Gotowa bibliografia na temat „Acting – Handbooks, manuals, etc”

Actors’ handbooks are available in many formats: how to speak, how to move, where to look for work, which training methods will provide lifetime careers, etc. Simon & Pierre has recently published two more guidebooks – one for the young acting student and teacher (in two volumes), and one for the aspiring professional. Both are a welcome addition to the scene if for no other reason than that they speak from a Canadian perspective. This, however, is not their only strength.

The system of technical regulation is considered as foundation for the creation of a high construction culture, increasing the competitiveness of the industry in Kazakhstan. Key actions to reform regulatory framework which was established by the government focused on achieving a sustainable balance of economic and social interests of construction participants and consumers. The process of adopting international standards to Kazakhstan soil and construction conditions is gradual. The first step was to adapt foreign technical documentation to the national technological environment. In this way, there were developed appropriate methodologies for assessing conformity to educate builders and designers to develop appropriate training programs, handbooks, and manuals, translation to the Kazakh language, checking the general format of the maintenance of the Eurocodes by comparative calculations, etc. It is important that this process does not contradict the Eurocode relating to any aspects of the requirements in Kazakhstan that are not covered by the Eurocode. The article presents discussions of stages for harmonization and adaptation of Eurocode to Kazakhstan norms.

Croatian accentual norm is in a constant state of flux. Its stability is impeded, first of all, by two mutually intertwined forces: the nature of the accentual norm, which belongs to speech (dynamic dimension, individual realisation), and the disagreement amongst linguists as to what to record and prescribe (in constant interaction between the stress accent and pitch accent systems). The modern accentual norm is obtained from non-orthoepical manuals, i.e. grammar books, dictionaries, handbooks (which further complicates the clarification of the orthoepical reality). We will conduct a comparative analysis of the approach, in modern handbooks, to accent alternations in morphology, falling accent in non-initial syllables in word formation, post-tonic length, uncertainties regarding lexical stress, etc. Grammar books and dictionaries approach the open questions in different ways and this paper gives an overview of the (systematic and non-systematic) solutions offered by linguists today, with the aim of presenting the dynamics of the codified norm (which carries the label of being “conservative” and “hidebound”). The changes in the modern norm are compared then to usus occurrences, illustrated by a narrower speech corpus – the speech of actors. In their orthoepical research, linguists resort to the speech of radio and television presenters, linguists in specialised radio and television programmes, students of the Croatian language or phonetics, Croatian language teachers, etc., and, more recently, to the speech of actors reading audio books (MP3 files are available at www.lektire.skole.hr). Presenters, teachers and actors have always been perceived as quintessential competent speakers of the standard language, so close observation of their speech as one of the steps in the process of describing and prescribing is the basis of every orthoepical research. Since the modern speech/pronunciation (e-lektira, audio versions of school reading list books available online) has still not been analysed and valorised linguistically/orthoepically, and since it is available to those learning and listening to speech values in this type of material, the paper turns to the corpus with the intention of determining the basic features of pronunciation. Prose texts whose pronunciation has been analysed are those written in or translated into the standard language. Special attention has been given to accent (stress placement and stress shift) and to the prosodic word. Specific pronunciation traits (especially those related to the accentual norm) have been compared to those prescribed in handbooks. Finally, the accentual traits acknowledged by the modern conception of accentual norm and codification were clarified as well as those that are systematically ignored in modern prescription.

Medieval medical handbooks are works on practical medicine with individual and general pathology used with the works on general medicine in parallel. Self-help manuals were created mainly for those who did not have the opportunity to see a doctor, i.e. for common people, travelers, the poor, isolated religious communities, etc. Medical handbooks made medicine accessible to ordinary, needy people, since they took into account the natural remedies available in the region, which could supersede expensive and hard-to-reach medicine. They also included traditional medicine, magic and prayers.

The research aims to predict the parameters between the cutting speed range correlated to the depth of cut for the CNC lathe.The model predicts the cutting speed parameters carried out based on the data range between the depth of the cut and the cutting speed. That information has been derived from the machine tool handbook and expert engineer recommendations. The fuzzy logic-based methods were used to predict cutting speed parameters for three different materials: aluminium, machine steel, and stainless steel. The data range in each material was used to condition the membership function.The result shows that the prediction cutting speed parameters are related to the range of the depth of the cut between 0.15 and 0.4 mm. It is observed that if the depth of the cut is very high, the cutting speed is lower. The information obtained is slightly different from the machine tool handbook. It can be used with the feed rate parameters to perform the machining process of the CNC lathes in the smart factory.Further research should focus on predicting surface roughness and tool wear in the turning.The cutting speed selection has a significant impact on manufacturing. It affects production time, tool wear, cost, etc. Generally, the parameter has been derived from machining handbooks or machine tools textbooks, and some data is vague because it has only maximum and minimum. The data between ranges is unclear for operation. Executing production planning for new engineers was hard, which can affect manufacturing systems. Therefore, proper and precise cutting parameters are required.General machine tool manuals often provide vague information on recommended parameters and only show the maximum and minimum values. In past research, it has only a determined parameters range for the experiment. The data between ranges is unclear for operation. In this research, the parameter prediction was performed between the cutting speed range related to the cutting depth, which is for use in the CNC lathe process.

Purpose The purpose of this study is twofold. First, the study shall evaluate the extent of usage of grey literature and its different types of addiction research. The second purpose of the research is to analyze the extent of usage of reports such as research reports, survey reports, data reports, etc. As the reports are produced in general by various organizations and can be accessed by not only academicians but also the general public, they play an important role in the dissemination of research to the people. Therefore, the study endeavored to identify the major organizations that are involved in the publishing of research reports in the field of addiction. Design/methodology/approach Scopus database was used for the purpose of collecting the data. References in the reference lists of the articles published in 2018 in the journal Psychology of Addictive Behaviors of the American Psychological Association were collected. Scopus indexes the references of the papers in two different categories, namely, indexed in scopus/scopus references and reference lists. They were then categorized as grey literature and non-grey literature. Further, reports were searched manually so that their producers/authors can be found and categorized according to the organizations. Findings The study found that grey literature comprises a very small proportion of citations in addiction research (just approximately 5 per cent). This suggests that the improper indexing and bibliographic control of grey literature may be one of the reasons behind the low numbers. Reports comprised the largest proportion of the grey literature cited in addiction research, followed by software documentation, unpublished manuscripts, guidebooks, handbooks, manuals, websites, government publications, etc. The reports of the US Department of Health and Human Services comprised the maximum citations in the reports category because of the reports produced by organizations like Substance Abuse and Mental Health Services Administration (SAMHSA) which comprised 17.59 per cent of the total reports. National Institute of Health (USA) and Centers for Disease Control and Prevention and others. Other than the reports of the organizations of the USA, the reports published by the organizations of Canada, Australia, UK, New Zealand and one European Body were also cited by the articles of the journal. Practical implications The research focuses on the use of grey literature in addiction research. The findings of the study indicate very low citations to grey literature in addiction research. This reinforces the need for a separate worldwide information retrieval system for grey literature for researchers to conduct systematic reviews. Originality/value Very few studies have been conducted on the use of grey literature and hardly any research focuses on the use of grey literature in addiction research. The study goes one step further and identifies major organizations that are involved in the production of research reports in the field so that their reports can be properly indexed.

"verbiage very thinly sliced and plated up real nice" (Barrett 1)IntroductionMany of us share in an obsessive collecting of cookbooks and recipes. Torn or cut from newspapers and magazines, recipes sit swelling scrapbooks with bloated, unfilled desire. They’re non-hybrid seeds, peas under the mattress, an endless cycle of reproduction. Desire and narrative are folded into each other in our drive, as humans, to create meaning. But what holds us to narrative is good writing. And what can also drive desire is image—literal as well as metaphorical—the visceral pleasure of the gaze, or looking and viewing the sensually aesthetic and the work of the imagination. Creative WritingCooking, winemaking, and food and wine writing can all be considered art. For example, James Halliday (31), the eminent Australian wine critic, posed the question “Is winemaking an art?,” answering: “Most would say so” (31). Cookbooks are stories within stories, narratives that are both factual and imagined, everyday and fantastic—created by both writer and reader from where, along with its historical, cultural and publishing context, a text gets its meaning. Creative writing, in broad terms of genre, is either fiction (imagined, made-up) or creative nonfiction (true, factual). Genre comes from the human taxonomic impulse to create order from chaos through cataloguing and classification. In what might seem overwhelming infinite variety, we establish categories and within them formulas and conventions. But genres are not necessarily stable or clear-cut, and variation in a genre can contribute to its de/trans/formation (Curti 33). Creative nonfiction includes life writing (auto/biography) and food writing among other subgenres (although these subgenres can also be part of fiction). Cookbooks sit within the creative nonfiction genre. More clearly, dietary or nutrition manuals are nonfiction, technical rather than creative. Recipe writing specifically is perhaps less an art and more a technical exercise; generally it’s nonfiction, or between that and creative nonfiction. (One guide to writing recipes is Ostmann and Baker.) Creative writing is built upon approximately five, more or less, fundamentals of practice: point of view or focalisation or who narrates, structure (plot or story, and theme), characterisation, heightened or descriptive language, setting, and dialogue (not in any order of importance). (There are many handbooks on creative writing, that will take a writer through these fundamentals.) Style or voice derives from what a writer writes about (their recurring themes), and how they write about it (their vocabulary choice, particular use of imagery, rhythm, syntax etc.). Traditionally, as a reader, and writer, you are either a plot person or character person, but you can also be interested primarily in ideas or language, and in the popular or literary.Cookbooks as Creative NonfictionCookbooks often have a sense of their author’s persona or subjectivity as a character—that is, their proclivities, lives and thus ideology, and historical, social and cultural place and time. Memoir, a slice of the author–chef/cook’s autobiography, is often explicitly part of the cookbook, or implicit in the nature of the recipes, and the para-textual material which includes the book’s presentation and publishing context, and the writer’s biographical note and acknowledgements. And in relation to the latter, here's Australian wine educator Colin Corney telling us, in his biographical note, about his nascent passion for wine: “I returned home […] stony broke. So the next day I took a job as a bottleshop assistant at Moore Park Cellars […] to tide me over—I stayed three years!” (xi). In this context, character and place, in the broadest sense, are inevitably evoked. So in conjunction with this para-textual material, recipe ingredients and instructions, visual images and the book’s production values combine to become the components for authoring a fictive narrative of self, space and time—fictive, because writing inevitably, in a broad or conceptual sense, fictionalises everything, since it can only re-present through language and only from a particular point of view.The CookbooksTo talk about the art of cookbooks, I make a judgmental (from a creative-writer's point of view) case study of four cookbooks: Lyndey Milan and Colin Corney’s Balance: Matching Food and Wine, Sean Moran’s Let It Simmer (this is the first edition; the second is titled Let It Simmer: From Bush to Beach and Onto Your Plate), Kate Lamont’s Wine and Food, and Greg Duncan Powell’s Rump and a Rough Red (this is the second edition; the first was The Pig, the Olive & the Squid: Food & Wine from Humble Beginnings) I discuss reading, writing, imaging, and designing, which, together, form the nexus for interpreting these cookbooks in particular. The choice of these books was only relatively random, influenced by my desire to see how Australia, a major wine-producing country, was faring with discussion of wine and food choices; by the presence of discursive text beyond technical presentation of recipes, and of photographs and purposefully artful design; and by familiarity with names, restaurants and/or publishers. Reading Moran's cookbook is a model of good writing in its use of selective and specific detail directed towards a particular theme. The theme is further created or reinforced in the mix of narrative, language use, images and design. His writing has authenticity: a sense of an original, distinct voice.Moran’s aphoristic title could imply many things, but, in reading the cookbook, you realise it resonates with a mindfulness that ripples throughout his writing. The aphorism, with its laidback casualness (legendary Australian), is affectively in sync with the chef’s approach. Jacques Derrida said of the aphorism that it produces “an echo of really curious, indelible power” (67).Moran’s aim for his recipes is that they be about “honest, home-style cooking” and bringing “out a little bit of the professional chef in the home cook”, and they are “guidelines” available for “sparkle” and seduction from interpretation (4). The book lives out this persona and personal proclivities. Moran’s storytellings are specifically and solely highlighted in the Contents section which structures the book via broad categories (for example, "Grains" featuring "The dance of the paella" and "Heaven" featuring "A trifle coming on" for example). In comparison, Powell uses "The Lemon", for example, as well as "The Sheep". The first level of Contents in Lamont’s book is done by broad wine styles: sparkling, light white, robust white and so on, and the second level is the recipe list in each of these sections. Lamont’s "For me, matching food and wine comes down to flavour" (xiii) is not as dramatic or expressive as Powell’s "Wine: the forgotten condiment." Although food is first in Milan and Corney’s book’s subtitle, their first content is wine, then matching food with colour and specific grape, from Sauvignon Blanc to Barbera and more. Powell claims that the third of his rules (the idea of rules is playful but not comedic) for choosing the best wine per se is to combine region with grape variety. He covers a more detailed and diversified range of grape varieties than Lamont, systematically discussing them first-up. Where Lamont names wine styles, Powell points out where wine styles are best represented in Australian states and regions in a longish list (titled “13 of the best Australian grape and region combos”). Lamont only occasionally does this. Powell discusses the minor alternative white, Arneis, and major alternative reds such as Barbera and Nebbiolo (Allen 81, 85). This engaging detail engenders a committed reader. Pinot Gris, Viognier, Sangiovese, and Tempranillo are as alternative as Lamont gets. In contrast to Moran's laidbackness, Lamont emphasises professionalism: "My greatest pleasure as a chef is knowing that guests have enjoyed the entire food and wine experience […] That means I have done my job" (xiii). Her reminders of the obvious are, nevertheless, noteworthy: "Thankfully we have moved on from white wine/white meat and red wine/red meat" (xiv). She then addresses the alterations in flavour caused by "method of cooking" and "combination of ingredients", with examples. One such is poached chicken and mango crying "out for a vibrant, zesty Riesling" (xiii): but where from, I ask? Roast chicken with herbs and garlic would favour "red wine with silky tannin" and "chocolatey flavours" (xiii): again, I ask, where from? Powell claims "a different evolution" for his book "to the average cookbook" (7). In recipes that have "a wine focus", there are no "pretty […] little salads, or lavish […] cakes" but "brown" albeit tasty food that will not require ingredients from "poncy inner-city providores", be easy to cook, and go with a cheap, budget-based wine (7). While this identity-setting is empathetic for a Powell clone, and I am envious of his skill with verbiage, he doesn’t deliver dreaming or desire. Milan and Corney do their best job in an eye-catching, informative exemplar list of food and wine matches: "Red duck curry and Barossa Valley Shiraz" for example (7), and in wine "At-a-glance" tables, telling us, for example, that the best Australian regions for Chardonnay are Margaret River and the Adelaide Hills (53). WritingThe "Introduction" to Moran’s cookbook is a slice of memoir, a portrait of a chef as a young man: the coming into being of passion, skill, and professionalism. And the introduction to the introduction is most memorable, being a loving description of his frugal Australian childhood dinners: creations of his mother’s use of manufactured, canned, and bottled substitutes-for-the-real, including Gravox and Dessert Whip (1). From his travel-based international culinary education in handmade, agrarian food, he describes "a head of buffalo mozzarella stuffed with ricotta and studded with white truffles" as "sheer beauty", "ambrosial flavour" and "edible white 'terrazzo'." The consonants b, s, t, d, and r are picked up and repeated, as are the vowels e, a, and o. Notice, too, the comparison of classic Italian food to an equally classic Italian artefact. Later, in an interactive text, questions are posed: "Who could now imagine life without this peppery salad green?" (23). Moran uses the expected action verbs of peel, mince, toss, etc.: "A bucket of tiny clams needs a good tumble under the running tap" (92). But he also uses the unexpected hug, nab, snuggle, waltz, "wave of garlic" and "raining rice." Milan and Corney display a metaphoric-language play too: the bubbles of a sparkling wine matching red meat become "the little red broom […] sweep[ing] away the […] cloying richness" (114). In contrast, Lamont’s cookbook can seem flat, lacking distinctiveness. But with a title like Wine and Food, perhaps you are not expecting much more than information, plain directness. Moran delivers recipes as reproducible with ease and care. An image of a restaurant blackboard menu with the word "chook" forestalls intimidation. Good quality, basic ingredients and knowledge of their source and season carry weight. The message is that food and drink are due respect, and that cooking is neither a stressful, grandiose nor competitive activity. While both Moran and Lamont have recipes for Duck Liver Pâté—with the exception that Lamont’s is (disturbingly, for this cook) "Parfait", Moran also has Lentil Patties, a granola, and a number of breads. Lamont has Brioche (but, granted, without the yeast, seeming much easier to make). Powell’s Plateless Pork is "mud pies for grown-ups", and you are asked to cook a "vat" of sauce. This communal meal is "a great way to spread communicable diseases", but "fun." But his passionately delivered historical information mixed with the laconic attitude of a larrikin (legendary Australian again) transform him into a sage, a step up from the monastery (Powell is photographed in dress-up friar’s habit). Again, the obvious is noteworthy in Milan and Corney’s statement that Rosé "possesses qualities of both red and white wines" (116). "On a hot summery afternoon, sitting in the sun overlooking the view … what could be better?" (116). The interactive questioning also feeds in useful information: "there is a huge range of styles" for Rosé so "[g]rape variety is usually a good guide", and "increasingly we are seeing […] even […] Chambourcin" (116). Rosé is set next to a Bouillabaisse recipe, and, empathetically, Milan and Corney acknowledge that the traditional fish soup "can be intimidating" (116). Succinctly incorporated into the recipes are simple greyscale graphs of grape "Flavour Profiles" delineating the strength on the front and back palate and tongue (103).Imaging and DesigningThe cover of Moran’s cookbook in its first edition reproduces the colours of 1930–1940's beach towels, umbrellas or sunshades in matt stripes of blue, yellow, red, and green (Australian beaches traditionally have a grass verge; and, I am told (Costello), these were the colours of his restaurant Panoroma’s original upholstery). A second edition has the same back cover but a generic front cover shifting from the location of his restaurant to the food in a new subtitle: "From Bush to Beach and onto Your Plate". The front endpapers are Sydney’s iconic Bondi Beach where Panoroma restaurant is embedded on the lower wall of an old building of flats, ubiquitous in Bondi, like a halved avocado, or a small shallow elliptic cave in one of the sandstone cliff-faces. The cookbook’s back endpapers are his bush-shack country. Surfaces, cooking equipment, table linen, crockery, cutlery and glassware are not ostentatious, but simple and subdued, in the colours and textures of nature/culture: ivory, bone, ecru, and cream; and linen, wire, wood, and cardboard. The mundane, such as a colander, is highlighted: humbleness elevated, hands at work, cooking as an embodied activity. Moran is photographed throughout engaged in cooking, quietly fetching in his slim, clean-cut, short-haired, altar-boyish good-looks, dressed casually in plain bone apron, t-shirt (most often plain white), and jeans. While some recipes are traditionally constructed, with the headnote, the list of ingredients and the discursive instructions for cooking, on occasion this is done by a double-page spread of continuous prose, inviting you into the story-telling. The typeface of Simmer varies to include a hand-written lookalike. The book also has a varied layout. Notes and small images sit on selected pages, as often as not at an asymmetric angle, with faux tape, as if stuck there as an afterthought—but an excited and enthusiastic afterthought—and to signal that what is informally known is as valuable as professional knowledge/skill and the tried, tested, and formally presented.Lamont’s publishers have laid out recipe instructions on the right-hand side (traditional English-language Western reading is top down, left to right). But when the recipe requires more than one item to be cooked, there is no repeated title; the spacing and line-up are not necessarily clear; and some immediate, albeit temporary, confusion occurs. Her recipes, alongside images of classic fine dining, carry the implication of chefing rather than cooking. She is photographed as a professional, with a chef’s familiar striped apron, and if she is not wearing a chef’s jacket, tunic or shirt, her staff are. The food is beautiful to look at and imagine, but tackling it in the home kitchen becomes a secondary thought. The left-hand section divider pages are meant to signal the wines, with the appropriate colour, and repetitive pattern of circles; but I understood this belatedly, mistaking them for retro wallpaper bemusedly. On the other hand, Powell’s bog-in-don’t-wait everyday heartiness of a communal stewed dinner at a medieval inn (Peasy Lamb looks exactly like this) may be overcooked, and, without sensuousness, uninviting. Images in Lamont’s book tend toward the predictable and anonymous (broad sweep of grape-vined landscape; large groups of people with eating and drinking utensils). The Lamont family run a vineyard, and up-market restaurants, one photographed on Perth’s river dockside. But Sean's Panoroma has a specificity about it; it hasn’t lost its local flavour in the mix with the global. (Admittedly, Moran’s bush "shack", the origin of much Panoroma produce and the destination of Panoroma compost, looks architect-designed.) Powell’s book, given "rump" and "rough" in the title, stridently plays down glitz (large type size, minimum spacing, rustic surface imagery, full-page portraits of a chicken, rump, and cabbage etc). While not over-glam, the photography in Balance may at first appear unsubtle. Images fill whole pages. But their beautifully coloured and intriguing shapes—the yellow lime of a white-wine bottle base or a sparkling wine cork beneath its cage—shift them into hyperreality. White wine in a glass becomes the edge of a desert lake; an open fig, the jaws of an alien; the flesh of a lemon after squeezing, a sea anemone. The minimal number of images is a judicious choice. ConclusionReading can be immersive, but it can also hover critically at a meta level, especially if the writer foregrounds process. A conversation starts in this exchange, the reader imagining for themselves the worlds written about. Writers read as writers, to acquire a sense of what good writing is, who writing colleagues are, where writing is being published, and, comparably, to learn to judge their own writing. Writing is produced from a combination of passion and the discipline of everyday work. To be a writer in the world is to observe and remember/record, to be conscious of aiming to see the narrative potential in an array of experiences, events, and images, or, to put it another way, "to develop the habit of art" (Jolley 20). Photography makes significant whatever is photographed. The image is immobile in a literal sense but, because of its referential nature, evocative. Design, too, is about communication through aesthetics as a sensuous visual code for ideas or concepts. (There is a large amount of scholarship on the workings of image combined with text. Roland Barthes is a place to begin, particularly about photography. There are also textbooks dealing with visual literacy or culture, only one example being Shirato and Webb.) It is reasonable to think about why there is so much interest in food in this moment. Food has become folded into celebrity culture, but, naturally, obviously, food is about our security and survival, physically and emotionally. Given that our planet is under threat from global warming which is also driving climate change, and we are facing peak oil, and alternative forms of energy are still not taken seriously in a widespread manner, then food production is under threat. Food supply and production are also linked to the growing gap between poverty and wealth, and the movement of whole populations: food is about being at home. Creativity is associated with mastery of a discipline, openness to new experiences, and persistence and courage, among other things. We read, write, photograph, and design to argue and critique, to use the imagination, to shape and transform, to transmit ideas, to celebrate living and to live more fully.References Allen, Max. The Future Makers: Australian Wines for the 21st Century. Melbourne: Hardie Grant, 2010. Barratt, Virginia. “verbiage very thinly sliced and plated up real nice.” Assignment, ENG10022 Writing from the Edge. Lismore: Southern Cross U, 2009. [lower case in the title is the author's proclivity, and subsequently published in Carson and Dettori. Eds. Banquet: A Feast of New Writing and Arts by Queer Women]Costello, Patricia. Personal conversation. 31 May 2012. Curti, Lidia. Female Stories, Female Bodies: Narrative, Identity and Representation. UK: Macmillan, 1998.Derrida, Jacques. "Fifty-Two Aphorisms for a Foreword." Deconstruction: Omnibus Volume. Eds. Andreas Apadakis, Catherine Cook, and Andrew Benjamin. New York: Rizzoli, 1989.Halliday, James. “An Artist’s Spirit.” The Weekend Australian: The Weekend Australian Magazine 13-14 Feb. (2010): 31.Jolley, Elizabeth. Central Mischief. Ringwood: Viking/Penguin 1992. Lamont, Kate. Wine and Food. Perth: U of Western Australia P, 2009. Milan, Lyndey, and Corney, Colin. Balance: Matching Food and Wine: What Works and Why. South Melbourne: Lothian, 2005. Moran, Sean. Let It Simmer. Camberwell: Lantern/Penguin, 2006. Ostmann, Barbara Gibbs, and Jane L. Baker. The Recipe Writer's Handbook. Canada: John Wiley, 2001.Powell, Greg Duncan. Rump and a Rough Red. Millers Point: Murdoch, 2010. Shirato, Tony, and Jen Webb. Reading the Visual. Crows Nest: Allen & Unwin, 2004.

Pornography is neither a documentary media genre that documents what real sex in everyday life looks like, nor is it a pedagogical or moral media genre aimed at showing what ideal sex (in terms of health or morality) should look like. Instead, pornography is a fictional media genre that depicts sexual fantasies and explicitly presents naked bodies and sexual activities for the purpose of sexual arousal (Williams, 1989; McKee et al., 2020). Regarding media ethics and media effects, pornography has traditionally been viewed as highly problematic. Pornographic material has been accused of portraying sexuality in unhealthy, morally questionable and often sexist ways, thereby harming performers, audiences, and society at large. In the age of the Internet, pornography has become more diverse, accessible, and widespread than ever (Döring, 2009; Miller et al., 2020). Consequently, the depiction of sexuality in pornography is the focus of a growing number of content analyses of both mass media (e.g., erotic and pornographic novels and movies) and social media (e.g., erotic and pornographic stories, photos and videos shared via online platforms). Typically, pornography’s portrayals of sexuality are examined by measuring the prevalence and frequency of sexual practices and related gender roles via quantitative content analysis (for research reviews see Carrotte et al., 2020; Miller & McBain, 2022). It should be noted that the conceptual differentiation between erotica and pornography is complex and that “pornography” remains an ideologically charged, and often negatively connotated, concept. Hence, the research literature sometimes uses the broader and more neutral term “sexually explicit material” (SEM) in place of “pornographic material” (McKee et al., 2020). Furthermore, it must be emphasized that in the context of content analyses of SEM the focus is typically on legal pornography. Legal visual pornography is produced with adults who have given their informed consent for their image to be recorded, and then disseminated and marketed as SEM. Illegal pornography is usually beyond the scope of media content research, as the acquisition and use of illegal material would be unethical and illegal for researchers (e.g., the analysis of so-called “child pornography”, or what might be more accurately labeled “images of child sexual abuse”). Criminological and forensic research projects are exceptions to this rule. Field of application/theoretical foundation: The theories applied in pornographic media content research primarily come from four academic disciplines: communication science, psychology, sex research, and gender studies. These different theories are fairly similar in their core assumption that pornography users’ sexual cognitions and behaviors are molded by the ways in which sexuality is portrayed in pornographic material. Some of the theories also explain the typical content of pornography and point to the fact that audiences might not only be influenced by pornography but can also shape porn production through their preferences. All theories demand content analyses of pornographic material to back up their predictions. General Media Effects Theories Cultivation Theory and Social Cognitive Theory are the most commonly used media effects theories, irrespective of specific media content. They are often applied to pornographic material. Cultivation Theory (CT) was developed by communication researcher George Gerbner in the 1960s (Gerbner, 1998). CT claims that heavy media users’ perceptions of the prevalence of different societal phenomena (e.g., crimes) are shaped by the prevalence with which these phenomena occur in the media they consume (e.g., cop shows on TV). Applied to pornography, CT predicts that heavy users of pornography will severely overestimate the prevalence of sexual practices that are rare in reality, but widespread in pornography. Young people who lack real life sexual experience are regarded as particularly vulnerable for sexual cultivation effects in terms of biased perceptions of the popularity and normalcy of different performances of sexuality (e.g., name calling and slapping during sex). Another classic media effects theory that is widely adopted in pornography research is psychologist Albert Bandura’s Social Learning Theory (Bandura, 1971), later re-labeled as Social Cognitive Theory (SCT; Bandura, 2001). SCT claims that people imitate the behaviors of media role models. Applied to pornographic material, SCT predicts that media audiences will develop more favorable attitudes towards, and engage more frequently in, sexual behaviors portrayed positively in sexually explicit material. Such sexual imitation effects may influence not only attitudes toward, and engagement in, sex acts represented in pornography (e.g., anal sex), but also gender role behaviors (e.g., men acting dominantly, women acting submissively during sex), safer sex measures (e.g., lack of condom use), bodily appearance (e.g., breast augmentation), and consent communication (e.g., lack of explicitly asking for, or giving, consent to engage in different sex acts). Sexual Media Effects Theories While CT and SCT are broad media effects theories applicable to pornography as well as many other types of media content, Sexual Script Theory and the 3AM specifically address sexual media and their effects. Sexual Script Theory (SST) was developed by sociologists John Gagnon and William Simon in the 1970s (Gagnon & Simon, 1973; Simon & Gagnon, 2003; Wiederman, 2015). SST argues that human sexuality is not merely a biological instinct, but a highly complex set of cognitions and behaviors shaped by symbolic, social and cultural factors: People develop ideas about how to have sex in terms of organized cognitive schemas or “scripts” that reflect intra-psychic desires (e.g., their sexual fantasies), social norms (e.g., peers’ and partners’ sexual expectations), and cultural influences (e.g., representations of sexuality in the media they consume). SST stresses that the intra-psychic, social, and cultural determinants of individuals’ sexual scripts mutually influence each other and can change over time (Simon & Gagnon, 2003). However, in pornography research, usually only the third element of the theory (cultural influences through media representations of sexuality) is considered. Applied to pornography, SST predicts that sexual scripts presented in pornographic material (e.g., spontaneous anal sex with strangers without condoms or overt consent communication) can shape individuals’ sexual scripts. The Acquisition, Activation, and Application Model of Media Sexual Socialization (3AM) was developed more recently by communication researcher Paul Wright as a specification of SST regarding media influence (Wright, 2011). According to the 3AM, sexually explicit media content shapes cognitive schemas of sexuality in three ways: Pornography can foster the creation of new schemas (schema acquisition), it can prime extant schemas (schema activation), and it can facilitate the utilization of extant schemas to inform attitudes and behaviors (schema application). The 3AM differentiates between specific scripting effects of pornography (e.g., engaging in condom-free casual anal sex without sufficient consent communication after having observed this exact sexual script multiple times in pornography) versus abstract scripting effects (e.g., adopting a more permissive sexual worldview after having observed many people engaging in unrestricted sex in pornography). The aforementioned general and sexuality-specific media effects theories have been used predominantly to predict negative (unwanted, harmful) effects such as dangerously distorted views of sexuality and gender roles as well as engagement in risky or violent sexual behaviors, while potential positive effects have been mostly ignored. Only recently, has serious consideration been given to the beneficial effects of pornography use (e.g., sexual identity validation, sexual empowerment, improved couple communication, sexual skill acquisition, etc.) in the research literature (e.g., Döring, 2021; Döring & Mohseni, 2018; Döring et al., 2021; Kohut & Fisher, 2013; Kohut et al., 2017; Miller et al., 2018; Tillmann & Wells, 2022). Depending on specific negative and/or positive effect assumptions, different aspects of the representation of sexuality will be measured (e.g., expressions of aggression during sex or different types of sexual stimulation techniques). Gender Role, Feminist and Queer Theories Typically, analysis of the ways in which sexuality is represented in pornography involves considerations of gender relations, therefore gender role theories and feminist theories of gender (in-)equality are frequently drawn upon (e.g., Eagly, 1987). There are two main reasons for this additional theoretical focus on gender: 1) Most SEM depicts heterosexual encounters, hence the portrayal of sexuality in pornography implies a portrayal of sexual gender relations (Williams, 1989). 2) Gender relations in the media are often asymmetrical, depicting men and women in superior and subordinate positions, respectively. Such patriarchal gender relations are expected to be reflected, or even exaggerated, in pornographic material. Radical feminist approaches in particular characterize pornography as a portrayal of sexual degradation of women by men, that is so harmful to society that it should be prohibited (e.g., MacKinnon, 1991). Other feminist approaches are also critical of asymmetric gender relations in traditional mainstream pornography and call for more gender equality in SEM, such as in feminist pornography (Williams, 1989). Feminist criticism of gender roles and relations in pornography does not address the demographic variable of sex/gender alone, but also covers other diversity dimensions such as age, race/ethnicity, or disability. According to the analytical framework of intersectionality, the subordination and discrimination of women in society and media representations particularly affect those women who have multiple marginalized demographic characteristics (e.g., the representation of white women in pornography differs from that of black or Asian women; Fritz et al. 2021). Queer theory is also concerned with different racial/ethnic and sexual identities of women and their participation and representation in pornography (Ingraham 2013). Content analyses of pornography need to take into consideration that pornography is becoming increasingly diverse (Miller & McBain, 2022). Hence, content analyses need to differentiate between various pornographic sub-genres such as commercial heterosexual mainstream pornography (traditionally targeting men) versus, for example, women-friendly and couple-oriented pornography, feminist pornography, queer pornography, fetish and kink pornography, or authentic amateur and DIY (do it yourself) pornography in the form of visual or text pornography (Döring, 2021; McKee et al., 2008). Gender role, feminist, and queer theories predict that gender relations in mainstream pornography are more asymmetrical, stereotypical and patriarchal than in women- and couple-friendly, feminist and queer pornography. Sexual Fantasy and Desire Theories The above-mentioned effect theories do not address and explain the main intended effect of pornography, namely immediate sexual arousal, pleasure and satisfaction. The theories focus on linking the fictional pornographic content directly with real life opinions and behaviors, but mostly ignore the links between fictional pornographic content and sexual fantasies. Research shows that many sexual fantasies of people of all genders are unrealistic, extreme, clichéd, violent and norm-violating and that norm-violation is often what makes them arousing (e.g., Bivona et al., 2012; Critelli & Bivona, 2008; Joyal, 2015). The same might be true for pornographic content. Hence, measuring pornography, a fictional media genre, against standards of realism, health and morality might not always be in line with the main entertainment purpose of the genre. Erotizing the forbidden and dangerous (e.g, sex with family members, with mysterious strangers, with authority figures, with non-human creatures) is a common trope of sexual fantasies, hence meaningful variables to measure pornographic portrayals of sexuality could be derived from, and related to, theories of sexual fantasy and desire (e.g., Salmon et al., 2019; Stoller, 1985). Indulging in unrealistic and norm-violating fantasies and fictional media contents is part of media entertainment and may not necessarily lead to norm-violating behaviors. Competent media users should be able to differentiate between fiction and reality. Mold Theories versus Mirror Theories When analyzing and criticizing sexuality portrayals in pornography, it is important to realize that media do not just uni-directionally influence public opinions and behaviors (mold theory). Rather, media also bi-directionally reflect existing sexual relations and fantasies (mirror theory). Recent sex surveys, for example, demonstrate that engagement in consensual BDSM (Bondage/Discipline, Dominance/Submission, Sadism/Masochism) practices and rough sex (e.g., name calling, spanking, hair pulling) is fairly widespread in the general population and enjoyed by all genders (e.g., Burch & Salmon, 2019; Herbenick et al., 2021a, 2021b; Strizzi et al., 2022). Hence, it might not always be the adult industry that influences audiences’ sexualities, but also audiences’ sexual interests that influence porn production. Particularly in the digital pornography market, producers and vendors can easily analyze audience preferences through the analysis of search terms and download statistics and adopt their content accordingly. Furthermore, general beauty trends in society (e.g., regarding shaving of pubic and body hair, growing of beards, or multiple tattoos and other body art) might be mirrored in pornography (through its selection and presentation of performers) rather than of generated by it. References/combination with other methods of data collection: Manual quantitative content analyses of pornographic material can be combined with qualitative (e.g., Keft-Kennedy, 2008) as well as computational (e.g., Seehuus et al., 2019) content analyses. Furthermore, content analyses can be complemented with qualitative interviews and quantitative surveys to investigate perceptions and evaluations of the portrayals of sexuality in pornography among pornography’s creators and performers (e.g., West, 2019) and audiences (e.g., Cowan & Dunn, 1994; Hardy et al., 2022; Paasoonen, 2021; Shor, 2022). Additionally, experimental studies are helpful to measure directly how different dimensions of pornographic portrayals of sexuality are perceived and evaluated by recipients, and if and how these portrayals can affect audiences’ sexuality-related thoughts, feelings, and behaviors (e.g., Kohut & Fisher, 2013; Miller et al., 2019). Example studies for manual quantitative content analyses: Acknowledging the multidimensionality and complexity of portrayals of sexuality in pornography, a recent research review identified eight main dimensions of analysis (Miller & McBain, 2022) that are adopted and extended in this DOCA entry as: 1) violence, 2) degradation, 3) sex acts, 4) performer demographics (sex/gender, age, race/ethnicity), 5) performer bodily appearance, 6) safer sex practices, 7) relational context of sex, and 8) consent communication. Example studies and measures for all eight dimensions of pornographic portrayals of sexuality are presented in separate DOCA entries. Eight Dimension of Portrayals of Sexuality in Pornography DOCA entry 1) Violence Portrayals of Sexuality in Pornography: Violence 2) Degradation Portrayals of Sexuality in Pornography: Degradation 3) Sex Acts Portrayals of Sexuality in Pornography: Sex Acts 4) Performer Demographics Portrayals of Sexuality in Pornography: Performer Demographics 5) Performer Bodily Appearance Portrayals of Sexuality in Pornography: Performer Bodily Appearance 6) Safer Sex Practices Portrayals of Sexuality in Pornography: Safer Sex Practices 7) Relational Context of Sex Portrayals of Sexuality in Pornography: Relational Context of Sex 8) Consent Communication Portrayals of Sexuality in Pornography: Consent Communication References Bandura, A. (1971). Social learning theory. General Learning. Bandura, A. (2001). Social cognitive theory of mass communication. Media Psychology, 3(3), 265–299. https://doi.org/10.1207/S1532785XMEP0303_03 Bivona, J. M., Critelli, J. W., & Clark, M. J. (2012). 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Today Namibia is at the crossroads of its independence. The agony of death and destruction that the Namibians have endured for the past 105 years of colonial oppression is about to come to an end and freedom is in sight. The process of transition to independence has already started. On 1 November 1989, the Namibian people will exercise their long-denied right to self-determination by electing their own leaders who. by virtue of being elected by the masses will have the sovereign right to draft the constitution of independent Namibia. This will bring about a new political and socio-economic order. The task before the Namibian people is to seize this historic opportunity and ensure that they join hands to safeguard the revolutionary gains we have made in bringing our country to the threshold of independence. Seizing this opportunity means, first, to register as a voter, and second, to vote and send to the Constituent Assembly men. and women with a revolutionary will, honourable record, vision for a better future, integrity, experience and proven ability to fight for the interests of the broad masses of the Namibian people. Such men and women are to be found in SWAPO. SWAPO has stood tall in the face of formidable odds over the last twenty-nine years of its struggle to free Namibia. Because of this fact. SWAPO had participated in the formulation of Resolution 435 and fought bravely for the last 11 years for its implementation. The motivating force behind this struggle has always been to guarantee that power is given to the Namibian people to decide the future of our country' through free and fair elections. Now that Resolution 435 is being implemented, the Central Committee of SWAPO has the honour to place before the people of Namibia its concrete programme of action in the form of SWAPO’s policy positions on a broad spectrum of political, economic, social and cultural issues. Together, these policy'positions form SWAPO's Election Manifesto.
sponsored by the Centre for Development Studies, University of the Western Cape & the National Democratic Institute for International Affairs, November 6-16, 1991

This project represents the comprehensive study of architectural duties on an archaeological excavation known as the Archaeological Exploration of Sardis. This project is meant to serve as an overview of the duties and expectations of an architectural staff member for recruitment and enrichment purposes. The project is divided into 5 main categories: The Sardis Architecture Manual, recruitment lecture transcript, an exhibit of Ball State University staff and student work pertaining to the excavation, an analysis of the future of architectural recording at Sardis, and process work done in the completion of the project.In the future, the Archaeological Exploration of Sardis may not have the necessary Senior Architects to train the new Student Architects from Ball State University. It is hoped that this project will allow new Architect staff members to properly perform the duties pertaining to an archaeological excavation with a minimum of training from senior members.
Department of Architecture

The Speculum huius vite is a pastoral manual composed in English around the end of the fourteenth century. It is, on one level, an abbreviated version of the Prick of Conscience, arguably one of the most popular English texts of the late middle ages; but the Speculum is more than simply an abbreviation of a popular text, since it refashions its source to accommodate a new emphasis and new material, including a commentary on the ten commandments and some shorter exhortations to the clergy and laity regarding humility and modesty. Evidence from the two manuscripts of the Speculum (Bodleian MS Additional A. 268, fols. 117r-139r, and Dublin Trinity Coll. MS 155, pp. 149-238) and from two related manuscripts of the Prick of Conscience (Cambridge University Library MS Dd.12.69, fols. 37r-97v and Cambridge, Mass., Harvard University Library MS 155, fols. 1-77) indicates that two revisions were involved in the production of the Speculum from the Prick of Conscience. The dialect of the poem has been extensively studied to determine whether it is possible to make any conjectures concerning the geographical source of the first and second revisions of the text. The text was probably used for catechetical instruction, private reading, and preaching within the tradition of English catechetical manuals produced after the Fourth Lateran Council. The thesis provides a description of the manuscripts of the text (Chapter One), discussions of the historical context of the poem (Chapter Two), the sources and immediate context of the poem (Chapter Three), the relationship of the manuscripts (Chapter Four), and the language and dialect of the text (Chapter Five). These are followed by notes on editorial procedure, an edition of the text, a glossary, notes to the text, and a bibliography.

The purpose of this handbook is twofold. First, it is to be used as a guide for maintenance personnel when they have to deal with the lighting system. Whi 1 e the 1 i ghti ng 1 oads are typical of those in any large building, the control functions and equipment operation require some specific information for proper performance. Second, it can be used by the person in charge of scheduling to gain a greater understanding of how the system works. Although a detailed understanding isn't necessary, it is helpful to know what is out there and why it does what it is supposed to do.The reason for the development of this handbook is that with all of the literature produced by the manufacturer there was no single source, or starting point, that explained the whole package. There is a great deal of information in each of the various publications and with this handbook one should easily be able to utilize it. In order to use this book most effectively one should have the manufacturer's documents on hand for reference as they are referred to frequently. In addition the flow charts enhance one's ability "to know where you are” when using the terminal for data entry.
Department of Architecture

In 1991, the NCAA created Challenging Athletes Minds for Personal Success (CHAMPS)/Life Skills (NCAA, 2005). The CHAMPS/Life Skills program concentrates on five areas: Academic Commitment, Athletic Commitment, Personal Development Commitment, Career Development Commitment, and Service Commitment (NCAA, 2005). Very few amendments and modifications have been made to the CHAMPS/Life Skills educational material since the program was developed. In the present creative thesis project, revisions and updates were implemented to the current material to satisfy the needs of collegiate student-athletes. Hence, the purpose of this creative thesis project was to update the Academic Commitment module within the CHAMPS/Life Skills manual. Specifically, the Time Management and Study Skills components were revised. These revisions were evaluated by three university professors. In conclusion, the present creative thesis project will assist in presenting CHAMPS/Life Skills material to student-athletes.
School of Physical Education, Sport, and Exercise Science

The field of Foreign Student Advising has undergone significant change over the last 25 years, outpacing the seminal guidance in the field provided in The Handbook of Foreign Student Advising by Gary Althen, first published in 1983 and revised in 1995. Foreign Student Advisors (FSAs) are professionals employed at institutions of higher education or nonprofit organizations, who work with nonimmigrant students (primarily those in F and J nonimmigrant status). Their essential function is to ensure the student's legal status and help promote adaptation to and academic success in the U.S. The field of Foreign Student Advising is inherently complex and intercultural, more so today due to the ever-present and increasing federal government parameters following 9/11/01. This thesis addresses these changes by providing a compendium to supplement The Handbook. The steps taken prior to writing the compendium include: consultation with Althen, a critical analysis of what does and does not work in The Handbook for today's FSA. a survey of a select group of international education leaders to determine what topics should be included in the compendium, and a review of the literature and research about FSAs with a focus on what has been written since 1995. In order to secure the most meaningful feedback on the major developments in the field, a survey was conducted with fifteen past presidents of NAFSA: Association of International Educators, who had a Foreign Student Advising background and were still active in the field. This information, in combination with the current literature from the field, reflections from my twenty-plus years of FSA experience, and guidance from Althen was used to prepare a compendium to The Handbook. The Compendium provides updated guidance, addressing some of the major changes in the field of Foreign Student Advising.

The purpose of the project was to develop a training manual for new Corinthian College school presidents. This manual presents guidelines detailing how to perform required operations for new school presidents throughout the first year of employment.

Identifying food freshness is a very important; it is a part of a long historical actions by humans, because fruit freshness can tell us the information about the quality of foods. With the advancement of machine learning and computer science, which will be broadly employed in factories and markets, instead of manual classification. Recognition of the freshness of food is rapidly being replaced by computers or robots. In this book chapter, the authors conduct the research work on fruit freshness detection, we make use of YOLOv6, YOLOv7, and YOLOv8 in this project to implement fruit classifications based on a variety of digital images, which can improve the efficiency and accuracy of the classification incredibly; after the classification, the output will showcase the result of fruit fresheness classification, namely, fresh, or rotten, etc. They also compare the results of different deep learning models to discover which architecture is the best one in terms of speed and accuracy. At the end of this book chapter, the authors made use of the majority vote method to combine the results of different models to get better accuracy and recall scores. To generate the final result, the authors trained the three models individually, and also propose a majority vote to get a better performance for fresh fruit detection. Compared with the previous work, this method has higher accuracy and a much faster speed. Because this one uses the clustering method to generate the final result, it will be easy for researchers to change the backbone and get a better result in the future.