or how to use them), and foreign rituals like being invited to get coffee with an instructor (and not knowing whether they were expected to pay) — all those moments between convocation and commencement where college life is actually lived. function getFlexData() { return {"data":{"quote":"‘My financial-aid officer didn’t understand why I worked so many jobs or why I picked up even more hours at times.’","attribution":""}}; }var NYTD=NYTD || {}; NYTD.FlexTypes = NYTD.FlexTypes || []; NYTD.FlexTypes.push({"target":"FT100000006707195","type":"Pull Quote","data":{"quote":"‘My financial-aid officer didn’t understand why I worked so many jobs or why I picked up even more hours at times.’","attribution":""}}); ‘My financial-aid officer didn’t understand why I worked so many jobs or why I picked up even more hours at times.’ Now, as a professor at the Harvard Graduate School of Education, I teach a course I’ve titled C.R.E.A.M. (Cash Rules Everything Around Me) — borrowing the title of that still-relevant Wu-Tang Clan track — in which we examine how poverty shapes the ways in which many students make it to and through college. Admission alone, as it turns out, is not the great equalizer. Just walking through the campus gates unavoidably heightens these students’ awareness and experience of the deep inequalities around them. I’ve spent half my life in Miami and the other half in Massachusetts. One 20-minute phone call with an Amherst football coach when I was a high school senior, and a college brochure that arrived two days later, brought this dual citizenship into existence. I can still hear my brother asking, “What is an Amherst?” We didn’t have internet at home, so we had to wait to get to the school computer lab before we could look up the unfamiliar name. We learned that the “H” was as silent as my brother was when he found out a United States president — Calvin Coolidge — was an alumnus, and so was the eminent black physician Dr. Charles Drew. Now maybe his baby brother could be one, too. The path from Miami to Massachusetts was not one that everyone around me could see. I attended George Washington Carver Middle School, which had an International Baccalaureate program, in my neighborhood, Coconut Grove. But the summer before I started at Carver, I took some summer school electives at Ponce de Leon Middle School, our zoned school, where my mom worked as a security guard and which she helped to desegregate in the ’60s. Before the starting bell one day, an assistant principal from Carver saw me goofing around with some friends from around the way. She strode over and said to me, “You don’t have the potential to be a Carverite.” That assistant principal saw black, boisterous boys and deemed us, and me, less than. She didn’t see my drive to succeed. My family didn’t have much, but since my days in Head Start, I was always a top performer in every subject. During one rough patch, I stayed home from school for a few days when we couldn’t afford all the supplies needed to carry out my science-fair experiment on bulb voltage and battery life. I developed my hypotheses and outlined my proposed methods without the materials and had everything ready to go when we were able to afford the supplies. I missed the ribbon but got the A. So on that summer morning when the assistant principal admonished me, anger welled up inside me, but I couldn’t let it show. That would have just played into her preconceived notion of who — or rather, what — I was. I had to prove her wrong. I had to prove myself right. But even as I write these words, I’m aware that this is exactly the kind of story that poor, black and Latinx students are conditioned to write for college application essays. In everyday life, as the poet Paul Laurence Dunbar wrote, we “wear the mask that grins and lies” that “hides our cheeks and shades our eyes,” but when we write these all-important essays we are pushed — by teachers, counselors and anyone who gives advice — to tug the heartstrings of upper-middle-class white admissions officers. “Make them cry,” we hear. And so we pimp out our trauma for a shot at a future we want but can’t fully imagine. At Coral Gables Senior High, I was the safe friend in the eyes of my friends’ mothers. The nerdy, chubby kid who geeked out to novels and cartoons did not pose as much of a threat as his less bookish football teammates. But being the safe friend couldn’t protect me any more than anyone else from the dangers all around us. I’m still haunted by the memory of one night when a group of us decided to go to the CocoWalk AMC theater for a movie. We ran into some folks from school near the corner of Frow and Elizabeth and stopped to joke and roast one another. Then, up ahead at the corner, we heard raised voices. We could make out three men starting to fight. As we watched, frozen, one picked up a cinder block and heaved it down on the head of another man on the ground. An angry voice rang out in our direction: “Who dat is down there?!” Terrified, we sprinted away behind the nearby houses. After seconds that felt like forever, doors slammed and a car sped off. We came out only after the roar of dual exhaust pipes faded away and raced home in the opposite direction, knowing better than to stay and invite questions. Once I was at Amherst, the phone would ring with news of similar nights. I would be reading a novel for class or reviewing my chemistry notes for a test when my mother’s ring tone, “The Lion Sleeps Tonight,” by the Tokens, would break the silence. Something in her “Hey, Tony, you busy?” let me know I was about to share in the emotional burden that bad news brings. My family didn’t understand how disruptive those calls could be. Neither did I, really. No one had ever left. We normally went through these events together. But I was no longer able to help figure out when the coast was clear, to investigate the flashing police lights. I always wondered, unnerved, just how close my family was to whatever prompted such a call. I was away. They were still there. Neighborhoods are more than a collection of homes and shops, more than uneven sidewalks or winding roads. Some communities protect us from hurt, harm and danger. Others provide no respite at all. This process is not random but the consequence of historical patterns of exclusion and racism. Life in privileged communities means that children traverse safer streets, have access to good schools and interact with neighbors who can supply more than the proverbial cup of sugar. Life in distressed communities can mean learning to distinguish between firecrackers and gunshots. These starkly different environments have a profound impact on children’s cognitive functioning, social development and physical health. Research on concentrated disadvantage makes it abundantly clear that inequality depresses the mobility prospects of even the brightest kids, with poor black youth disproportionately exposed to neighborhood violence. In his 2010 study of Chicago youth from adolescence to young adulthood, the sociologist Patrick Sharkey, then at New York University and now at Princeton, shows how such violence disrupts learning in ways equivalent to missing two years of schooling. And yet we equate performance on tests with potential, as if learning happens in a vacuum. It doesn’t. Even if they make it to dorms on leafy-green campuses, disadvantaged students still live in poverty’s long shadow. They worry about those back home just as much as those back home worry about them. At Amherst, I would get messages, in the few moments I had between lunch and lab, announcing that someone needed something: $75 for diabetes medicine or $100 to turn the lights back on. One day a call announced that a $675 mortgage payment needed to be paid. It wasn’t the first time. I was annoyed. I was mad that I was annoyed. Was I not the future they had invested in all these years? Did I have enough to spare? Were they expecting the whole thing? How much time did I have? This was before apps like Venmo that allow you to send money to anyone instantly, so it would take almost three hours, start to finish, to get to the nearest Walmart, on Route 9, to send a bit of spare cash home by MoneyGram. That ride on the B43 bus was as lonely as it was long. By my junior year, I had secured four jobs in addition to monitoring and cleaning the gym. My financial-aid officer didn’t understand why I worked so many jobs or why I picked up even more hours at times. That fall, right after Hurricanes Katrina and Wilma, I was called in to the financial-aid office. They wanted to discuss my work schedule and to tell me that they would be reaching out to my bosses to let them know I needed to cut back hours. I was working too much; that’s what the work-study rules said. I pleaded with them not to. I needed the money. More truthfully, my family and I did. One responsibility of being the one who leaves is sending remittances back, a reality that many of us who are the first to venture away from home know all too well. I assured the officials I was handling all my work. In truth, I was really just pushing through; I became a robot, hyperscheduled and mechanical in my interactions. My grades were good, and so I thought I was good. I worried that if I worked less, I would not be able to help my family recover from the storms, let alone get through all their everyday emergencies. But if I was their safety net, I had none. [What college admissions offices really want.] I was surprised this spring when I learned about the College Board’s new Environmental Context Dashboard, renamed Landscape, a set of measures for colleges to use in admissions that takes into consideration students’ neighborhood and high school environments, the constellation of influences — individual and institutional — that shape students’ chances at upward mobility. Critics saw this “adversity index,” as it came to be known, as just another attempt by the College Board to maintain its dominance over college admissions or elide the harm that the SAT has inflicted upon generations of youth from disadvantaged communities. (After pressure, the College Board announced it would not combine the neighborhood and school scores into one individual score.) I hated the SAT. It stole Saturdays from me, especially when I transferred to the private high school where I spent my senior year on a scholarship. And not because I went to tutoring sessions or met with private coaches but because my more privileged peers did, while I passed the hours at home by myself. (I wasn’t doing practice tests either. I couldn’t afford the book.) Those lonely afternoons served as reminders of my poverty and also my precarious future. But now, as a sociologist of education who spent two years interning in the Amherst admissions office, I see the College Board’s new index as a step — and just one step — in the right direction to demonstrate the impact of instability that contributes to differences in performance and social well-being to admissions committees, those gatekeepers of higher education. And at a time when affirmative action is under renewed attack, the index permits an alternative to explicit considerations of race in college admissions by taking into account the ecological factors that are intimately tied to race. The supplemental scores Landscape provides can’t level the playing field, but they offer some context for just how unequal it is. Colleges have made racial and class diversity into virtues with which they welcome students during orientation and entice alumni to make donations. But students of color and those from lower-income backgrounds often bear the brunt of the tension that exists between proclamation and practice of this social experiment. Schools cannot simply showcase smiling black and brown faces in their glossy brochures and students wearing shirts blaring “First Gen and Proud” in curated videos and then abdicate responsibility for the problems from home that a more diverse class may bring with them to campus. Does this entail going beyond providing tuition, room and board? Yes. It requires colleges and universities to question what they take for granted, about their students and about the institutions themselves. And to do this, they’ll need more than an algorithm. What’s needed is a deeply human touch. This means ensuring that campus services meet the needs of all students. College can be a difficult time for everyone. Divorces of parents and deaths of grandparents are not uncommon. Counselors and advisers are more or less prepared for these universal types of challenges. But whom do students turn to when they get those 2 a.m. calls bringing news of street violence, eviction or arrests? Hiring more diverse staff and administrators, as well as those who are familiar with these issues, is important in this effort — but this work can’t just be consigned to the diversity dean, who is often the only person of color in the office. [Sign up for Race/Related, a weekly newsletter focused on race, identity and culture.] College administrations must make a sustained effort to understand the stress and isolation that can define everyday college life for these more vulnerable students.

      He explaining how difficult it can be trying to succeed through college and still maintain through your personal life without it not affecting your academics.

    1. Kisses his liege, and lays on his knee Head and hands as in happy days, When he thanked for a boon his bountiful giver.

      The simple possession of a master or "boon" for someone in the Wanderer's position bring him such joy. I ma curious as to what the source of his joy is? Is it the knowledge that he has someone to care for him financially? Is it a sense of purpose that having a master gives him?

    1. So wrote the British physicist and novelist C. P. Snow in his famous "The Two Cultures"

      This is a very interesting take on the matter considering that Snow (assuming) is not living within western culture. With this in mind, I find it very intriguing that an outside is taking this perspective head on and providing an argument as if it's his own - which it is to some extent.The fact that western culture has so much more impact than what we may realize is able to portray how detrimental any change can be , reminiscent of the butterfly effect.

  7. Jan 2021
    1. EDUC 7100 | Course Syllabus, Spring 2021Page 1EDUC 7100. Leadership for Educational OrganizationsCourse SyllabusSpring 2021Leadership for Educational OrganizationsSchool of Education and Human Development (SEHD)University of Colorado Denverucdenver.instructure.com/courses/463269(we also may use some other technology tools!)Should You Read This Syllabus?●Snoop Dogg says...Before We Get Started...Before I get into the logistical stuff, I just wanted to reiterate how proud of yourselves you shouldbe. The past year has been awful, and yet you have survived every terrible day, every difficultthing, every horrible circumstance, and every horrendous heartbreak and loss. You've adapted.You've fought through adversity. You've served as caring educators, nurturing family members,supportive friends, and local leaders. ​You've given when you thought you had no more togive.Your doctoral program is going to layer additional challenges on top of all of this. You’ll havereadings that make your head hurt. You’ll have assignments that cause you to curse yourinstructors. You’ll have the stress of academic deadlines, and you’ll be confused as you strugglewith new ways of thinking, writing, and being. ​It’s going to be worth it.​ Because when we’redone, you’ll have accomplished something less than 2 percent of Americans have done. And noone will be able to take away the new letters after your name.As we lean into the challenges before us, let’s lead first and foremost with an ​ethic of care​.Let’s support each other throughout the months and years ahead. Let’s prioritize our individualand collective well-being, which includes putting aside our egos and asking for help andaccommodations when we need them. And let’s keep giving each other productive feedbackthat helps us all get better. Alone, this will be hard. Together, we've got this, no sweat

      This brought a tear to my eye. Thank you for these words. They are very impactful and meaningful.

    2. EDUC 7100 | Course Syllabus, Spring 2021Page 1EDUC 7100. Leadership for Educational OrganizationsCourse SyllabusSpring 2021Leadership for Educational OrganizationsSchool of Education and Human Development (SEHD)University of Colorado Denverucdenver.instructure.com/courses/463269(we also may use some other technology tools!)Should You Read This Syllabus?●Snoop Dogg says...Before We Get Started...Before I get into the logistical stuff, I just wanted to reiterate how proud of yourselves you shouldbe. The past year has been awful, and yet you have survived every terrible day, every difficultthing, every horrible circumstance, and every horrendous heartbreak and loss. You've adapted.You've fought through adversity. You've served as caring educators, nurturing family members,supportive friends, and local leaders. ​You've given when you thought you had no more togive.Your doctoral program is going to layer additional challenges on top of all of this. You’ll havereadings that make your head hurt. You’ll have assignments that cause you to curse yourinstructors. You’ll have the stress of academic deadlines, and you’ll be confused as you strugglewith new ways of thinking, writing, and being. ​It’s going to be worth it.​ Because when we’redone, you’ll have accomplished something less than 2 percent of Americans have done. And noone will be able to take away the new letters after your name.As we lean into the challenges before us, let’s lead first and foremost with an ​ethic of care​.Let’s support each other throughout the months and years ahead. Let’s prioritize our individualand collective well-being, which includes putting aside our egos and asking for help andaccommodations when we need them. And let’s keep giving each other productive feedbackthat helps us all get better. Alone, this will be hard. Together, we've got this, no sweat (okay,maybe a little!).

      so good.

    1. Victor has the mien of David Foster Wallace, with a lightning intelligence that lingers beneath a patina of aw-shucks shyness. He is 40 years old, with traces of gray and a thin, undeliberate beard. His voice is gentle, mournful almost, but he wants to share what’s in his head, and when he gets on a roll he’ll seem to skip syllables, as though outrunning his own vocal machinery.

      维克多有着大卫·福斯特·华莱士(David Foster Wallace)的风度,在羞涩的外表下隐藏着闪电般的智慧。他今年40岁,头发有些灰白,留着稀疏的胡须。他的声音是温柔的,几乎是悲伤的,但当他想分享他脑子里的想法,当他滔滔不绝的时候,他似乎会跳过音节,就好像在超越他自己的发声机器。

    1. There is no sense in defending yourself against people who are certain they are better than you are.

      I believe this to be the thesis of the piece because the overarching theme seems to be Brown telling her daughter to hold her head high, no matter what criticisms are whispered around her. She states early on "I will teach you that the language of 'better than' is dangerous," and repeats the use of the phrase "better than" throughout the essay. It seems that all of her supporting claims include this language somewhere, or hark back to this statement. If I were to revise this thesis statement, I would try to include a supporting claim in the same sentence, as well as more precise language. "It is futile to defend your actions to those who would believe they are better than you, because not only does it exhaust you, but it will never change their opinions."

    1. Jobs shook his head. ''But then you meet the girl, and she says, 'Let me see what's on your iPod.' You pull out a tape player, and she walks away.'' This was an unanticipated, and surprisingly persuasive, response. That's thinking long-term, I said. ''No,'' said Steve Jobs. ''That's being an optimist.''

      乔布斯摇了摇头。“但是当你遇到一个女孩,她说,‘让我看看你的 iPod 里有什么。你拿出一个录音机,她就走开了。”这是一个出乎意料的、令人惊讶的有说服力的回答。我说,这就是长远的考虑。“不,”史蒂夫·乔布斯说。“这是乐观主义者。”

    1. Like China and India with card networks, perhaps the U.S. will “leapfrog” the centralized mobile payment revolution and have a head start in the coming decentralized future. 

      无论是在旧有机制上改造出新界面(Stripe),还是试图建立新的系统(蚂蚁金服、PayTM 和 DeFI),从直觉和现状进行一系列推理往往难以引致最佳结果。现有的金融体系一定存在大量的改进空间,但或许修修补补的工作并不能达到目的。

    1. Here is another picture of a coin from Caesar Augustus' reign.  On one side it has a picture of his head in profile and reads, "CAESAR AUGUSTUS" and on the other side it says "OB CIVIS SERVATOR," which means "For citizens saved." 

      render to ceasar what is ceasar's

    1. Bread and circuses" describes how the Roman government kept people satisfied by distributing free food and staging public spectacles

      Power over people by holding what they need over their head (like the dog at the race track chasing the fake rabbit).

    1. His eyes were dark and quick and clever, like rat's eyes, and his ears were slightly pointed at the top. He had a cloth cap on his head and he was wearing a greyish-coloured jacket with enormous pockets. The grey jacket, together with the quick eyes and the pointed ears, made him look more than anything like some sort of a huge human rat
      1. Description of the hitchhiker's physical appearance
      2. Simile- he's being compared to a rat (huge)
      3. Eyes- dark, quick and clever.

      What does this tell us about the narrator?

      1. He is observant- noticing the minute details.
      2. He is judgemental- he is making conclusions only on the basis of what he looks like.
    1. Teares in his eyes quench the amasing light, Blood fills his frownes, which from his pierc'd head fell.

      This is another allusion to the crucifixion of Christ, in which he was terribly beaten and fixed onto the cross. Jesus prayed for forgiveness for his foes, even though he was going to die on their behalf, and yet he showed mercy and compassion for them still.

    1. I can’t believe hockey players didn’t wear helmets back in the day. Those hockey pucks are hard. It must have been painful getting a puck to the side of the head.

    1. They have not learned ways to fix errors or even to recognize when theyhave made an error. In other words, they are not constructing a readingprocess system in their heads to make meaning from texts and solve problemsas their nonstruggling classmates are doing. Second, many teachers have nothad the opportunity to learn about how reading works, that is, how a child con-structs a reading process system in his or her own head. Oftentimes there is notenough room in the literacy curriculum of undergraduate and graduate pro-grams to properly prepare teachers to teach reading to children who struggle.

      why kids struggle

    Annotators

    1. When Sir Gawain slashed his head off, he was showing it off proudly as if he achieved something. "And the mouth said just this much" refers to the way the expression is on his face that resulted in his beheading.

    1. Of industrial barns, out of rain, out of bus ride,

      This paints a pictures in my head of where Levine is from, using only a few examples, they are specific enough that I get a picture of this area but not too specific that it takes away from the flow of the piece.

    1. Allied to the bottom of the river rather than the surface, by reason of the slime and ooze with which it was covered, and its sodden state, this boat and the two figures in it obviously were doing something that they often did, and were seeking what they often sought. Half savage as the man showed, with no covering on his matted head, with his brown arms bare to between the elbow and the shoulder, with the loose knot of a looser kerchief lying low on his bare breast in a wilderness of beard and whisker, with such dress as he wore seeming to be made out of the mud that begrimed his boat, still there was a business-like usage in his steady gaze. So with every lithe action of the girl, with every turn of her wrist, perhaps most of all with her look of dread or horror; they were things of usage.

      It's always interesting how certain words provoke a deeper feel to a situation. For example, how Dickens said, " to the bottom of the river than the surface..". For me that was a huge attention grab to what he was about to describe. The entire paragraph is filled with an unusual methodical description of the girl and I thought it was worth noting because it's the beginning of something and thus makes it important to remember for future reference.

    2. if they had set up a great-grandfather, he would have come home in matting from the Pantechnicon, without a scratch upon him, French polished to the crown of his head.

      I found that the Pantechnicon is a term used for a furniture moving van pulled by horses, originally. 'Matting' is a form of rough fabric used for clothing, floorwork, but also associated with furniture. French Polishing is a technique that results in a very glossed surface. I think these are interesting and intentional images. Dickens further emphasizes the family wealth by describing this pampering of a theoretical great-grandfather, but it also hints at the Veneering's sensibility. As they are new to wealth, they take a lot of pride in presenting it.

      In some ways, even reducing theoretical family members to pieces of furniture and decoration. This is seen as a recurring theme as Tremlow, one of their first and recurring guests as a new family 'friend' is treated as another furniture decoration.

    3. The figures in this boat were those of a strong man with ragged grizzled hair and a sun-browned face, and a dark girl of nineteen or twenty, sufficiently like him to be recognizable as his daughter. The girl rowed, pulling a pair of sculls very easily; the man, with the rudder-lines slack in his hands, and his hands loose in his waistband, kept an eager look out. He had no net, hook, or line, and he could not be a fisherman; his boat had no cushion for a sitter, no paint, no inscription, no appliance beyond a rusty boathook and a coil of rope, and he could not be a waterman; his boat was too crazy and too small to take in cargo for delivery, and he could not be a lighterman or river-carrier; there was no clue to what he looked for, but he looked for something, with a most intent and searching gaze. The tide, which had turned an hour before, was running down, and his eyes watched every little race and eddy in its broad sweep, as the boat made slight head-way against it, or drove stern foremost before it, according as he directed his daughter by a movement of his head. She watched his face as earnestly as he watched the river. But, in the intensity of her look there was a touch of dread or horror.

      I find it interesting how Dickens actually uses a lack of detail in order to create imagery into what the characters look like. For the most part, I feel that authors use the beginning of the book to give you as many details as possible in order to set the scene and give you a picture of what the characters look like. Dickens does something a little different here. He gives the minimum amount of details possible. This allows him to set parameters for important details, but other wise let the reader use their own imagination.

    1. . The goal is a tall and neutral head while keeping it in line with the rest of the spine. If the head drops down too low, it produces cervical flexion, which leads to kyphotic posture of the upper spine. If the head is pulled up, this creates cervical hyperextension, which produces tightness in the upper traps and neck. When the upper traps become tight, you'll find it nearly impossible to properly activate the lats and your ability to centrate the glenohumeral joint will be diminished.

      Efeito cascata tanto num posicionamento da cervical mais acima ou mais abaixo do recomendado.

    1. His jump shot, for example, has had two principal influences. One is Jerry West, who has one of the best jumpers in basketball. At a summer basketball camp in Missouri some years ago, West told Bradley that he always gives an extra hard bounce to the last dribble before a jump shot, since this seems to catapult him to added height. Bradley has been doing that ever since. Terry Dischinger, of the Detroit Pistons, has told Bradley that he always slams his foot to the floor on the last step before a jump shot, because this stops his momentum and thus prevents drift. Drifting while aloft is the mark of a sloppy jump shot. Bradley’s graceful hook shot is a masterpiece of eclecticism. It consists of the high-lifted knee of the Los Angeles Lakers’ Darrall Imhoff, the arms of Bill Russell, of the Boston Celtics, who extends his idle hand far under his shooting arm and thus magically stabilizes the shot, and the general corporeal form of Kentucky’s Cotton Nash, a rookie this year with the Lakers. Bradley carries his analyses of shots further than merely identifying them with pieces of other people. “There arc five parts to the hook shot,” he explains to anyone who asks. As he continues, he picks up a ball and stands about eighteen feet from a basket. “Crouch,” he says, crouching, and goes on to demonstrate the other moves. “Turn your head to look for the basket, step, kick, follow through with your arms.” Once, as he was explaining this to me, the ball curled around the rim and failed to go in.

      Great example of deliberate practice.

    1. something living that roams in circles howling at the windows, at the ears, the mancuspias, dying of hunger, howling.

      The mancuspias seem to just be figurative, as their howling seems to just be the noise inside someones head that is the cause of the headache.

    1. Still, it would have been well to make an exception in this one's case, for he was a bitter man, and revengeful. All through his wanderings during a whole year he kept his injury in mind, and gave all his leisure moments to trying to invent a compensating satisfaction for it. He contrived many plans, and all of them were good, but none of them was quite sweeping enough: the poorest of them would hurt a great many individuals, but what he wanted was a plan which would comprehend the entire town, and not let so much as one person escape unhurt. At last he had a fortunate idea, and when it fell into his brain it lit up his whole head with an evil joy. He began to form a plan at once, saying to himself "That is the thing to do­­I will corrupt the town."

      do we get to find out this ass's reasoning or what? Why is he so bitter and vengeful? Was he called unhonest or something?

    Annotators

    1. Just as the user above said, Gmail is removing all css styles throughout the body, and removing all css styles in the head tag. Their own documentation says this should work but it's not working at all. I've wasted 6 hours trying to make this work.
    1. Make them authors, not witnesses.

      This is extremely interesting choice of words and really gives you a image in your head. This makes it last in your mind and you can really ponder on what the author is trying to convey.