Instructions to Art Faculty for Completing the Out Essays

Instructions to Art Faculty for Completing the Outline of Faculty Data (OFD) How to use this document: . Insure that the Word feature "Comments" is on. There are instructions and tips within the document to help you. How you access Comments depends on the version of Word that you have. . Throughout this template formatted, placeholder text in NON-bold parentheses is to be replaced with the required information. Just swipe (select) the placeholder text, including the parentheses, and type in your content. Be careful not to swipe anything beyond the parentheses or you may adversely affect the formatting. If you are copying and pasting type from another document, or from within the OFD, a clipboard icon will appear near where you have pasted. Click on the icon and select "Match Destination Formatting" to apply the correct formatting. Anything that is outside of parentheses is to be left as is, and answered where required. When a category does not apply to you type N/A. Delete unused placeholder text. When entering data in tables, if you require additional rows for more entries select the existing last row and then select from the main menu: Table>Insert>Rows Below. . Whenever possible use columned lists or bulleted lists. Fewer pages in the OFD are preferable to more pages, so save space when possible. Use rhetorical, descriptive text only when required. However, the contents of columned-lists or bulleted-lists may also include more than just the facts; text describing the listed item may be helpful. In categories that might use either, or both, lists and rhetorical text, a placeholder version of both has been provided. The version of placeholder text in a given category is what is the most likely version required. If, however, you require something different, feel free to copy and paste another version of placeholder text. Not all categories require a separate column of dates or a column just for international, national, or regional. These columned-lists are most appropriate for certain categories under research and service, which is why you won't find them elsewhere. . You do NOT enter anything in the Teaching sub-category, "Teaching as Evaluated by Students and Peers". Copies of your teaching evaluations will be added to your folder by the art office. . Place published reviews of YOUR work in the Research sub-category, "Honors Received and Recognition for Research, Scholarship, Creative Activity:". Rather than follow the prior departmental practice of creating a new and additional category titled "Bibliography", just include reviews, acknowledgments, or mention of your research or creative activity in the existing category "Honors Received and Recognition for Research, Scholarship, Creative Activity". Outline of Faculty Data I. General Information (Swipe this and type your name here) Department of Art (Swipe this and type your present rank here) Date of Last Promotion: Years Experience at MTSU: Total Years of Experience: Tenured: (Swipe this and type Yes or No) Date Tenure Received: II. Education Earned Degrees: Degree: Year Awarded: Institution: |(Example) |(Example) |(Example) | |(Example) |(Example) |(Example) | Major of Highest Earned Degree: Quarter Hours Since Last Degree: Semester Hours Since Last Degree: III. Professional Experience Full-Time Experience: Dates: Position: Organization/Institution: |(Example) |(Example) |(Example) | |(Example) |(Example) |(Example) | Part-Time Experience: Dates: Position: Organization/Institution: |(Example) |(Example) |(Example) | |(Example) |(Example) |(Example) | IV. Teaching Brief Description of Teaching Activities: (Swipe this paragraph and replace with rhetorical text describing teaching activities.) . (List teaching activities instead of, or in addition to, rhetorical text.) . (List teaching activities instead of, or in addition to, rhetorical text. Continue bullets as needed.) Specialized Faculty Status(es): (Swipe this paragraph and replace with rhetorical text describing faculty status.) . (List specialized faculty statuses instead of, or in addition to, rhetorical text.) . (List specialized faculty statuses instead of, or in addition to, rhetorical text. Continue bullets as needed.) Teaching as Evaluated by Students and Peers: Advisement and Mentoring of Students: Undergraduate and Graduate Advising: (Swipe this paragraph and replace with rhetorical text regarding advising.) . (List advising activities instead of, or in addition to, rhetorical text.) . (List advising activities instead of, or in addition to, rhetorical text. Continue bullets as needed.) Efforts to provide a mentor relationship with students (e.g. co-author of paper, joint performance, presentation, independent study courses, etc.). Include dates: (Swipe this paragraph and replace with rhetorical text regarding mentoring.) . (List mentoring

How Executive Order 9981 Desegregated the U.S. Military

How Executive Order 9981 Desegregated the U.S. Military The enactment of Executive Order 9981 not only desegregated the U.S. military but paved the way for the civil rights movement as well. Before the order went into effect, African-Americans had a long history of military service. They fought in World War II for what President Franklin Roosevelt called the four essential human freedoms, even though they faced segregation, racial violence and lack of voting rights at home. When the United States and the rest of the world discovered the full extent of Nazi Germanys genocidal plan against Jews, white Americans became more willing to examine their own countrys racism. Meanwhile, returning African-American veterans became determined to root out injustice in the United States. In this context, the desegregation of the military took place in 1948. President Truman's Committee on Civil Rights After World War IIs end, President Harry Truman placed civil rights high on his political agenda. While details of the Nazis Holocaust shocked many Americans, Truman was already looking ahead to the near certain conflict with the Soviet Union. To convince foreign nations to align themselves with Western democracies and reject socialism, the United States needed to rid itself of racism and begin practicing in earnest the ideals of freedom and liberty for all. In 1946, Truman established a Committee on Civil Rights, which reported back to him in 1947. The committee documented civil rights violations and racial violence and urged Truman to take steps to rid the country of the disease of racism. One of the points the report made was that African-Americans who serve their country did so in a racist and discriminatory environment. Executive Order 9981 Black activist and leader A. Philip Randolph told Truman that if he did not end segregation in the armed forces, African-Americans would start refusing to serve in the armed forces. Seeking African-American political support and wanting to bolster U.S. reputation abroad, Truman decided to desegregate the military. Truman did not think it likely that such legislation would make it through Congress, so he used an executive order to end military segregation. Executive Order 9981, signed on July 26, 1948, prohibited discrimination against military personnel because of race, color, religion or national origin. A Civil Rights Victory The desegregation of the armed forces was a major civil rights victory for African-Americans. Though a number of whites in the military resisted the order, and racism continued in the armed forces, Executive Order 9981 was the first major blow to segregation, giving hope to African-American activists that change was possible. Sources Desegregation of the Armed Forces. The Truman Library.   Gardner, Michael R., George M Elsey, Kweisi Mfume. Harry Truman and Civil Rights: Moral Courage and Political Risks. Carbondale, IL: SIU Press, 2003. Sitkoff, Harvard. African-Americans, American Jews, and the Holocaust. In The Achievement of American Liberalism: The New Deal and Its Legacies. Ed. William Henry Chafe. New York: Columbia University Press, 2003. 181-203.

An invertigation of influence of procurement methid in construction Essay

An invertigation of influence of procurement methid in construction industry in Hong Kong - Essay Example On the other hand, it is negatively correlated with D& B. Years of existence of the company in the industry is significantly and positively correlated with importance scores of the Traditional Method. On the other hand, it is negatively correlated with D&B. Turnover of the company is not significantly correlated with importance scores of the Traditional Method. However, it is negatively correlated with D&B. Companies with higher turnover tend to rate D & B importance lower. Size of projects handled (in terms of project cost) is not significantly correlated with importance scores of the traditional method. However, it is negatively correlated with D&B method. Companies who handle bigger projects tend to rate D &B importance lower. I would like to seize this opportunity to personally thank to the module leader, Professor David Proverbs and my supervisor, Dr. Rod Gameson. I cannot express the extent to which their support and understanding allowed me to reach the end of this journey. His encouragement, support, understanding and, above all, his prompt, constructive and greatly appreciated criticism and feedback, were invaluable to the research, writing and completion of this study. Once again, my sincerest thanks. Recognizing that students have an ethical and moral obligation to ensure that all work that they submit in their name is, indeed, their own and free of plagiarism, I exercised caution throughout the writing process. When writing the dissertation, I made sure that all my sources were meticulously acknowledged. Even so, there remained a fear that I might have, inadvertently, plagiarism sections of my study or paraphrased something without referencing it correctly. Therefore, following the completion of the study, I have checked it through http://www.articlechecker.com/checker.php. The plagiarism reports received from plagiarism detection engines indicated that the work was, indeed, original

Compare & Contrat (ancient) greece &rome Essay Example | Topics and Well Written Essays - 1250 words

Compare & Contrat (ancient) greece &rome - Essay Example There are lot of similarities and differences between these two ancient civilizations. This paper briefly explains the similarities and differences between these two great civilizations of all time. Both Greek and Rome civilizations originated in cities. Greece was situated near the coastal area whereas Rome was located in the geographical middle of a generally north-south plain bordered on the east with mountains and on the west by the sea (Comparisons Between the Ancient Greeks and Romans) Both the ancient Romans and the Greeks enjoyed recreational activities a lot. Many of the sports and games at present are the modifications of the ancient Greek and Rome recreational activities. For example the current form of wrestling and boxing has originated from these civilizations. In fact these civilizations can be considered as the originators of recreational activities in the world. Ancient Greeks were succeeded in inventing Olympic Games for the recreational purpose. Every city in Greece and Rome had at least one gym during this period. Both the civilizations were well aware of the need of physical workouts to keep the health intact. Moreover, the women community also had their own ways of recreation. Music, drama, dance, and poetry were some of the common items among the women community for recreational purposes during this period (Ancient Greece) The Flavian Amphitheater or Colosseum Was Erected by Flavian Emperors in Rome for recreational activities during this period. The purpose of the Colosseum was to provide entertainment to the public and the Roman emperors.  The games included were gladiatorial contests, wild-beast hunts, and reenactment of battles the Romans had fought. Collosseums were constructed in oval shape in order to give all the spectators a clear view of what was going on inside. The modern construction technology of modern football grounds can be attributed to the

Factors affecting the resistance of a wire Essay Example for Free

Factors affecting the resistance of a wire Essay Theory: When an object is lifted up, work is done. Once the object is in the raised position, it has gravitational potential energy. The energy it is has is the same as the work done to get there. When the ball is lifted to the height it will be dropped from it will, therefore, gain gravitational potential energy. This means that when my ball is in the raised position it will have gravitational potential energy. The equation for this is: Potential energy = Mass x gravity x height When the ball is dropped this is converted into K. The equation for this is: Kinetic Energy = 1/2 x mass x velocity2. However, the energy transfer is not perfect. Some of the energy will be wasted as non-useful energy, mainly heat and sound. This means that when the ball bounces upwards again, it will not have as much energy as when it was dropped and will therefore not bounce up to the same height. Because some of the energy is wasted as heat and sound. The amount of kinetic energy at the end is always less than the amount of potential energy you had to start with. This means that the ball will not bounce up as high, and therefore not have as much potential energy as it started with. Prediction: In this investigation I will investigate the percentage energy loss when a ball bounces. The variables that could affect the amount of energy lost are:   The height the ball is dropped from. The type of ball used   The size of the ball The temperature of the ball.   The type of surface the ball is dropped on. The height the ball is dropped from will affect the energy lost because the higher the ball is dropped from the more force it will it the surface with, and therefore the more power it will lose through sound, vibrations, and heat. The type of ball I use will effect my results, because some balls will have more elasticity than others, causing them to bounce higher. Also, balls will have different levels of pressure inside them. The higher pressure is the higher the speed of the molecules. When the molecules go at a higher speed they will have more kinetic energy, so the molecules will hit the walls with a greater frequency and force, and so the pressure on the walls will increase. This will make the ball bounce higher because it will hold more energy. The size of the balls will effect my results because Force=Pressure x Area so a change in area would also cause a change in force. The temperature of the ball will effect my results because if there is a higher temperature then the molecules will move at a greater speed and the ball will have more energy causing it to bounce higher. The surface I drop my ball onto will effect the amount of energy lost because some surfaces, like softer surface, will absorb more energy and cause the ball not to bounce up as high. To ensure a fair test I will choose one variable to change, and keep the others constant throughout the investigation. There are other variables that could effect the outcome of my investigation, for example gravity. However, gravity is always constant on the earth, and is a force of about 9. 8 m/s2. This would be too hard for me to change in a classroom situation. I will also not exert any force on the ball other than those already acting on it, because it would be to hard to keep the force constant, and would mean the test was not fair. For this investigation I will only change the height the ball is dropped from. I have chosen to use the height because, although all the variables are hard to accurately measure, height is easier than the others. Height is also a constant variable (unlike, type of ball or type of surface dropped on), which will help me when recording my results. Using a variable that I can measure fairly accurately will help ensure a fair test. By investigating the percentage of energy lost when I drop the balls from different heights, I will be able to see if there is a relationship between bounce height and drop height. This is also the relationship between potential energy and kinetic energy. Because some of the energy will be transferred into non-useful energy, mainly heat and sound, I do no think the ball will bounce up to the same height as it is dropped from. I think that the percentage of energy lost will remain approximately the same no matter what height I drop the ball from. This is because the amount of energy lost to non-useful energy such as heat and sound is proportional to the gravitational potential energy the ball has to start with. Method: I will drop my balls from various heights up to a meter. (The Heights I will use will be: 40cm, 60cm, 80cm and 100cm) I will then record how high they bounce up on the next bounce. I will do each experiment 3 times and take an average to ensure I have accurate results. I will time all my experiments using a stopwatch. I learnt in my preliminary work, that if I drop a ball from lower than 40cm it is very hard to measure the bounce height. This is why I have left out the bottom height which would have been 20cm. I will try and drop the balls straight downwards because this will make it easier when I measure the height they bounce up to, as I wont have to move the ruler too much. This will also ensure a fair test, as my results will be more accurate if I am not moving the meter rule, as moving it could mean it is not entirely straight and would cause me to take an inaccurate measurement. I will not exert any force on the balls as I drop then, because it would be virtually impossible to keep the force constant, and would therefore make my results unreliable. I will calculate how much energy my balls have using the equation PE = mgh, this will be PE1. I will then drop my ball and record the height it bounces up to. I will then record its potential energy, again using the formula PE = mgh, this will be PE2. I will then find the percentage of energy they have lost using the formula.

Adrienne Richs Of Woman Born †The End of Motherhood Essay -- Adrienn

Of Woman Born – The End of Motherhood  Ã‚   In Of Woman Born, Adrienne Rich effectively weaves her own story into a convincing account of what it means to become a mother within the bonds of patriarchal culture. Her conclusion that the institution of motherhood, which she distinguishes from motherhood, must be destroyed in order to release the creation and sustenance of life into the same realm of decision, struggle, surprise, imagination, and conscious intelligence, as any other difficult, but freely chosen work is substantiated by her courageous confession that contradicts culturally normative notions of motherhood. Allowing readers to glimpse her own story as she painfully evaluates her role as mother side by side with historical accounts of other women's experiences provides an avenue for understanding that leads to compassion. By the final chapter, instead of falling into the expected trap of revulsion toward Joanne Michulski's heinous crime, Rich's empathy provides the reader with the insight to realize both the complexity of Michulski's situation and to feel comp...

“One Art” by Elizabeth Bishop Essay

Can one ever practice losing enough to master it? Is it possible to become a master at losing such as an artist can become a master painter, writer, or sculptor? The speaker in the poem â€Å"One Art† presents this question and provides an answer. The poem is an illustration of a common human affliction–grief and regret caused by the loss of another human. Through the use of value progression and the interweaving of denotative and connotative meaning, the speaker shows that no matter how much a person tries to prepare for the loss of one he or she loves, grief and regret are inevitable. By comparing the phrase â€Å"the art of losing isn’t hard to master† with the frequently used word â€Å"disaster,† the meaning begins to take shape. This phrase is used four times in this nineteen-line poem (lines 1, 6, 12, 18). Considered closely with the word â€Å"disaster,† also used four times, one sees the speaker is making a point of rhyming the words master and disaster to emphasize the denotative point that many losses are not disasters–they can be accepted without grief or regret (3, 9, 15, 19). Yet the phrase â€Å"the art of losing†¦Ã¢â‚¬  throws a connotative meaning into the mix by indicating that losing, an uncontrollable event, can be a learned skill. Taken together, the phrase coupled with the word â€Å"disaster† provides foreshadowing to the paradox of trying to prepare to lose a person. The Oxford English Dictionary can shed light onto this interweaving of denotative and connotative meaning. Art 1. Skill in doing anything as the result of knowledge and practice. Human skill as an agent, human workmanship. Opposed to nature. 2. An industrial pursuit or employment of a skilled nature; a craft†¦ Losing 1. The action of LOSE. Perdition, destruction; the being lost or †¦ to be in process of being lost. 2. The fact of losing (something specified or contextually implied). The being deprived of, or the failure to †¦ Denotatively the phrase â€Å"the art of losing† means that a person has acquired skill in being deprived of something or someone. This is directly opposed to nature; in other words, it is not natural for humans to have the skills of losing. The poem illustrates this process of acquisition of skill through value progression in the second though fifth stanzas of the poem. The speaker describes instances of losing beginning with the insignificant and working toward the significant. He or she maintains that by â€Å"practic[ing] losing farther, losing faster† the art of losing will be mastered, therefore it will not bring disaster. Yet, in the last stanza the connotative meaning becomes clear. The final stanza is the only one to have four lines instead of three, which places particular significance upon its message. The final sentence is the key to the connotative meaning of the poem â€Å"It’s evident the art of losing’s not too hard to master though it may look like (Write it!) like disaster† (line 17b-19). Due to the speaker’s need to tell him or herself to â€Å"Write it!,† the connotative meaning of the poem shows that the speaker has been trying to convince him or herself without success that a master loser will avoid the disaster of grief and regret associated with the loss of a loved one. By combining the denotative and connotative meanings, the universal meaning of the poem becomes clear–it is impossible to acquire skills, no matter how much you practice, that will prevent the natural result of grief and regret when someone is lost. In the value progression of loss shown in stanzas one through five, the speaker is trying to convince him or herself that developing the necessary  skills can protect one against major grief and/or regret. It is in the last stanza that the desperateness of the speaker to convince him or herself that it is possible to accomplish this becomes clear. This is where the paradox begins. The speaker is still unconvinced that it is not a disaster to lose a person regardless of the preparation other previous losses may have provided. Stanza one sets the stage of the value progression of loss. It is here that the speaker states what he or she wants to prove. â€Å"The art of losing isn’t hard to master; so many things seem filled with the intent to be lost that their loss is no disaster† (line 1-3). This is the thesis statement of the poem, but instead of proving it true the speaker ends up proving it false. The key idea is that if something intends to be lost then their loss will not cause regret once a person has become a master of losing. The last stanza, particularly the last sentence of the poem, shows the paradox between the thesis and the connotative meaning–humans cannot prepare for the loss of a person. â€Å"–Even losing you (the joking voice, a gesture I love) I shan’t have lied. It’s evident the art to losing’s not to hard to master though it may look like (Write it!) like disaster† (lines 16-19). The old idiom â€Å"if it walks like a duck, talks like a duck, and looks like a duck; it must be a duck† aptly applies to the last sentence here. If it walks like a disaster, talks like a disaster, and looks like a disaster; it must be a disaster. The speaker even has to force him or herself to write the word disaster as evidenced by the parenthetical phrase â€Å"(Write it!)† which indicates that the speaker wants to believe that â€Å"even losing you† isn’t hard to master, yet he or she cannot quite convince him or herself that it is true. In actuality, the loss of a loved person is a disaster because the very act of love requires an attachment that when severed will inescapably cause pain. The OED has this denotative meaning for love: That disposition or state of feeling with regard to a person which (arising from recognition of attractive qualities, from instincts of natural relationship, or from sympathy) manifests itself in solicitude for the welfare of the object, and usually also in delight in his or her presence and desire for his or her approval; warm affection, attachment. Connotatively love carries the concept that its removal will not be positive, for anytime a person whom one is solicitous of is removed from one’s life; his or her absence will leave a negative affect, in other words, pain will result. The poem â€Å"One Art† effectively uses connotative meaning, denotative meaning and value progression to present a paradox of human nature–the desire to find a way to avoid the pain of losing a loved person. This is a universal truth that crosses cultural and temporal boundaries for all of human kind. This essay adheres to the formalism approach to critical analysis by focusing solely upon the text to derive meaning. It analysis the poem’s use of value progression, meaning of words and phrases both connotatively and denotatively. It shows how the thesis is made into a paradox by the last stanza, which in the end provides the ultimate meaning of the poem. The formalist approach has its strength in that it takes a text at face value forcing the analyzer to think for him or herself without commentary from others. But formalism disregards the author’s mindset at the time of writing as well as the effects it may have emotionally upon the readers. In my opinion, this is a major drawback particularly in regards to the poem â€Å"One Art† by Elizabeth Bishop. This poem seems to come from the heart–the soul–of the author. It would have been interesting and meaningful to know what she may have been dealing with at the time she wrote it. But regardless of Bishop’s mindset, the readers’ reaction has a major impact upon the meaning of the poem. Several friends of mine read this poem. The impact upon all of them was, to say the least, profound. Anyone who reads it has either experience a long-term loss of a person such as long-term illness resulting in death or can empathize with the concept. I think that formalism, by removing the emotional element of the reader, greatly diminishes the power of the poem.