Themes. The Licensee shall maintain during the License Period a design staff capable of timely developing seasonal collections of Licensed Products pursuant to the Time and Action Calendars, in order to exploit the License and to maintain the prestige and reputation of the Licensed Mark, xx required hereunder. The Licensee’s design team shall have meetings with CKI’s-designated creative or design person or persons, the purpose of which will be to discuss and establish agreed-upon themes that will be covered for the season (such agreed upon themes hereafter referred to as the ‘‘Agreed Upon Season’s Themes’’).
Themes. Outcome What are we trying to achieve? Outcome indicator How will we know if there has been any change? Output targets What specific activities will we undertake? Evaluation/ Evidence of impact Did our activities achieve our outcomes? Develop the KCLDG Community involvement and influence Learning and personal development Health and Well- being Volunteering
Themes. There was a total of seven recurrent themes identified through the five stories created by participants as a result of the pilot workshop. These were higher education, community support, family sacrifice, arts as a coping mechanism, parental poverty, the politics of immigration, and the uniqueness of each personal immigration narrative. As all participants were students in institutions of higher education, many of their stories centered around their experience as first-generation college students. The stories touched upon the high value placed on education by immigrant parents who desire to give their children the American dream which they had emigrated from their home countries for. Many of the stories illustrated the struggles that the participants had faced in pursuing higher education. Most faced a difficult transition from high-achieving high school students to struggling in the unfamiliar setting of higher education. These struggles included feeling academically unprepared for the rigor of college, experiencing imposter syndrome, and having difficulty paying for college without parental financial support. It should be noted that arts as a coping mechanism to deal with the pressures of college featured prominently in two of the stories. Participants talked about overcoming financial obstacles in the pursuit of higher education. Two of them were Gates Millennium scholars, and another a recipient of the DACA-specific The Dream US Scholarship. They credited these philanthropic efforts with changing the course of their life. All participants credited the support they received from members of the Xxxxxx Highway Corridor community as an important factor in their success. Many viewed this support as an invaluable investment of time and resources from members of their community, which they in turn felt compelled to reciprocate by investing their time, talents, and career back into underserved communities such as the one they grew up in. Their experience of growing up in the Xxxxxx Highway Corridor community appeared to mitigate many of the struggles minority children face when growing up in segregated, predominantly white settings (Xxxxxx & Xxxxxx, 2006). Participants described this community as “beautifully diverse” and portrayed it as having a culture of its own that was an amalgamation of all the foreign cultures of the immigrants that had made it their home. The participants not only felt indebted to their community for their success, but also felt a grea...
Themes. Unsurprisingly, Xxxxxx carefully documents the size and structure of Hohenschönhausen prison in his autobiographical recount. This documentation is made evident through the repeated use of the theme “Zelle”. The term “
Themes. As is obvious from the personal nature of the text “ich” is one of the main themes in Xxxxxxx’x recount in Gefangen in Hohesnchönhausen, “Ein Grab xxxxxx Erinnerungen” (2007). Xxxxxxx thematizes “ich” a total of 53 times in her recount. Some of these thematizations occur in dialogue with other prisoners or guards, but the majority are located within her own personal descriptions of her situation. Most of the sentences she begins with “ich” describe her actions. For example she writes, “Ich klopfte xxxxxxx…” (p. 144), “Ich xxxxxx und argumentierte…” (p. 140), “Ich aß so xxxxxxx wie möglich” (p. 131), “Ich saß auf…” (p. 134), “Ich spielte stundenlang mit mir selbst…” (p. 136). In other cases the sentences with “ich” as the theme are in connection with verbs that describe her emotions, “Ich war sehr xxxxx” (p. 142), “Ich fühlte mich wohlig entspannt” (p. 144), “Ich war xxxxx xxxxx überzeugt gewesen” (p. 136). Essentially the repeated use of “ich” reminds the reader that Xxxxxxx is the central and most important figure in this recount. Somewhat surprisingly considering the thematization of “ich”, “wir” is another one of Xxxxxxx’x major themes. Within her text Xxxxxxx begins her sentences with “wir” eight times. Although this may not at first consideration not seem like very many times, the instances that Xxxxxxx uses “wir” are very significant. For the most part Xxxxxxx uses “wir” to refer to herself and the other guards. She writes “Wir betraten das Erdgeschoß des Gebäudes” (p. 130) or “Wir gingen durch zwei gut bewachte Eisentüren einige Stufen hinunter” (p. 132). In these examples Xxxxxxx is purely describing the actions she takes with the guards, but in another instance she discusses a conversation she has with one of her interrogators: “Wir zankten uns ständig über Worte, ihre politische Bedeutung, über Lenins Doktrin, verglichen mit der Stalins, über den Antisemitismus in der Sowjetunion…Wir xxxxxx interessante, oft auch heftige Diskussionen, und ich langweiligte mich bei ihm nicht.” (p. 138) Instead of saying that she was forced or questioned by her interrogator, by using “wir” Xxxxxxx makes her interrogation seem more like a free and open discussion between her and her interrogator. She even goes so far to say that she was not bored by him, but rather that she found their conversations fierce, interesting, and intense. Xxxxxxx also uses “wir” when recalling another conversation with one her guards. According to Xxxxxxx many of the guards in charge of o...
Themes a) Restricted to program openings and closings (no bridges or cues). Limitation of 3 minutes of finished product.
Themes. The groups tended to not focus only on one or two areas but moved between the different themes during their discussions. When reporting back to the group the following topics were given prominence.
Themes. Unlike traditional film, Bandersnatch does not offer any definitive narrative facts due to the 1 trillion possible permutations. When analyzing or critiquing a film there is a clear formula that one abides to form subjective interpretations; selection of an objective fact – whether that be a plot point a detail in misé-en-scene or character actions – and a subjective interpretation of how that objective detail fits into one’s interpretation. Admittedly there is a set narrative progression for each viewing, however the different story branches and endings available to the viewer complicate this level of narrative consistency by presenting alternate realities. One viewer may discover that Stefan is being controlled by P.A.C.S. and kill Xxxxx, however another viewer may instead completely change the timeline of events by travelling back in time and having five-year- old Stefan die along with his mother. These wildly differing realities complicate consistent thematical analysis. Utilizing interactivity through branching pathways neutralizes any form of traditional film analysis and forces the viewer to look past small details and grasp the larger picture and how these themes come into play with the individualized experience that they have chosen. Interspersed throughout Bandersnatch are moments of self-reflexivity and meta- reference. Self-reflexivity in film is defined as “any device which reminds the audience that they are watching a film” (Wolf et al., 2009, 391). This can be accomplished in a variety of methods like looking into the camera and addressing the audience or making a film about making a film, however the unifying factor for these different methods is making the audience aware that they are watching a film. This pairs with the theory of meta-reference in which a specific media text will make references to other media artefacts, its medium or hierarchy of knowledge available to the viewer (Xxxxx Xxxxx, 2013, 188). The viewer transcends preoccupation with the diegesis itself and “becomes conscious of both the medial (or ‘fictional’ in the sense of artificial and, sometimes in addition, ‘invented’) status of the work under discussion and the fact that media- related phenomena are at issue, rather than (hetero-) references to the world outside the media” (Wolf et. al, 2009, 31). These two theories will combine to create the primary theme of the illusion of control that viewers have over Stefan and the diegesis by illuminating the presence and functi...
Themes. Intention to progress to PG at application to UG Method of funding UG course Expectation of debt on completion Clarity of career planning Class of degree expected/obtained Intention during study and actual progression to PG Reasons for PG study Method of funding PG course Desire to do PG limited by UG debt Perception of UG as vocational or non-vocational Self rating of strengths and weaknesses Would you choose the same course again Tabulations Parental experience of HE Subject of UG study Type of institution Socio-economic group Gender Age Ethnicity
Themes. Subject distributions of those who do not start HE Subject distributions of those who do not complete HE Distribution of non-start and non-completion by institution type Timing of drop out and non-completion Attitudes and views of HE Reasons for applying to HE, HEI and course Access to pre HE careers information, advice and guidance Career planning Reasons for changing course Expectation of difficulty Tabulations Socio-economic group Pre HE school/college Age Gender Ethnicity Region of domicile Region of study Domestic and care responsibilities Additional Resources required No additional resources are required. Staffing The table below indicates the responsibilities and tasks, and number of days required to fulfil the proposal. For further information on staff expertise, see (8) below. Drop out and retention Member of staff Responsibilities and tasks No. of days Xxxx Xxxxxx Project management and report writing 4 Xxxxxxx Xxxx Quantitative analyses 4 Xxxxx Xxx Management of quantitative analyses 1 Xxxxxxxx Xxxxxx Qualitative analyses 4 Xxxxxx XxXxxxxxx Quantitative analyses 4 IER research team Responding to queries and data preparation 1 Total 18
