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The global sclerotherapy market size is expected to reach USD 1.3 billion by 2027, expanding at a CAGR of 5.6%, according to a new report by Grand View Research, Inc. Sclerotherapy is a non-invasive procedure that is widely used as a primary treatment for reticular veins, leg telangiectasias, and varicose veins. The procedure comprises injecting a solution (sclerosing agents or sclerosants) straight into the affected veins, which causes them to shrink and eventually disappear and assist in treating related symptoms such as aching, burning, swelling, and cramping. Factors like the better exposure to the site of application, utilization of less-invasive technologies, advances in dermatology, and increasing geriatric population with an incidence of varicose veins are fuelling the market growth.
Sclerosing agents used for the treatment of varicose veins are segmented into detergents, hyperosmolar/ osmotic agents, and chemical irritants. Agents like Sodium tetradecyl sulfate (Sotradecol) and Polidocanol (Asclera), Sodium morrhuate (Scleromate), Ethanolamine Oleate (Ethamoline) are all FDA approved sclerosants used to treat and reduce the effect of vein damage. According to the Society of Vascular surgery, more than 33.0% of women and about 17.0% of men consult a doctor for telangiectasias and varicose veins in industrialized countries, affecting up to 35.0% of people in the U.S. alone.
This condition, if left untreated can cause severe health problems such as chronic pain, deep vein clots, skin ulcers, and coronary ailments. According to NCBI, 20.0% of all adults will get varicose veins at some point in their lives and the prevalence is higher among the aging population and women. These factors are expected to boost the market growth. However, the side effects of this procedure such as hyperpigmentation and matting, scarring, and allergic reactions in some patients might hinder the market growth.
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Sclerotherapy Market Report Highlights
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Sclerotherapy Market Segmentation
Grand View Research has segmented the global sclerotherapy market on the basis of the agent, type, and region:
Sclerotherapy Agent Outlook (Revenue, USD Million, 2016 – 2027)
Sclerotherapy Type Outlook (Revenue, USD Million, 2016 – 2027)
Sclerotherapy Regional Outlook (Revenue, USD Million, 2016 – 2027)
List of Key Players of Sclerotherapy Market
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George Whitefield
Sintesi dell'editore
This fast-paced, inspirational narrative reveals how God used one man of great courage, discipline, and humility to bring countless souls to Christ.
God's accomplishments through George Whitefield are to this day virtually unparalleled. In an era when many ministers were timid and apologetic in their preaching, he preached the gospel with aggressive zeal and undaunted courage. In the wake of his fearless preaching, revival swept across the British Isles, and the Great Awakening transformed the American colonies.
The previous two-volume work George Whitefield: The Life and Times of the Great Evangelist of the Eighteenth-Century Revival is now condensed into this single volume filled with primary-source quotations from the 18th century, not only from Whitefield but also from such prominent figures as John and Charles Wesley, Benjamin Franklin, and William Cowper.
Altri titoli dello stesso
Cosa pensano gli ascoltatori di George Whitefield
- 21/08/2016
Very Engaging and Interesting! Great Narration!
I love reading/listening to biographies. This was short enough to listen to in a day and long enough to get in depth, and not just scratch at the surface of Whitefield's life. I love hearing about the life of George Whitefield and this was very satisfying, as I learned a lot more about the man and his friends (and enemies), than I had from other, shorter biographies.
By the way, the narrator, Bob Souer, was the icing on the cake. His smooth, clear and articulate delivery really made the book so easy to listen to. He obviously knew the subject matter. Sometimes, the narrator can make or break a good audio book, and Bob Souer really added great listening pleasure!
For fans of Whitefield, and biographies, I highly recommend this audio book!
8 people found this helpful
- Kindle Customer
- 06/11/2016
Dallimore is eminently readable and in this regard listenable. Proving His Word true The Lord gave Whitefield to the Church to equip the saints in manifold ways. How indebted we are to this man's example brought about by the hand of The Master he loved so well.
5 people found this helpful
- Alexander Thermenos
- 27/08/2016
I loved this book. Hearing Whitfield's life made me want to change mine. Listen and be changed.
5 people found this helpful
- lindal
- 02/10/2016
Man of God
I knew little of this great 18th century minister. He was an amazing man, used by God in astounding ways. Truly inspirational.
4 people found this helpful
- Larisa
- 03/08/2016
wonderful biography.
If you want to know our spiritual roots, read this, America! It will bless you.
4 people found this helpful
- Mumbi
- 19/06/2015
A True Servant of God
This allows us to see a different side of Reverend George Whitfield, what a blessing. A true servant of God
5 people found this helpful
- Yoichi Hyuga
- 03/01/2019
If you love Jesus, get this book!
This book has been the greatest blessing for me in 2018! By his example, Whitefield will make you want to live more for Jesus. If you love Jesus, you cannot miss this book.
1 person found this helpful
- DaughterofLight
- 18/07/2016
We all can learn from his life!
I knew nothing of this man and his ministry. God truly anointed this man. At times I gasped in horror, was filled with compassion and love for the lost, was inspired and convicted. It left me praising our Lord and Savior Jesus Christ and the power of His word that speaks to those He has called!
3 people found this helpful
- Red Eagle's Legacy
- 12/08/2015
A life worth listening to!
There may be no person who spoke directly in person to more people in the history of the world as George Whitefield. If just for this single fact, a biography of his would be a must read. However, during the 40 years of his preaching ministry, the western world (and by its effects the entire globe) changed immensely during the movement known now as the Great Awakening. This period has wide ranging effects including the establishment of major denominations, the push for the abolishment of slavery, the development of media, the rise of democracy, and the establishment of the United States. The central figure of this time was George Whitefield.
This volume by Arnold Dallimore is an abridgment of his much longer comprehensive biography of Whitefield. I highly encourage you to read the unabridged version if you want a full perspective on the evangelist's life. But, if you need a quick yet substantive overview of the man's life, this book will fill your needs perfectly.
Whitefield was converted in his early college years, and from a short time afterwards, he began preaching evangelistic messages in England. His eloquence and power displayed in his sermons quickly had many flocking to hear him. Seeking to maximize hearers for the gospel of Christ, he turned to "field preaching" in London parks. Tens of thousands began to turn out to hear his messages. There may never have been larger crowds that have ever been able to hear a single man unamplified. The force of his message to turn to Jesus and to follow His will quickly began to have great effects in reforming London society. But only after a few weeks, Whitefield left on his first of 13 Atlantic crossings to take the good news to America.
His life is filled with many ups and downs. The love of America for him, his support of orphans, the influence he had on British nobility contrasted with his constant illness, his skewering by the press, his troubles with the Wesleys. Through it all, he kept a singlemindedness that nothing could make him stop from extending the invitation of Christ's love for sinners. The relating of his climbing out of bed to preach from a balcony to eager listeners the night of his death shows the power Whitefield had 40 years after he spoke for the first time.
Revival literature should encourage and strengthen the seeking heart. This book does both. Whitefield's life is a testimony of God's keeping grace even in light of extremely difficult pressure. If men thought he was too proud, he humbled himself further; if others wanted control, he submitted to them; if though completely spent of all strength a one would ask for a word about the Living God, he would share and not rest. He talked to millions 300 years ago. A man used by God can change the world, and George Whitefield is the proof.
Audible listeners: the narrator did an excellent job. A worthwhile listen.
7.5 stars out of 10
3 people found this helpful
- Patrick PK
- 11/06/2015
Awe inspiring Humility, Love and Devotion!
What a beautiful spirit did this great man of God possess! What absolute service to the Glorious Majesty on High. What Discipline, what Love and real Dedication to Christ foremost and to his fellow man thereafter! I simply have come away with a very deep sense of respect and admiration.
In these degenerate times, there simply is nothing equal to this.
Wish you had included his sermons too, perhaps the next audiobook...!
3 people found this helpful
- Nefyn
- 24/04/2017
A forgotten figure for many
This is a moving account of one of the greatest Christians who have ever lived. The author corrects a number of distortions about Whitefield which have been propagated by some writers about him. Whitefield's single-minded devotion to Christ is vividly portrayed but nowhere more than in the closing chapters. Soli Deo Gloria.
2 people found this helpful

subset: commoncrawl


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"Extras" in the character screens at Derby Feste 2012, 22nd September. It was even sunny! Music is the sound track from Scene 5 "Damsel in Distress"
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Associated PressNews
'Roseanne' star Emma Kenney seeking help for her 'battles'
LOS ANGELES (AP) — "Roseanne" actress Emma Kenney says she's taking a break from social media and Los Angeles.
Her tweet comes after the 18-year-old told In Touch she's going to seek "treatment for my battles." She didn't specify what type of treatment, but said she's "going to get help and make better choices."
Kenney plays granddaughter Harris Conner-Healy on ABC's revival of "Roseanne." She has also played Debbie Gallagher on Showtime's "Shameless."
Kenney says she was running with a "really fast crowd" and doing things that weren't legal because she's not 21. Kenney says she felt anxious and depressed. She called it a slippery slope that she didn't want to go down.
She says that while it didn't affect her work, her private life suffered.
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NES Total Wellness System (TWS)
Some principles of healing
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Do you ever feel confused by the amount of health advice available nowadays? As if you were being blasted by a firehose? And even although you know water is good for you, somehow this doesn't feel right?
Not only that, your doctor tells you one thing, your acupuncturist approaches your health from a different perspective, the nutritionist has her take on it and so does the exercise physiologist. Who is right?
My answer is that they are all right, partly right, and they are all wrong, partly wrong. It's like the old story of the elephant being examined by six blind men, each touching a different part of the beast and giving their own apparently conflicting descriptions of their experiences. We know that, if they could only see the elephant, they would know that they were all touching the same animal and that each description was correct from the perspective of the person involved.
It's somewhat similar with our health.
This is where NES and the Total Wellness System comes in.
Developed in the first place by the research of the brilliant Australian clinician, Peter Fraser, and made available for all through the vision and technological genius of Harry Massey, the NES Total Wellness System provides a complete system that restores health and energy at its source.
NES Total Wellness System (TWS) provides answers
Root causes
Body-mind connection
Self-healing is part of who we are
The one carries the pattern of the all
If you would like to experience the NES Total Wellness System for yourself, contact me to make an appointment for an in-person or distant scan session.
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The barbacoa taco from the Arcelia taco bus is truly amazing. It consists of two lightly fried tortillas and lots of barbacoa meat, plus soft-cooked onions, salsa and a lime wedge. The barbacoa is moist and tasty too, not crusted over like the stuff at Pancho's carniceria down the street. Even more amazing is the fact that they can sell tacos like this for 99¢. I visited Arcelia after a comment from Ricardo Tubbs on my post about the machacado con huevo at La Plaza on Long Point and Bingle.
Tubbs recommended I go back to La Plaza for the fajitas. He also wrote that there was another truck I hadn't written about, Tacos Arcelia at Blalock and Long Point, that makes El Ultimo "look like garbage."
While I am astonished by the cheap prices and oversized tacos at Tacos Arcelia, I am not signing up for the idea that these make the tacos at El Ultimo Taqueria on Long Point at Antoine "look like garbage." It's manzanas and naranjas, if you ask me. Arcelia has a very limited menu. There are only six items: fajita, tripa, barbacoa, lengua, al pastor and chicharron. I can't get anyone at my house to eat tripas, lengua or chicharron (unless they are the big meaty ones). So that leaves me with three items to choose from.
Meanwhile, down the street at El Ultimo, you get choices galore. My favorite things to eat there are the outstanding breakfast tacos. Last time I got them, they had huevos with your choice of bacon, ham, potatoes, nopalitos, machacado (shredded beef), chorizo or roasted peppers on a corn or flour tortilla. The flour tortillas were handmade, and the chorizo was exceptional.
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Thanks for the recommendation, Ricardo. I am always looking to expand my taco truck choices.


text:
- About
- Membership
- Conferences
- Awards
- Resources
- Theatre Survey
|Recipient Archive
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Publication & Presentation Prizes
Sally Banes Publication Prize
This prize honors the publication (book or essay) that, in the opinion of the prize committee, best explores the intersections of theatre and dance/movement in the previous two calendar years.
View past recipients
Judith Hamera, Princeton University, Unfinished Business: Michael Jackson, Detroit, and the Figural Economy of American Deindustrialization, Oxford University Press, 2017.
Honorable Mention
Anthea Kraut, UC Riverside, Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance.
Honorable Mention
Adria L. Amada, Aloha America
Honorable Mention
Petra Kuppers, Disability Culture and Community Performance: Find a Strange and Twisted Shape.
Honorable Mention
Clare Croft, "Ballet Nations: The New York City Ballet's 1962 US State Department Sponsored Tour of the Soviet Union."
Kate Elswit, "The Some of the Parts: Prosthesis and Function in Bertolt Brecht, Oskar Schlemmer, and Kurt Jooss."
Oscar G. Brockett Essay Prize
The Oscar G. Brockett Essay Prize is jointly awarded by the American Society for Theatre Research and the Oscar G. Brockett Center for Theatre History and Criticism at the University of Texas-Austin. The prize recognizes the best essay written and published in English in a refereed scholarly journal or volume published by a scholarly press and relating to any subject in theatre research, broadly construed.
View past recipients
Diana Looser, Stanford University, "Viewing Time and the Other: Visualizing Cross-Cultural and Trans-Temporal Encounters in Lisa Reihana's in Pursuit of Venus [infected]," Theatre Journal 69.4 (December 2017): 449-475.
Kathleen M. Gough, University of Vermont, "The Art of the Loop: Analogy, Aurality, History, Performance," TDR: The Drama Review 60.1 (Spring 2016): 93-115.
Lisa Merrill, Hofstra University, "'Most Fitting Companions': Making Mixed-Race Bodies in Antebellum Public Spaces," Theater Survey 56.2 (May 2015): 138-165 (Harvey Young, ed.).
Ellen MacKay, Graduate Center of the City University of New York, "Acting Historical with Shakespeare, or, William-Henry Ireland's Oaken Chest," Shakespeare Survey 67 (October 2014): 202-220 (Peter Holland, ed.).
Honorable Mention
Marvin Carlson, "The Arab Aristophanes," Comparative Drama 47.2 (Summer 2013): 151-166 (Elizabeth Bradburn, ed.).
Honorable Mention
Richard Schoch, "Inventing the Origins of Theatre History: The Modern Uses of Juba II's theatriké historia," Journal of Dramatic Theory and Criticism 27.1 (Fall 2012): 5-23 (Scott Magelssen, ed.).
Gary Jay Williams, "Edwin Booth: What They Also Saw When They Saw Booth's Hamlet" in Great Shakespeareans, Vol. VI: Macready, Booth, Terry, Irving Great (Continuum International Publishing Group, 2011).
Honorable Mention
Elaine Aston, "Feeling the Loss of Feminism: Sarah Kane's Blasted and an Experiental Genealogy of Contemporary Women's Playwriting," Theatre Journal 62.4 (December 2010): 575-591 (Penny Farfan and Lesley Ferris, eds.).
Honorable Mention
Andrew Sofer, "How To Do Things With Demons: Conjuring Performatives in Doctor Faustus," Theatre Journal 61.1 (March 2009): 1-21 (Catherine Schuler, ed.).
Cambridge University Press Prize
The Cambridge University Press Prize is an award funded by Cambridge University Press and administered by the American Society for Theatre Research.
View past recipients
Debra Levine, Assistant Professor of theater at NYU ABU Dhabi, "Falling Through The Roof/Dropping Like Beyoncé: Arguing for the Ethic of the Translocal."
Sebastián Calderón Bentin, New York University, "The Politics of Dillusion: The Collapse of the Fujimori Regime in Peru."
Naomi Bragin, University of Washington Bothell, "Funky Robots on the Soul Train Line: Black Power Technology and Anti-Human Movements."
Honorable Mention
Dassia Possner, "Baring the Frame: Meyerhold's "Reflective Analysis" of Gozzi's Love for Three Oranges."
Christian DuComb, "Blackface Photography and Performance Remains."
Community Engagement Award
ASTR recognizes local community organizations of the cities where it hosts its conferences through the Community Engagement Award.
View past recipients
Synchronicity Theatre of Atlanta, Atlanta, GA
New Native Theater, Twin Cities, MN
Distinguished Scholar Award
The Distinguished Scholar Award is given each year to a scholar whose body of work has made a significant contribution to the field of theatre, dance, opera, and/or performance studies. The three immediately previous Distinguished Scholar Award winners will consider the candidates and select the recipient.
View past recipients
Elinor Fuchs, Yale School of Drama
Sandra Richards, Northwestern University
Susan Bennett, University of Calgary
Gay Gibson Cima, Georgetown University
David Savran
Jill Dolan
David Mayer
Bruce McConachie
Janelle Reinelt
Thomas Postlewait
Jorge Huerta
Sue-Ellen Case
Harry Elam
Tracy Davis
Judith Milhous
Joseph Roach
Laurence Senelick
Marvin Carlson
Virginia Scott
Don Wilmeth
Joseph Donohue
Brooks McNamara
Michael Booth
Oscar G. Brockett
Kalman Burnim
Gerald Kahan
Eugene Waith
Vera Mowry Roberts
Harry Pedicord
Errol Hill
Richard Moody
Arthur Colby Sprague
Helen Krich Chinoy
Thomas Marshall
George Winchester Stone
Charles Shattuck
Barnard Hewitt Award
The Barnard Hewitt Award for Outstanding Research in Theatre History is awarded each year to the best book in "theatre history or cognate disciplines" published during the previous calendar year (2015). The University of Illinois initiated the Award many years ago to honor its founding department chair, Barnard Hewitt.
View past recipients
Heather S. Nathans, Tufts University, Hideous Characters and Beautiful Pagans: Performing Jewish Identity on the Antebellum American Stage (University Michigan Press, 2017).
Honorable Mentions
Hiliary Miller, California State University at Northridge, Drop Dead: Performance in Crisis, 1970s New York (Northwestern University Press, 2016).
Honorable Mentions
Henry S. Turner, Rutgers University, The Corporate Commonwealth: Pluralism and Political Fictions in England, 1516-1651 (University of Chicago Press, 2016).
Uri McMillan, UCLA, Embodied Avatars: Genealogies of Black Feminist Art and Performance (NYU Press, 2015).
Honorable Mention
Elizabeth Maddock Dillon, Northeastern University, New World Drama: The Performative Commons in the Atlantic World, 1649-1849 (Duke University Press, 2014).
Honorable Mentions
Paige McGinley, Washington University in St. Louis, Staging the Blues: From Tent Shows to Tourism (Duke University Press, 2014).
R. Darren Gobert, The Mind-Body Stage: Passion and Interaction in the Cartesian Theater (Stanford University Press, 2013).
Honorable Mentions
Lauren R. Clay, Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies (Cornell University Press, 2013).
Amy E. Hughes, Spectacles of Reform: Theater and Activism in Nineteenth-Century America (University of Michigan Press, 2012).
Honorable Mention
Judith Pascoe, The Sarah Siddons Audio Files (University of Michigan Press, 2011).
Honorable Mention
Virginia Scott, Women on the Stage in Early Modern France, 1540-1750 (Cambridge Universitiy Press, 2010).
Mechele Leon, Molière, the French Revolution, and the Theatrical Afterlife (University of Iowa Press, 2009).
Honorable Mentions
Thomas Postlewait, The Cambridge Introduction to Theatre Historiography (Cambridge University Press, 2009).
Susan Tumarkin Goodman, Chagall and the Artists of the Russian Jewish Theatre (Yale University Press, 2008).
Honorable Mention
Jean E. Howard, Theatre of a City: The Places of London Comedy, 1598-1642 (University of Pennsylvania Press 2007).
Honorable Mention
Gay Gibson Cima, Early American Women Critics: Performance, Religion, Race (Cambridge University Press, 2006).
Charlotte M. Canning, The Most American Thing in America: Circuit Chautauqua as Performance (University of Iowa Press, 2005).
Claire Sponsler, Ritual Imports: Performing Medieval Drama in America (Cornell University Press, 2004).
Errol G. Hill and James V. Hatch, A History of African American Theatre (Cambridge University Press, 2003).
Honorable Mention
Jody Enders, Death by Drama and Other Medieval Urban Legends (University of Chicago Press, 2002).
Meredith Chilton, Harlequin Unmasked: The Commedia Dell'Arte and Porcelain Sculpture (Yale University Press, 2001).
Jeffrey Veidlinger, The Moscow State Yiddish Theatre: Jewish Culture on the Soviet Stage (Indiana University Press, 2000).
Jeffrey S. Ravel, The Contested Parterre: Public Theatre and French Political Culture, 1680-1791 (Cornell University Press, 1999).
Don Wilmeth and Christopher Bigsby, eds. Cambridge History of American Theatre, Volume I: Beginnings to 1870 (Cambridge University Press, 1998).
Laurence Senelick, The Chekhov Theatre: A Century of Plays in Performance (Cambridge University Press, 1997).
Catherine Schuler, Women in Russian Theatre: The Actress in the Silver Age (Routledge, 1996).
Joseph Donohue, Oscar Wilde's The Importance of Being Earnest: The First Production (Oxford University Press, 1995).
John Fuegi, Brecht and Company: Sex, Politics, and the Making of Modern Drama (Grove Press, 1994).
James V. Hatch, Sorrow is the Only Faithful One: The Life of Owen Dodson (University of Illinois Press, 1993).
Bruce McConachie, Melodramatic Formations: American Theatre and Society, 1820-70 (University of Iowa Press, 1992).
Leeds Barroll, Politics, Plague, and Shakespeare's Theater: The Stuart Years (Cornell University Press, 1991).
Carla Waal, Harriet Bosse: Stringberg's Muse and Interpreter (Southern Illinois University Press, 1990).
A. H. Saxon, P.T. Barnum: The Legend and the Man (Columbia University Press, 1989).
Martin Banham, The Cambridge Guide to World Theatre (Cambridge University Press, 1989).
Charles H. Shattuck, Shakespeare on the American Stage: From Booth and Barrett to Sothern and Marlowe, Vol II (Folger Shakespeare Library, 1987).
Jared Brown, The Fabulous Lunts: A Biography of Alfred Lunt and Lynn Fontanne (Atheneum, 1986).
Joseph Roach, The Player's Passion (University of Delaware Press, 1985).
Errol G. Hill, Shakespeare in Sable (University of Massachusetts Press, 1984).
Martin Meisel, Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth Century England (Princeton University Press, 1983).
Robert Karoly Sarlós, Jig Cook and the Provincetown Players (University of Massachusetts Press, 1982).
Jonas Barish, The Anti-Theatrical Prejudice (University of California Press, 1981).
Don Wilmeth, George Frederick Cooke: Machiavel of the Stage (Praeger, 1980).
George Winchester Stone and George M. Kahrl, David Garrick: A Critical Biography (Southern Illinois University Press, 1979).
Gerald Bordman, American Musical Theatre: A Chronicle (Oxford University Press, 1978).
Gilbert B. Cross, Next Week East Lynne: Domestic Drama in Performance, 1820-1874 (Bucknell University Press, 1977).
Joseph Donohue, Theatre in the Age of Kean (John Wiley and Sons Ltd., 1976).
Stephen Orgel, The Illusion of Power: Political Theatre in the English Renaissance (University of California Press, 1975).
Errol Hill Award
The Errol Hill Award is given in recognition of outstanding scholarship in African American theater, drama, and/or performance studies, as demonstrated in the form of a published book-length project (monograph or essay collection) or scholarly article. The book or article must have been published during the previous calendar year (2016 for the 2017 award), and deal with African American theater history, dramatic literature, or performance studies (research on dance, acting and directing, public performances, i.e., parades, pageants, etc.).
View past recipients
Kellen Hoxworth, Dartmouth College, "The Many Racial Effigies of Sara Baartman," Theatre Survey 58:3 (September 2017).
Renee Alexander Craft, University of North Carolina at Chapel Hill, When the Devil Knocks: The Congo Tradition and the Politics of Blackness in Twentieth-Century Panama (Ohio State University Press, 2016).
Honorable Mentions
T. Carlis Roberts, UC Berkeley, Resounding Afro Asia: Interracial Music and the Politics of Collaboration (Oxford University Press, 2016).
Uri McMillan, UCLA Embodied Avatars: Genealogies of Black Feminist Art and Performance (New York University Press, 2015).
Honorable Mention
Paige McGinley, Washington University in St. Louis, Staging the Blues: From Tent Shows to Tourism (Duke University Press, 2014)
Honorable Mention
Kathleen Gough, Kinship and Performance in the Black and Green Atlantic (Routledge, 2013).
Honorable Mentions
Macelle Mahala, Penumbra: The Premier State for African American Drama (University of Minnesota Press, 2013).
Diana Rebekkah Paulin, Imperfect Unions: Staging Miscegenation in US Drama and Fiction (University of Minnesota Press, 2012).
Bernth Lindfors, Ira Aldridge: The Early Years 1807-1833 (University of Rochester Press, 2011).
Honorable Mention
Harvey Young, Embodying Black Experience: Stillness, Critical Memory, and the Black Body (University of Michigan Press, 2010).
Tavia Nyong'o, The Amalgamation Waltz: Race, Performance, and the Ruses of Memory (University of Minnesota Press, 2009).
Jayna Brown, Babylon Girls: Black Women Performers and the Shaping of the Modern (Duke University Press, 2008).
Cedric Robinson, Forgeries of Memory and Meaning: Blacks and the Regimes of Race in American Theatre and Film before World War II (University of North Carolina Press, 2007).
Daphne Brooks, Bodies in Dissent: Performing Race, Gender, and Nation in the Trans-Atlantic Imaginary (Duke University Press, 2006).
Jill Lane, Blackface Cuba, 1840 - 1895 (University of Pennsylvania Press, 2005).
Harry Elam, The Past as Present in the Drama of August Wilson (University of Michigan Press, 2004).
James Hatch and Errol Hill, A History of African American Theatre (Cambridge University Press, 2003).
Thomas DeFrantz, Dancing Many Drums (University of Wisconsin Press, 2002).
David Krasner and Harry Elam, Jr., eds., African-American Performance and Theater History: A Critical Reader (Oxford University Press, 2001).
Kimberly W. Benston, Performing Blackness: Enactments of African-American Modernism (Routledge, 2001).
George A. Thompson, Jr., A Documentary History of African Theatre (Northwestern Univeristy Press, 1998).
Jill Lane, "Blackface Nationalism, Cuba 1840-1868." Theatre Journal 50, no. 1 (1998).
David Krasner, Resistance, Parody, and Double Consciousness in African American Theatre, 1895-1910 (Macmillan Publishers, 1997).
Annemarie Bean, James V. Hatch, and Brooks McNamara, eds., Inside the Minstrel Mask: Readings in Nineteenth Century Blackface Minstrelsy (Wesleyan University Press, 1996).
Gerald Kahan Scholar's Prize
The American Society for Theatre Research offers an annual award for the best essay written and published in English in a refereed scholarly journal. The essay can be on any subject in theater research, broadly construed. The Kahan Prize includes an acknowledgement of the editor's contribution to scholarship.
View past recipients
John MacNeill Miller, Allegheny College, "When Drama Went to the Dogs; or, Staging Otherness in the Animal Melodrama," PMLA 132.3 (2017), ed., Wai Chee Dimock.
Honorable Mentions
Julia Jarcho, New York University, "Cold Theory, Cruel Theater: Staging the Death Drive with Lee Edelman and Hedda Gabler," Critical Inquiry 44.1 (Autumn 2017), ed., W.J.T. Mitchell.
Pattrick McKelvey, "Ron Whyte's 'Disemployment': Prosthetic Performance and Theatrical Labor," Theatre Survey 57.3 (September 2016): 314-335 (Harvey Young, ed.).
Honorable Mentions
Miles P. Grier, Queens College, City University of New York, "Staging the Cherokee Othello: An Imperial Economy of Indian Watching," William and Mary Quarterly 73.1 (January 2016): 73-106.
Jane Wessel, University of Delaware, "Possessing Parts and Owning Plays: Charles Macklin and the Prehistory of Dramatic Literary Property," Theatre Survey 56.3 (September 2015): 268-290 (Harvey Young, ed.).
Naomi Bragin, "Shot and Captured: Turf Dance, YAK Films, and the Oakland, California, R.I.P. Project," TDR: The Drama Review, 58.2 (2014): 99-114 (Richard Schechner, ed.).
Michelle Liu Carriger, "The Unnatural History and Petticoat Mystery of Boulton and Park': A Victorian Sex Scandal and the Theatre Defense," TDR: The Drama Review 57.4 (2013): 135-156 (Richard Schechner, ed.).
Ariel Nereson, "Queens 'Campin' Onstage: Performing Queerness in Mae West's 'Gay Plays'," Theatre Journal 64.4 (December 2012): 513-532 (Penny Farfan, ed.).
Diana Looser, "A Piece 'More Curious Than All the Rest': Re-Encountering Pre-Colonial Pacific Island Theatre, 1769-1855," Theatre Journal 63.4 (2011): 521-540 (Penny Farfan, ed.).
Honorable Mention
Anastasia Kaviatos, "Sooner Speaking than Silent, Sooner Silent than Mute: Soviet Deaf Theatre and Pantomime after Stalin," Theatre Survey 51.1 (2010): 5-31.
Magda Romanska, "Between History and Memory: Auschwitz in Akropolis: Akropolis in Auschwitz," Theatre Survey 50.2 (November 2009): 223-250 (Catherine Cole, ed.).
Jennifer Schlueter, "'A theatrical race:' American Identity and Popular Performance in the Writings of Constance M. Rourke," Theatre Journal 60.4 (2009): 529-543 (David Saltz, ed.).
Emily Colborn-Roxworthy, "Manzanar, the eyes of the World are upon You: Performance and Archival Ambivalence at a Japanese Internment Camp," Theatre Journal 59.2 (May 2007): 189-214 (Jean Graham-Jones, ed.).
Marla Carlson, "Looking, Listening, and Remembering: Ways to Walk New York After 9/11," Theatre Journal 58.3 (October 2007): 395-416 (Jean Graham-Jones, ed.).
Kimberly Jannarone, "The Theatre before Its Double: Artaud Directs in the Alfred Jarry Theatre," Theatre Survey 46.2 (2005): 247-273 (Jody Enders, ed.).
Honorable Mention
Ayesha Ramachandran, "New World, No World: Seeking Utopia in Padmanabhan's Harvest," Theatre Research International 30.2 (2005): 161-74 (Chris Balme, ed.).
Scott Magelssen, "Performance Practices of [Living] Open-Air Museums (and a New Look at "Skansen" in American Living Museum Discourse)," Theatre History Studies 24 (2004): 125-49 (Rhona Justice-Malloy, ed.).
Honorable Mentions
Cla´udio Medeiros, "Queering Homoerotic Desire, Silence and Violence in Zeno Wilde's Blue Jeans: A Performance-Sensitive Reading for the Twenty-first Century," Theatre Journal 56.3 (2004): 373-394 (Harry J. Elam Jr., ed.).
Tamsen Wolff, "Eugenic O'Neill and the Secrets of Strange Interlude," Theatre Journal 55.2 (May 2003): 215-234 (Harry J. Elam Jr., ed.).
Katie N. Johnson, "Zaza: That 'Obtruding Harlot' of the Stage," Theatre Journal 54.2 (May 2002): 222-243 (David Roma´n and Harry J. Elam Jr., eds.).
Eszter Szalczer, "Nature's Dream Play: Modes of Vision and August Strindberg's Re-Definition of the Theatre," Theatre Journal 53.1 (March 2001): 33-52 (Susan Bennett and David Roma´n, eds.).
Mark Hodin, "The Disavowal of Ethnicity: Legitimate Theatre and the Social Construction of Literary Value in Turn-of-the-Century America," Theatre Journal 52.2 (May 2000): 211-26 (Susan Bennett, ed.).
Harley Erdman, "Jewish Anxiety in 'Days of Judgement': Community Conflict, Antisemitism and the God of Vengeance Obscenity Case," Theatre Survey 40.1 (May 1999): 51-74 (Gary Jay Williams, ed.).
Honorable Mention
Charles B. Davis, "Reading the Ventriloquist's Lips: The Performance Genre behind the Metaphor," The Drama Review 42.160 (Winter 1998): 133-56 (Richard Schechner, ed.).
Gregory Castle, "Staging Ethnography: John M. Synge's Playboy of the Western World and the Problem of Cultural Translation," Theatre Journal 49.3 (October 1997): 265-286 (John Rouse, ed.).
Shannon Jackson, "Civic Play-Housekeeping: Gender, Theatre, and American Reform," Theatre Journal 48.3 (October 1996): 337-61 (John Rouse, ed.).
Jane Winston, "Marguerite Duras: Marxism, Feminism, Writing," Theatre Journal 47.3 (October 1995): 345-65 (Janelle Reinelt, ed.).
Jon McKenzie, "Virtual Reality: Performance, Immersion, and the Thaw," The Drama Review 38.4 (Winter 1994): 83-106 (Richard Schechner, ed.).
Barbara Vennman, "Boundary Face-Off: New Orleans Civil Rights Law and Carnival Tradition," The Drama Review 37.3 (Autumn 1993): 76-109 (Richard Schechner, ed.).
Claire Sponsler, "The Culture of the Spectator: Conformity and Resistance to Medieval Performances," Theatre Journal 44.1 (March 1992): 15-29 (W. B. Worthen, ed.).
Sarah Bryant-Bertail, "Space/Time as Historical Sign: Essays on La Celestine, in Memory of Antoine Vitez," Journal of Dramatic Theory and Criticism 5.2 (Spring 1991): 101-120 (John Tedesco, ed.).
David Kuhns, "Wedekind the Actor: Aesthetics, Morality, and Monstrosity," Theatre Survey 31.2 (November 1990): 144-64 (Marvin Carlson and Judith Milhous, eds.).
Adam Verse´nyi, "Getting Under the Aztec Skin: Mendicant Evangelical Theater in the Conquest of the New World," New Theatre Quarterly 5.19 (August 1989): 217-226.
A tie resulted in two awards:
Michal A. Kobialka, "The Quem Quaeritis: Theatre History Displacement," Theatre History Studies 8 (Spring 1988): 35-51.
Peggy Phelan, "Feminist Theory, Poststructuralism, and Performance," The Drama Review 32.1 (Spring 1988): 107-127.
Kathy Fletcher, "Planche´, Vestris, and the Transvestite Role: Sexuality and Gender in Victorian Popular Theatre," Nineteenth Century Theatre 15.1 (Summer 1987): 8-33.
Steven Earl Forry, "The Hideous Progenies of Richard Brinsley Peake: Frankenstein on the Stage, 1825–26," Theatre Research International 11.1 (Spring 1986): 13-31.
No Award Given.
John Rouse, "Brecht and the Contradictory Actor," Theatre Journal 36.1 (March 1984): 25-41.
Gay Gibson Cima, "Discovering Signs: The Emergence of the Critical Actor in Ibsen," Theatre Journal 35.1 (March 1983): 5-22.
Inaugural José Esteban Muñoz Targeted Research Working Session
The Jose Esteban Munoz Targeted Research Working Session Award aims to support, promote, and feature the production of research by and about people of color at ASTR, placing particular emphasis on these working sessions as an opportunity to foster and forward intersectional work that also attends to and includes LGBTQ communities, disability communities, and scholars without regularized institutional support.
View past recipients
2016 Convenors
Soyica Colbert, Georgetown University
The Future in the Present: The Transtemporalities of Minoritarian Performance
ATHE-ASTR Award for Excellence in Digital Theatre and Performance Scholarship
The Joint ATHE-ASTR Award for Excellence in Digital Theatre and Performance Scholarship is awarded each year to an individual or team that demonstrates innovation and rigor in the use of electronic/digital media for the purpose of producing or disseminating knowledge about theatre and performance.
View past recipients
"Lessing's Hamburg Dramaturgy: A New, Complete, and Annotated Edition"
"Hearing the Music of the Hemispheres"
Honorable Mention
Research Grants
ASTR Collaborative Research Award
The purpose is to foster the exchange of research across different academic and community contexts within the U.S. or between U.S. scholars/artists and those abroad. To foster long-term relationships benefiting faculty who work in different types of institutional environments. To foster the exchange of research in subject areas underrepresented in U.S. theatre scholarship, pedagogy, and performance practice. To enrich and diversify ASTR's membership.
View past recipients
April Sizemore-Barber (Georgetown University) and Carla Lever (University of Cape Town), "Social (Re)Movements: Disruptive Decoloniality in South African and American Protest and Performance."
Sara Brady (Bronx Community College, City University of New York), Kashi Johnson (Lehigh University), and Ellen Mareneck (Bronx Community College, City University of New York), "Performance Pedagogies of Hip Hop in the Bronx."
Eero Laine (University at Buffalo, State University of New York), Christine Marks (LaGuardia Community College), and Catherine Young (New York University), "Translating and Staging The Dog of Aubri by Albert Lindner."
Miriam Felton-Dansky (Bard College) and Jacob Gallagher-Ross (University of Toronto), "Spectatorship in the Age of Surveillance."
Jimmy Noriega (The College of Wooster) and Carlos Chavarria (Contra Costa College), "Jotoholic (Confessions of a Mexican Outcast): Queer Latina/o Performance as Research."
Shane Boyle (Queen Mary University, London) and Brandon Woolf (Free University Berlin), "The Hidden Abode of Counter Logistics."
Victoria Fortuna and Susanna Tambuti, "Dance, History, Memory."
Anita Gonzalez (SUNY, New Palz) will collaborate with James Frieze (Liverpool John Moores Univ., UK), "Liverpool Trading: Theatrical exchanges of Afro-Carribean, African-American, and British Performances."
Co-Sponsored Events Awards
The Co-Sponsored Event grant exists to:
View past recipients
Ann Folino White and Daniel Smith, Great Lakes Theater Symposium, "Traveling through Time: Theatre History and Artistic Process."
Michelle Granshaw, University of Pittsburgh, "Spectacles of Labor: Performance and the Working Class."
Emma Meehan, David Bennett, and Hetty Blades, Coventry University, "Performing Process: Sharing Practice."
Charlotte McIvor, National University of Ireland, Galway, "Performing the Archive."
Michele Salerno, University of Illinois, Urbana-Champaign, "Landscapes: Performing Space and Culture" (graduate student conference).
Wendy Arons, "Earth Matters on Stage" Playwrights' Festival and Symposium."
Kimberly Jannarone, "Peer Gynt Project."
Suk-Young Kim, "Global Theatre and Performance Studies Research Workshops."
Charlotte Canning, "Second Conference of the Consortium of Doctoral Programs, in Theatre and Performance Studies."
Heather Nathans, "Triumph in My Song: 18th & 19th Century African Culture, History, and Performance."
Leo Cabranes-Grant and Catherine Cole, "African and Afro-Caribbean Performance" (A conference at UC Berkeley, Sept. 26-28, 2008).
Grants for Researchers with Heavy Teaching Loads
The goal of the ASTR Grant for Researchers with Heavy Teaching Loads is to ensure that institutional affiliation does not hinder the contributions of individual faculty to debates that concern us all and that are central to ASTR's mission of cultivating scholarship on all aspects of theatre studies. In practical terms, the award provides: research support, which may take the form of funding to obtain or travel to research materials (i.e. archives, interview subjects) or contributing to funding of research assistance or course release, etc.
View past recipients
Stefanie Jones, The Graduate Center, City University of New York.
Marnie J. Glazier, Hartnell College, "Fire, Famine, Flood: Deformed Body Earth, Disabled Body Politic."
Sharyn Emery, Indiana University Southeast, "Staging Activism."
Karen Jean Martinson, Chicago State University, "Making the Dream Real."
Laura MacDonald, "Broadways Transnational Lullabies: The Growth of Musical Theatre in Postward Europe and Asia."
Jill Stevenson, "Performing the End Times in the Middle Ages and Today."
Brian Herrera, for support of the book project "Latin Explosion: Latinos, Racial Formation, and Twentieth Century U.S. Popular Performance."
Helen Krich Chinoy Dissertation Fellowship
The Helen Krich Chinoy Dissertation Fellowship is intended to assist Ph.D. candidates with the expenses of travel to national and international collections to conduct research projects connected with their dissertations. The total award amount of $3000 is typically divided into three equal awards.
View past recipients
C. Tova Markenson, Northwestern University, "Entrance Forbidden to the Yiddish Theatres: Performance, Prostitution, and Protest in Latin America (1900-1939)."
Ali-Reza Mirsajadi, Tufts University, "Directing Between the Lines: Contemporary Iranian Theatre and the Aesthetics of Ambiguity."
Christopher Rodelo, Harvard University, "A Historical Study of Latinx Performance in the Transnational Nineteenth Century."
Sarah Campbell, Indiana University, "Identity in Performance in Contemporary Yucatec Maya Theatre."
Sarah Saddler, Univeristy of Minnesota, "Performing Bodies, Corporate Bodies: Participatory Theatre Training in Global India."
Samuel Yates, George Washington University, "Cripping Broadway: Neoliberal Performances of Disability in the American Musical."
Guanda Wu, University of Minnesota, "Nandan, Gender Plasticity, and the Dichotomization of 'Artistic' Femininity versus 'Natural' Masculinity from China's Republican Era to the Early PRC (1912-1960s)."
Hesam Sharifian, Tufts University, "Americanizing Shakespeare in Print: Nineteenth-Century American Illustrated Editions of Shakespeare as Representations of National Identity."
Christiana Molldrem Harkulich, "Standing between the Reservation and the Nation: Indigenous Performance in North America after the End of the Indian Wars"
Susan Finque, University of Washington, "The Callao Contract of 1599: Evidence for a Transformative Genealogy of American Theatre from Lima, Peru."
Haddy Kreie, UC Santa Barbara, "Slavery and the Emergence of Vodun: Race, Trauma, Protection, and Agency in Spiritual Systems of Southern Benin."
Gwyneth Shanks, UCLA, "Performance and the Museum: Material Remains."
Adron Farris, Elizabeth Kinsley, Patrick McKelvey
Collen Daniher, Ariel Nereson, Katelyn Wood
Mary McAvoy, Caitlin Marshall, Tara Rodman
Mary Isbell, Bethany Wood, Heidi Nees
Jennifer Myers, Angela Marino Segura, Christian DuComb
Lofton L. Durham III, Elizabeth W. Son, Katherine A. Zien
Diana Looser, Adrienne Macki
Ann White, Christina McMahonm, Jill Stevenson
Ian Borden, Sheila C. Moeschen, Peach Pittenger
Marion E. Wilson, Eng-Beng Lim, Marty Gould
Paulette Marty, Rebecca Rugg, Harvey Young
Jane Barnette, Lauren McConnell, Johanna Frank
Marla Carlson, Anthea Kraut, Alma R. Martinez
Gwendolyn Alker, Marta J. Effinger, Erin Hurley
Dennis Barnett, Jill Lane, Daphne Pi-Wei Lei
Toni Hull, Edward Blaise Ziter
Frazer Lively, Mary Trotter
Brooks McNamara Publishing Subvention
This subvention supports the costs of securing rights to reproduce illustrations for publication, costs of acquiring illustrations, and/or the costs of reproducing illustrations in conjunction with a book under contract for publication. (Electronic publications will also be considered.).
View past recipients
Kate Bredeson, Reed College, Occupying the Stage: the Theater of May '68 (Northwestern University Press, 2018).
E.J. Westlake, University of Michigan, El Güegüence: The Fluctuating Movement of the Postcolonial Sign (forthcoming from Southern Illinois University Press).
Meredith Conti, University of Buffalo, SUNY, Playing Sick: Performances of Illness in the Age of Victorian Medicine (Routledge).
Penny Farfan, University of Calgary, Performing Queer Modernism (Oxford University Press).
Laura Edmondson, Dartmouth College, Trauma, Inc.: Performing Violence in Central Africa (Indiana University Press).
Jessica Berson, Yale University, The Naked Result: How Exotic Dance Became Big Business (Oxford University Press)
Brian E. Herrera, Latin Numbers: Playing Latino in 20th Century Popular Performance (University of Michigan Press, 2015).
Sean Metzger, Chinese Looks: Fashion, Performance, Race (Indiana University Press, 2014)
Amy Hughes, Spectacles of Reform: Theater and Activism in Nineteenth-Century America (University of Michigan Press, 2012).
Soyica Colbert, The African American Theatrical Body: Reception, Performance, and the Stage (Cambridge University Press, 2011).
Iris Smith Fischer, Mabou Mines: Making Avant-Garde Theatre in the 1970s (University of Michigan Press).
ASTR Research Fellowships
The purpose of the ASTR Research Fellowships is to underwrite some of the research expenses of scholars undertaking projects significant to the field of theatre and/or performance studies.
View past recipients
Meredith Conti, University at Buffalo, State University of New York, "Gunpowder Plots: A Cultural History of Firearms and the American Theatre."
Jessica Nakamura, University of California, Santa Barbara, "Genealogies of the Private on the Public Stage."
Bertie Ferdman, Borough of Manhattan Community College, City University of New York, "Theatre in the white room: How dramaturgy and curatorial practices are intersecting in the contemporary arts."
Scott Magelssen, University of Washington, "Performing Flight: Aviators, The Cold War, and Space Tourism."
Donovan Sherman, Seton Hall University, "The Philosopher's Toothache: Embodying Early Modern Stoicism."
Kate Bredeson, Reed College, "A Lifetime of Resistance: The Diaries of Judith Malina, 1947-2016."
Gwyneth Shanks, UCLA, "Performing the Museum: Displaying Race, Gender, and Nationalism."
Julia Walker, Washington University in St. Louis, "Civil Rites: Performing Social Theory on the Modern Stage."
E.J. Westlake, University of Michigan, "La Conquistadora and Zozobra: Cultural Icons in Conflict."
Sara Brady
Claudia Rene Wier
Stuart Hecht, Matthew Schifflett
Kathleen Johnson
Jill Stevenson
Catherine Schuler
Carol Sorgenfrei, Eng-Beng Lim, E.J. Westlake
Sonja Kuftinec, Manon Van De Water
Heather Nathans, Gary Jay Williams, Edward Ziter
Virginia Scott, Annemarie Bean, Kevin J. Wetmore
Sharon Carnicke, Laurence Senelick
Gay Gibson Cima, Catherine Schuler, Phillip Zarrilli
Rosemarie Bank, Richard W. Schoch
Targeted Research Areas Grants
The purpose of the ASTR Targeted Research Area Grants is intended to support specific projects by scholars working in areas important to ASTR's mission that are currently under-represented in its various activities.
View past recipients
Ariel Nereson, University at Buffalo, State University of New York, "Dancing Between Concert and Commercial Stages: Risk, Reward, and Racial Politics."
Lisa Jackson-Schebetta, Skidmore College, "Performance and Peace-making in Contemporary Colombia."
Amanda Culp, Columbia University, "Annotated Translation Project: The Agnipravēśāṅkam."
Patrick McKelvey, Florida State University, "Crip Enterprise: Disability Goes to Work in U.S. Performance."
J. Lorenzo Perillo, University of Illinois, Chicago, "Postcolonial Choreographies: Empire, Racialized Movement, and Hip-hop."
Erin Alice Cowling, Hampton-Sydney College Tania de Miguel Magro, West Virginia University, "El Principe Inocente."
Carla della Gatta, University of Southern California, "The Erasure of Latinidad: The Festival Latino and Theatre History."
Bryan Schmidt, University of Minnesota, "Street Performance at South Africa's National Arts Festival."
Eric Mayer García, Louisiana State University, "Documenting the Photographic Archive of Tablas Alarcos Press as a Resource of Cuban Theatre History."
Jennifer Goodlander, Indiana University, "Puppet Performance in Cambodia's Cities: Reconfiguring Tradition after the Khmer Rouge."
Christin Essin, "A Cultural History of U.S. Backstage Labor."
Gibson Cima, "Post-Conflict Nostalgia: Post-apartheid South African Theatre, 1990-2012."
Emily Sahakian, "Dramatic Disconnects: Slavery's Legacy in French Carribean Theatre by Women."
Kyounghye Kwon, "Korean Performance, Global Stages: Indigenous Memory and Cultural Diplomacy."
Megan Lewis, "White Africans in the Spotlight: Staging Afrikaners in South African Theatrical and Public Life."
Dave Dalton and Raul Galoppe, "Don Gil" performance/research project
Laura Edmondson, "Genocide Performed: Narratives of Violence from East Africa."
Melissa Blanco Borelli, "Active Bodies/Silent Voices: Dancing Mulatas in Cuba's academias de baile (1920s-1950s)."
Patricia Gaborik and Andrea Harris, "From St. Petersburg and Paris to New York: Futurism Translated in Balanchine's American Ballet."
Natalya Baldyga, "Improvising Italy: Performance and Cultural Identity in C18th Venice."
Travel Awards
Selma Jeanne Cohen Conference Presentation Award
This award provides a scholar to participate in a plenary or working session at the ASTR conference. This presentation must, in the spirit of Selma Jeanne Cohen, explore the intersections of theatre and dance/movement. The purpose of the award is to encourage scholars in dance and movement-based fields to become active members of ASTR by helping them to meet the travel and hotel expenses of attending and presenting at the ASTR annual meeting.
View past recipients
Dhiren Borisa, Jawaharial Nehru University, "Queer Desires and Dancing in Delhi: Performing Bodies and Redrawing of Selves."
Jessica Berson, Yale University, "Sexy Beasts: Incarnating Disabled Desire."
Ariel Nereson, SUNY Buffalo,"Rehearsing Empathy: Embodiment, Mourning and Lincoln's Deathbed."
Shamell Bell, UCLA,"Living is Resisting: Street Dance Activism in the Black Lives Matter Movement."
Karen Mozingo
Diana Looser
Virginia Preston
Angela Ahlgren
David Keller Travel Grants
The purpose of the David Keller Travel Awards is to encourage untenured scholars with terminal degrees to become active members of the Society by helping them to meet the expenses of attending the ASTR annual meeting.
View past recipients
Areum Jeong, Asia Culture Research Institute, Korea, "K-Pop: Stream Like You Breathe."
Eero Laine , University at Buffalo, State University of New York, "The Integrated Spectator: Theatre Audiences and Pedagogy."
Aoise Stratford, Cornell University, "Re-opening Sarah Kane's Chamber of Horrors: Blasted as Gothic Drama."
Serap Erincin, Louisiana State University
Patrick McKelvey, Florida State University, "Bureaucratic Drag, or Paper Work."
Francesca Spedalieri, Stony Brook University, "Emma Dante and Carnezzeria."
Jessica Del Vecchio, Drew University, "Coming Away from myself to be Myself: The Transfeminism of Half Straddle's House of Dance."
Michelle Granshaw, University of Pittsburgh, "Tramping and the Cultural Reimagining of Work."
Dominika Laster, University of New Mexico, "Bodies that Trespass: Performances of Transmigration in Central-Eastern Europe."
Ariel Nereson, SUNY Buffalo, "Rehearsing Empathy: Embodiment, Mourning, and Lincoln's Deathbed."
Arnab Banerji, Loyola Marymount University, Josy Miller, UC Davis, Lisa Woynarski, Royal Central School of Speech and Drama.
Josy Miller, UC Davis, "Ivory Tower/Black Box: Practice-as-Research in Contemporary Shakespeare Studies."
Lisa Woynarski, The Royal Central School of Speech and Drama, "Towards an Ecological Performance Aesthetic for the Bio-Urban: A Non-Anthropocentric Theory."
Amy Brady, Jessica Berson
Naomi Stubbs, Joanne Zerdy
Brian Cook, Laura MacDonald, Jonathan Shandell
Jen Scott Mobley, Charlotte McIvor, Jenna L. Kubly
Chris Martin
Virginia Anderson
Marla Carlson, Roisin O'Gorman
Patricia Gaborik
Linda Sears
John Harris
Thomas Marshall Graduate Student Awards
The purpose of the Thomas Marshall Graduate Student Awards is to encourage students to become active members of the Society by helping them to meet the expenses of attending the ASTR annual meeting.
View past recipients
Lilianne Lugo Herrera, University of Miami, "Virtual Bodies and Archives in Caridad Svich's Antigone Arkhe."
Mohamadreza Babaee, Bowling Green State University, "Unpacked: Refugee Baggage: Performing Racial Mobility."
Jessica Watkin, University of Toronto, "Losing and Loving: The Fury of Becoming the Monster in Alex Bulmer's Smudge."
Sissi Liu, The Graduate Center, City University of New York, "The 'Exotic,' Fashionable, Queer Asians: Cosmetic Surgery, Reproduction, and Politics of the Face."
Lilian Mengesha, Brown University, "Decolonial Dreamwork: Spectatorship, Memory and Indigeneity in Performance."
Hesam Sharifian, Tufts University, "Facilitating Minoritarian Scholarship: Theatre and Performance of the Islamic World."
Kellen Hoxworth, Stanford University, "Transoceanic Blackface; or, the Silver Belt Jig."
Joseph D'Ambrosi, Indiana University, "Transforming the Gospels: McNally's Corpus Christi and the Debunking of Evangelical Drama."
Sarah Blissett, University of Roehampton, "Biomimicry in Performance: trans/forming environments."
Yasmine Jahanmir, UC Santa Barbara, Ioana Jucan, Brown University, Tiffany Trent, Arizona State University
Ioana Jucan, Brown University, "(Re)Action in the Anthropocene: With Concern to Plastic."
Tiffany Trent, Arizona State University, "Parables in Practice: Congregational Gardens and Farmers' Markets as Utopic Visioning and Festival Sites."
Naomi Bragin, Patrick McKelvey
Jyana Browne, Deirdre O'Rourke, Aileen Robinson
Kellyn Johnson, Eero Laine, Scott Wallin
Michelle Granshaw, Brandon Woolf, David Calder
Angela Ahlgren, Lindsay Adamson Livingston, Esther Terry
Meredith Conti, Jay M. Gipson-King, Matthew Omasta
Tiffany Knight, Bill Whitney
Jason Farman, Roisin O'Gorman, Adrienne Macki
Robin Bernstein, Peach Pittenger, Paige McGinley
Korey Rothman, Erika Lin, Eng-Beng Lim
Rebecca Rugg, Peter Civetta, Phillip Zwerling
Aaron Anderson, Kimberley Anne McQuillen
Jane S. Barnette, Sara Davis, Harvey Young Jr.
Esther S. Kim, Shauna Vey
Annemarie Bean, Cristina Nipe, Andrew Ryder
Erin Hurley, Marvin McAllister, Milan Pribisic
Robert Russell, Manon C. Van De Water, Robert S. Petersen
Jennifer Jones, Richard W. Schoch, John Fleming
John Barnes, Anne Davis Basting, Sarah Becker, Jay Plum
Shirley A. Huston-Findley, Tracy F. Martin, Brad Wright
Lorien Corbelletti, Jay Scott Chipman, Susan Chast, Leigh Ann Clemons
Tobin Nellhaus, Donnalee Dox-Kulhawy, Kyriaki Gounaridou
J.K. Curry, Kerk Fisher, Lurana Donnels O'Malley
Erica Magnus, Stacey Jones
J. Ellen Gainor, Stacy Claire Brightman, Kenneth F. Hoke-Witherspoon, Maureen Buchanan Jones, William Nelles
Joanne E. Gates, Martha LaMonaco
Michael Kobialka


text:
The BlackBerry Facebook App Is Not Working Anymore
Occasionally, apps on a BlackBerry phone may stop working. When your Facebook app stops working, you have a few available options to troubleshoot it before reaching out to technical support. In most instances, problems with the app are a sign that it is time to update or reinstall the app.
Network Connection
An active network connection is required for the Facebook app to work on your BlackBerry mobile phone. When the connection is inactive, the app cannot properly load. Check your connection to ensure it is active by looking for the network icon in the notification panel at the top of the screen. If it is inactive, press the "Menu" key and click "Manage Connections." Check the "Mobile Network" box if it is empty to enable the network connection.
Periodically, updates to apps are made available to download and install. The apps are released to introduce new features and provide fixes to identified issues. Check for updates to the Facebook app if it continues to experience problems. Launch BlackBerry App World and look for an available update. If an update is available, click "Install" and wait for the process to complete.
Hard Reset
When another app is running, it can potentially interfere with the ability of the Facebook app to properly function. If you have closed all of the running apps on your phone and Facebook is still not working, hard reset your phone. A hard reset involves removing the BlackBerry's battery for at least one minute. None of your phone's data is disturbed or altered during the reset. A reset is akin to restarting your computer. It closes all running apps and only loads those that are necessary for the phone to operate.
Continued problems with the Facebook app on your BlackBerry phone could be an indication that the installation was faulty. Uninstall and reinstall the app to ensure that it is properly installed. Open your phone's advanced options and view the list of apps currently installed on the device. Highlight the Facebook app and press the "Menu" key. Click "Delete" and wait for it to finish. Once the app is removed, you can reinstall it from App World.
Photo Credits
- David McNew/Getty Images News/Getty Images


text:
Billy Smart's Circus animals, 1955 Tea Towel
Billy Smart's Circus animals leaving Victoria, London. 18th September 1955.
This Billy Smart's Circus animals, 1955 Tea Towel is created using state of the art, industry leading Digital printers. The result - a stunning reproduction at an affordable price.
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text:
Churchill Building,
Langford, Bristol BS40 5DU
(See a map)
Tel. +44 (0) 117 928 9266
My overall research theme is in the physiology, pathology, regeneration and repair of musculoskeletal and connective tissues. This includes research in:
BVSc Veterinary Science
BSc Veterinary Nursing and Bioveterinary Sciences
John was awarded his PhD in 1998 for research identifying mechanisms of cancer spread. He has since worked in extracellular ...
Veterinary Pathology and Infection and Immunity
Research areas
Research: Cross cutting research
Research: Infection and Immunity
Research: Animal Welfare and Behaviour
View complete publications list in the University of Bristol publications system
Edit this profile If you are Professor John Tarlton, you can edit this page. Login required.
All details on one page > for printing etc.


text:
What is traffic scanning?
This Heimdal engine provides two options: Traffic Filtering and Automatically disable Traffic Filtering
By turning this engine ON or OFF you will ENABLE or DISABLED both Traffic Filtering and Automatically disable Traffic Filtering
How does Traffic Filtering work?
When this engine is enabled, the Thor Foresight module will apply a filter on the network adapter that will scan for infected websites and other web locations (servers, online ads, etc) that can potentially install malware or be used as gateways for cyber-attacks.
How it works:
- Heimdal will change the DNS (Domain Name System) for IPv4 and IPv6.
- For the IPv4 it will change it from "Obtain DNS server addresses automatically" or from an already set DNS (that will be backed up in a registry) to 127.7.7.x
- For the IPv6 it will change it to : fe80::b49a:9bef:4249:ac2e
- Once the DNS is set, then every web location you access via the Internet will be processed through a database that is set locally on the Heimdal Thor Agent install path. This database is about 15 MB in size and 95% of the websites blocked are located here.
- If the website is identified as being infected, Thor will block it and you will see this message:
- If the website is not blocked after being processed through the local database it will pass but there is a second step. The website will be parsed through another database, in the cloud (about 6GB in size) where it will be checked again. If it's found to be malicious, DarkLayer Guard will block it. If it's safe, you'll just be able to see the website/banner normally.
Note: All this filtering process takes place in milliseconds and will not affect your internet connection speed.
What is Automatically disable traffic filtering?
If the Heimdal Thor Agent can't connect to the cloud servers from your location, Traffic Filtering won't work properly. This may disconnect your PC from the Internet. To avoid this, you can choose to automatically disable Traffic Filtering. Heimdal will automatically re-enable the feature when it can reconnect to the cloud servers.


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Director / Editor in Chief
Prof. Susana N. Biasutto
(National University of Cordoba, Argentina)
Prof. Gustavo H. R. A. Otegui (University of Buenos Aires, Argentina)
Prof. Alicia Penissi (National University of Cuyo, Mendoza, Argentina)
Prof. Marian Adamkov (Jessenius Faculty of Medicine in Martin, Slovakia)
Prof. Keiichi Akita (Tokyo Medical and Dental University, Japan)
Prof. Luis E. Ballesteros Acuña (Ind. Univ. of Santander, Bucaramanga, Colombia)
Prof. Mirna D. Barros (Santa Casa Faculty of Medical Sciences, Sao Paulo, Brazil)
Prof. Dragica Bobinac (Rijeka University, Croatia)
Prof. José Luis Bueno y López (University of the Basque Country, Spain)
Prof. Richard H. Cabral (University of Sao Paulo, Brazil)
Prof. Mario Castellucci (University of Ancona, Italy)
Prof. Srijit Das (University Kebangsaan Malaysia, Kuala Lumpur, Malaysia)
Prof. Fabrice Duparc (University of Rouen, France)
Prof. Gonzalo Estapé Carriquiry (CLAEH, Maldonado, Uruguay)
Dr. Georg Feigl (University Karl-Franzens, Graz, Austria)
Prof. Jameela Hassanali (Pwani University, Kenya)
Prof. David Kachlik (University Charles in Prague, Czech Republic)
Prof. Beverly Kramer (Witwatersrand University, South Africa)
Prof. Petru Matusz (University "Victor Babes", Timisoara, Romania)
Prof. Geoffrey T. Meyer (University of Western Australia, Perth, Australia)
Prof. Eduardo Olivera (Republic University, Montevideo, Uruguay)
Prof. Joao E. de G. O'Neill (University of Lisbon, Portugal)
Prof. Friedrich Paulsen (Friedrich Alexander University, Erlangen-Nürnberg, Germany)
Prof. Jaime Pereda Tapiol (Santiago University, Chile)
Prof. Namita Sharma (Bharati Vidyapeeth Dental College and Hospital, Pune, India)
Prof. Ancuta Stefan (United States of America) †
Prof. Cristian Stefan (New York University College of Dentistry, New York, USA)
Prof. Ivan Varga (Comenius University in Bratislava, Slovakia)
Prof. Puranam Vatsalaswamy (Bharati Vidyapeeth Dental College and Hospital, Pune, India)
Prof. Andreas H. Weiglein (University Karl-Franzens, Graz, Austria)


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CipherLoc Enters Entertainment Industry with Its First Commercial Contract
SoundFi Signs License Agreement with CipherLoc
AUSTIN, TX / ACCESSWIRE / March 27, 2019 / CipherLoc Corporation (OTCQB: CLOK), a leading provider of highly-secure data protection technology, today announced signing of its first commercial license agreement with SoundFi, a revolutionary "app based" audio technology platform delivering premium 360-degree sound through headphones "in movie theaters", for the most personalized audio experience in the world. SoundFi offers both in-theater and streaming content experiences for consumers. SoundFi has signed an agreement to license CipherLoc's encryption engine products to keep SoundFi's movie soundtracks secure and safe.
CipherLoc and SoundFi have signed a four-year contract including both license fees and residuals. Additionally, the agreement commences CipherLoc's entry into the high value entertainment industry, where CipherLoc's Polymorphic Encryption Engine provides a valuable defense against piracy and theft of artistic property.
Said Dr. Milton Mattox, Chief Operating Officer of CipherLoc Corporation, "We are extremely excited to work with SoundFi as they leverage our better than military-class encryption platform to keep their audio data secure. Piracy in the global movie industry is projected to reach over $50 billion, providing a compelling value case for encryption to combat this escalating problem. CipherLoc's unique data security platform based on our patented Polymorphic Encryption Engine is ideally suited for helping to protect important data, including movie audio files, video content, customer account information and everything in between."
SoundFi will use CipherLoc's encryption technology to encrypt its movie soundtracks in the cloud and on mobile devices.
SoundFi's CEO Chris Anastas: "The SoundFi: At the Movies mobile app is a completely personalized audio experience delivered to a mobile device. Film fans simply install the SoundFi: At the Movies mobile application from Google Marketplace or the Apple app store, download the movie soundtrack file desired and then take their smartphone and headphones to watch the movie in their local participating theater. And with SoundFi: At the Movies, moviegoers can have the option of hearing the film in multiple languages, with director commentary, or other audio selections, all in an immersive 3D sound format in their favorite theaters."
About CipherLoc Corporation (OTCQB: CLOK)
CipherLoc Corporation is a data security solutions company whose vision is simple – Protect the World's Data. Our highly innovative solutions are based on our patented Polymorphic Cipher Engine, which is designed to enable an ironclad layer of protection to be added to existing products, services, or applications. We deliver solutions that are highly secure, synergistic, and scalable. In short, we keep information safe in today's highly dangerous world. For further information, please go to www.cipherloc.net.
Forward-Looking Statements
This press release contains forward-looking statements within the meaning of Section 27A of the Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended. All forward-looking statements are inherently uncertain as they are based on current expectations and assumptions concerning future events or future performance of the Company. Readers are cautioned not to place undue reliance on these forward-looking statements, which are only predictions and speak only as of the date hereof. In evaluating such statements, prospective investors should review carefully various risks and uncertainties identified in this release and matters set in the Company's SEC filings. These risks and uncertainties could cause the Company's actual results to differ materially from those indicated in the forward-looking statements.
The information found in this Press Release does not and shall not constitute an offer to sell or the solicitation of an offer to buy securities, nor shall there be any sale of these securities in any state or jurisdiction based upon the information found in this Press Release.
Investor Contact:
Matt Kreps
Darrow Associates Investor Relations
SOURCE: CipherLoc Corporation
View source version on accesswire.com:


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Tag archive for seat leon cupra 2017
Seat Leon Cupra 300 Review & Driving Report 2017 | Test | Car | English
Just recently, Seat presented the revised Seat Leon. Now they show the new top model Seat Leon Cupra 300. Equipped with even more performance and all the technical updatesContinue Reading→
Seat Leon Cupra 290: The most powerful Cupra ever | test drive | review
Previously the Seat Leon Cupra 280 was the fastest front-wheel drive production car at the Nordschleife. Now Seat presents the most powerful Cupra of all time: the Seat LeonContinue Reading→


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|Contributions on ReadWriteThink.org
Grades 9 – 12 | Lesson Plan | Standard Lesson
In Literature, Interpretation is the Thing
Students consider Shakespearean literature to be or not to be useful in a modern context when they analyze the relationship between text and reader interpretation.
Grades 6 – 8 | Lesson Plan | Standard Lesson
You Can't Spell the Word Prefix Without a Prefix
Students explore the role of prefixes, as well as their origins and meanings, and examine how the understanding of prefixes can improve comprehension, decoding, and spelling.


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Why We're Giving Up on ABC's The Whispers
Last night's episode of The Whispers had its moments, but mostly continued The Whispers' downward spiral. Since the pilot, it has devolved from an eerie, suspenseful sci-fi horror to a melodramatic, cheesy conspiracy thriller that continues to build on all of its worst elements. Here are all the reasons we're giving up on ABC's silly summer show:
Does anyone care who Drill is anymore?
The promos seem to promise that we'll discover who/what Drill is every week, and we're barely closer to discovering Drill's identity than we were in the pilot. Even worse, the few clues that the show is offering aren't even interesting. "What Lies Beneath" finally saw Claire and Wes figure out that Drill is a "what" rather than a "who," something the audience gleaned from the very beginning. But from the ending, it seems we're supposed to think that Drill is... a rock? Blue stuff under a rock? Blue light coming out of a rock? I realize that we'll continue to learn more, but the closer we get to a tangible Drill, and the further we get from the unsettling "whispers" that set these events in motion, the less intimidating Drill becomes. If you're going to drag a reveal out this long, you need to give the audience more than "scary fulgurite."
Ray Bradbury is turning over in his grave
Speaking of the initial premise, The Whispers was at its best when it more closely adhered to its source material, Ray Bradbury's excellent short story, "Zero Hour," and has suffered from its attempts to declare independence. The opening scene of the pilot was by far the best sequence of the show, because it imitated the slow-burning, creepy tone of the short story, and it's all been downhill from there. Drawing on Bradbury's metaphor for the alienation of childhood would have been the best-case scenario, but even failing that, they could have just been a decent horror show rather than devolving into 90's-era sci-fi. "Creepy children have an imaginary friend who tells them to do terrible things" is an elegantly frightening premise, and the writers should have capitalized on it for at least a season before introducing all of this nuclear power-manipulation of electronics-blue light coming out of rocks nonsense.
The characters are paper-thin
Claire Bennigan and Minx are the only characters on the show who are even approaching layered, and much of this is the result of the actresses' respective talents. After five episodes, Wes can still be described as "a mostly decent guy who cheated on his wife," Sean seems to have lost any sign of personality or motivation along with his memories, and the rest of the supporting characters are all ciphers to the point that I can barely remember any of their names. I can see that the writers are at least trying to add depth to Lena, and Kristen Connolly is a capable actress as well, but we still don't understand the basis for her relationship with Wes, why it fell apart, or why we should care. The scene in which Claire told Sean how they met was probably the best scene of the episode, but this is still not a show that anyone should watch for its character or relationship work.
They didn't keep their promises
I was willing to give the show the benefit of the doubt, partially because many shows take about seven episodes to get off the ground, and partially because Barry Sloane promised from the get-go that the show would find its footing starting around the fifth episode. And I can see why he said that, because I do think that the show is hitting its stride, but in the wrong direction. Instead of doubling down on the interesting aspects of the premise- the creepy children, the unseen force, the targeting of troubled families- the show is spinning off into its own weird, mundane, all-too-tangible mythology. So rather than watch the world be taken over by some kind of alien civilization that lives in a rock in the Sahara and somehow controls electronics in Washington DC, I'm giving up. I stuck with Gotham for longer than five episodes, hoping against hope that it would get better, and look how that turned out.


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Ried im Oberinntal
9 Number of reviews:
78 % Recommendation rate:
|Highest point:
|3,113 m
|Lowest point:
|1,325 m
|Altitude ski resort:
|876 m
|Lifts in total:
|Tow lifts:
|Chair lifts:
|Gondola lift:
|Pistes in total:
|34 km
|21 km
|9 km
|4 km
|Ski routes:
|36 km
Ski holidays Ried im Oberinntal - the heart of Tyrol!
Ried im OberinntalRied im Oberinntal is situated on an altitude of 876 m and is surrounded idyllically by the mountain of the Oetz Valley Alps and the Samnaun group. Easily accessible, the resort with its approx. 1,200 inhabitants is an ideal starting point for excursions to several ski areas as well as Innsbruck, the capital of the federal state of Tyrol. Ried and its surroundings offer numerous leisure time activities, such as snow shoe hiking, tobogganing, ice skating, curling, Nordic skiing, ice hiking and paragliding. For a cultural aspect, Ried offers Siegmundsried castle as well as multiple chapels and churches, such as e.g. the very beautiful baroque parish church St. Leonhard. Since the resort is only a stone's throw away from the access to Kauner valley, everybody looking for relaxation should pay a visit to Kaunertal Center. The wonderful spa- and leisure time area with pool, sauna, steam bath and restaurants is located in Feichten, approx. 15 km from Ried. Furthermore, Ried is connected to Fendels via a breathtaking ropeway passing the ravine of Fendler Bach.
Upper Inn ValleyThe Upper Inn Valley spreads from the boarder of the Swiss Engadin to a few kilometres west of Tyrol's capital Innsbruck. The valley is narrow in many areas and is characterised by impressive gorges as well as by the surrounding 3000 metre high peaks of the Lechtal Alps in the North, and the Samnaun mountains and the Ötztal Alps in the South. Numerous leisure time offers such as winter hikes, toboggan runs, pool complexes, ice skating and paragliding as well as the typically Tyrolean après ski make Upper In Valley the perfect place to spend your winter holidays!
Travel Info Ried im Oberinntal
- By train: Landeck (approx. 17 km)
- By plane: Innsbruck (approx. 82 km), Friedrichshafen (approx. 170 km), Munich (approx. 210 km), Zurich (approx. 235 km)


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If you've managed to avoid the Good Men Project thus far, lucky you. I only learned about them recently due to the shitstorm they've managed to stir up by being bleeding idiots. It started with an essay called, "Nice Guys Commit Rape Too." I wish the writer was being sarcastic, but alas no, under the guise of discussing why rapists rape the article goes on to claim exactly what the title says. Rather than retracting and apologizing and doing the soul-searching that ought to follow such a ridiculousness, they then followed it up with a second piece by an admitted (but non-convicted) rapist about how consent is just so confusing and labeling people who rape as bad people and, well, rapists is just not fair. For a good description and rebuke of the piece, complete with the article itself in quotes, check out the following, but be wary of triggers as it's full of rape-apologism and awfulness:
And just when you thought the Good Men Project couldn't get any worse….
I wrote this in the comments section, but in case you don't want to wade through the many, many outraged responses, here are some of my own thoughts on it, and on the issue in question:
Once upon a time, alcohol and other substances enabled me to do dangerous, irresponsible, and stupid things that I was able to rationalize or convince myself weren't that bad, but it didn't put any ideas in my head. Nothing came out that wasn't already there, which is why I never raped anyone. As for the things I did do, part of my recovery is taking responsibility for them and recognizing that there is a difference between an explanation and an excuse. The explanation is that I am an addict, but there are no excuses.
This guy claims to be only offering an explanation, but the fact that he mentions his victim's behavior ("actually flirting") and that she later entered recovery screams victim-blaming and undermines any possible claim he could have on rationality. As if either of those facts have anything to do with what he did to her. Moreover, the fact that he still questions whether he's a rapist despite the fact that she straight-up told him speaks to a complete disregard for his victim's experience and humanity. The comparison to his friend's experience? BS. Yeah, he made a different call: the wrong one.
I know plenty of women who got sober after being assaulted or raped, sometimes as a result of the experience. They realized they were putting themselves in danger by being vulnerable around guys like this one, but they are also clear on the fact that just because you're vulnerable doesn't mean anyone has to take advantage of you. Forgetting to lock your door doesn't make anyone rob you, and the fact that you learn a lesson from it and never forget again doesn't retroactively excuse the burglary.
Though inadvertently, the essay in question does bring up one point that I do find interesting and worth discussing, and that's the vulnerability and perceived un-rape-ability of addicts. Between the common dehumanization of alcoholics and drug users as a whole and the (reasonable) perception of them as liars, addicts make the ideal rape victims (this is particularly true when they also belong to other "un-rape-able" groups such as sex workers or women of color, who are in turn perceived as likely addicts). Sexual assault is all too often seen as the "natural" consequence of intoxication for women, and for people who struggle with addiction this is even more potent; rape is understood as the punishment for their lack of self-control and discipline. What's ironic is that so frequently it is the other way around: many people of both genders develop addictions in response to experiences sexual assault and/or childhood sexual abuse. Based on my own anecdotal understanding, I would venture that most women and a substantial proportion of men who suffer from addiction have experienced some form of sexual trauma.
If you're interested in learning more about what's going on with the GMP and the responses to their rape-apologism, here are a few pertinent links. I particularly recommend the first one, and the Yes Means Yes blog and book in general. I kept the later in my bathroom for months and it's awesome.
Nonsense at the Good Men Project


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White Fang movie poster / Jack London.
- title: White Fang | Zanna Bianca | Bílý Tesák | Italy, 1973
- director: Lucio Fulci
- with: Franco Nero, Virna Lisi, Fernando Rey
- writer: Jack London (book)
poster design: Adéla Jakabová, Czechoslovakia, 1977
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movie posters designed by women poster designers.
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Positions & Openings
Thanks for your interest in being part of the Morning Glory International School Family. We take pride in the quality and dedication of our staff.
You are encouraged to read carefully the information below and elsewhere on the School's website to better understand the school's mission, philosophy, and educational objectives.
Morning Glory International School is a strict Christian Private Pre K-12 School that serves the International Community.
– Teaching license or certification
– BA/ BSc/ MA/ MSc/ MPhil/ Ph D or equivalent university degree
– Ability to negotiate diverse learning needs
– Passion for education
– Christian values and discipline
– Ability to use a variety of methods, strategies, and instructional techniques
– Ability to work as a team member in all aspects of school life
– Recognition of staff development opportunities and active participation in these opportunities
– An understanding of the Morning Glory International School family code of conduct
Teachers interested in the opportunity to be part of our team are welcome to submit an application.(firstname.lastname@example.com)
Openings for 2019/20
- Economics Teacher for A Level & IGCSE
- Business Teacher for A Level & IGCSE
- Accounting Teacher for A Level & IGCSE


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Jackson Chance Foundation
Sponsored By
Jackson Chance Foundation Hold Annual Brunch Honoring Health Care Providers At Lurie Children's Hospital NICU A Chicago mom is giving back after losing her infant son a few years ago.
Foundation Says Thank You To Caretakers At Lurie, Prentice Hospitals The Jackson Chance Foundations is saying "Thanks A Whole Brunch" to hospital caretakers this mother's day weekend with a brunch at Chucks: A Kerry Simon Kitchen.
Donation Makes It Easier For Parents To Visit Lurie Children's HospitalParents of an infant who didn't make it want to make it easier for other parents to visit their babies in intensive care, reports WBBM's John Cody.


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Google's Sandbox Still Exists: Exemplified by Grader.comBlog Post: March 08, 2009
Similar question to rohsegan03: What if you were to 301 redirect an established site to the new site? For example, if you wanted to rebrand that existing site? Does that trigger a sandbox?
Also, I note that the grader.com domain dates to 1999 so, Rand, I assume that you mean the website age is less than 1 year old rather than the domain age as a trigger.


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Solange – Cranes In The Sky (KAYTRANADA Remix)
We begged, Kaytranada delivered
Continue reading "Solange – Cranes In The Sky (KAYTRANADA Remix)"
Wolfbaybe – The Deal
Wolfbaybe wants to know "The Deal"
Continue reading "Wolfbaybe – The Deal"
Homecoming: Alfred Banks
New Orleans emcee Alfred Banks's (formerly known as Lyriqs da Lyraciss) career thus far is akin to a quiet storm. Slowly, (over 7 years), he has created a name for himself through high energy shows and internet buzz, culminating in nods from Complex, DJ Booth, and Hip Hop DX. With his latest EP and highly anticipated follow up album, Banks continues to push himself as an artist…in spite of losing his biggest influence.
Phony Ppl – End Of The Night (AF THE NAYSAYER Remix)
New Orleans-based producer recreates a groove from Phony Ppl 'Yesterday's Tommorrow'.
Continue reading "Phony Ppl – End Of The Night (AF THE NAYSAYER Remix)"
Let it Breathe: Black Mental Health Matters Playlist
The art reflecting our tragedies and traumas is often simultaneously overlooked and over appreciated. A playlist dedicated to facing your demons.
Continue reading "Let it Breathe: Black Mental Health Matters Playlist"
Welcome Back
2 Years later:
It's been a long time, shouldn't have left you…..