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Much space is devoted to Greece and Rome in the Larousse Encyclopedia of Archaeology (London: Hamlyn skin care 911 cheap permethrin 30gm visa, 1972/ i) acne vs rosacea purchase 30 gm permethrin fast delivery, ed acne bumps under skin cheap permethrin online master card. Works on Decipherment; Translations Since Gree:c and Latin have come down to us without the need for decipherment acne 5 days before period purchase permethrin without a prescription, only Linear A and Linear B have posed an important decirtherment problem for philok-gists. Linear A, still not deciphered, is a form of pictographic writing dating from about 1900-1500 B. It dates from around the thirteenth century Cambridge University Press, 1958/i) tells the full story of that decipherment and includes good illustrations of the writing. There is no shortage of available translations of works written in ancient Greece and Rome, all of the principal writings having been translated, and because all of the primary sources for the Greek and Roman myths are to be found among these works, all of the primary sources known still to exist in Greek or Latin have in fact been translated into Englishmost of the main ones many times over. Combellach, is a work you will want in addition to the Iliad and Aeneid as primary source for the Trojan War. Museums have also put out books and booklets in which works of art are used to illustrate the myths (or vice versa). Corbett, is a small book with 49 illustrations of vase paintings and relief sculptures based on Greek myth. A selected number of characters from the myths are dealt with through words and pictures of museum art pieces. Abrams, 1966(i) is a lovely book with close to 200 illustrations of Greek paintings and sculpture featuring scenes from myths. Brill, 1966/i) is a brief, well illustrated source of a more specialized sort that you may wish to look into when working with CybeleAttis. My own A Guide to PostClassical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans (Logan, Utah: 1976/p; distributed by National Council of Teachers of English) is designed to put the user in contact with the main works in the later arts that have been based on Greco-Roman myths. It deals with adaptations in the arts based on the following myths: Perseus-Andromeda, DemeterPersephone, 137. Written by the curator of Greek and Roman art at the museum, it is based on the largest collection of Greek vases in the United States. Abrams, 1962/i) is the most comprehensive and best illustrated treatment of the subject, though. Roman art, as heavily reliant on Greek models and techniques as it was, has not been treated as often. Greek and Roman Sculpture (New York: Harper & Row, 1972/ i) is a revised version of A. Usually considered to be the best of the larger and more recent ones is the Oxford Classical Dictionary, 2nd edition (Oxford: Clarendon Press, 1970), ed. In its close to 1200 pages will be found all sorts of excellent background detailsincluding entries on the characters in myth. Dent, 1961) is probably the hest, but these are really inadequate except as sources for quickest reference. Sandys (New York: Macmillan, 1891) Roman Biography and Mythology (Boston: Little, Brown, and Co. Despite the fact that much is known about their art and architecture, their burial customs, their life style, their towns and cities, and that a good deal is understood about their influence to the north as far as Scandinavia (Etruscan writing is even thought to be the basis for Scandinavian runes) and, more impressively, on the Romans to the south, no one is certain where the Etruscans came from or why. Over 10,000 inscriptions and Etruscan Mythologies 183 short texts exist in the Etruscan language, but very little has been deciphered, and that only by educated guessing. Fair development of Etruscan culture and language were evident in the late seventh century B. Certain indications show that they were originally an eastern Mediterranean people, but there is no guarantee they did not descend from the Vilanovans in northern Italy. Since the Etruscans were a coastal people and engaged, during their heyday, in extensive trade with other Mediterranean peoples, what appear as the indications of eastern Mediterranean origins may well only be acculturation with eastern Mediterranean centers over the years. The strong influence of the ancient Greeks, for instance, is quite apparent in Etruscan art, dress and even life style. Until there is definitive decipherment of the Etruscan language, myth students will not find very much to occupy them in the way of Etruscan mythology. From what is 1-nown, there are both indigenous deities and heroes and imported ones. Tinia, the god of fire, is native Etruscan it would appear, but names like Aita, Apler, and Phersipnai are but the Etruscan names for Hades, Apollo, and Persephone. Roman myths contain some hints about Etruscan mythology, but the gleanings there will be sparse.
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The software has great flexibility skin care videos buy permethrin 30 gm visa, customizable options acne 4 year old buy 30gm permethrin otc, and provides a user-friendly way for presenting digital images and creating metadata records skin care natural tips order 30gm permethrin fast delivery. These two publication types allowed us to create items containing audio acne queloide purchase permethrin 30 gm line, video, image, and text files. Each publication type has built-in metadata fields, as well as the ability to create unlimited customizable fields, a functionality which can be used to best represent an item and to create an accurate, informative database. In addition to providing all the necessary elements for creating thorough item records and maintaining a coherent narrative for the on-line visitor, we were confident that bepress would preserve our exhibit in accordance with industry standards. Further discussion of our decision-making process can be found below in our discussion of challenges and considerations. Process, organization, and execution When creating a permanent exhibition space for Tiny Treasures in our institutional repository, we needed to think about how best to lay out the structure so that it would allow for potential growth and logical navigation. We created image galleries for the content in the curation cases to showcase special curation techniques and to archive posters and printed press information pertaining to the exhibit. We chose the general-purpose publication type called a "series" to house all of the multimedia items documenting the exhibit. Shankweiler and a virtual tour video created by the library social media coordinator, Crystal Bowling. In each gallery, we included a picture of the display case as well as close up images of individual items. This helped to replicate the in-person experience of the exhibit by providing a context for the book within the collection, as well as allowing for each item to stand on its own, with additional detail that may be of interest. Each item record included one high-resolution image to allow the user to zoom in and see fine details. This item can be downloaded in three different sizes using radial buttons on the main image page: standard, medium, and thumbnail. To help provide access to users with slower internet speed, we set up an additional image field in which we included all images of the item in a low-resolution (400-pixel) format. The discipline field allowed us to choose from more than one thousand unique categories to help classify an item to improve its online discoverability. For each community, series, and gallery, we included descriptive text to help create continuity, as well as context, for the separate pages. Our bepress representative created a variety of customizable metadata fields to help us detail the item and create an accurate, informative database. We used the customize feature to add size (length and width) of item, publication date, and publisher metadata fields. It is our hope that the process outlined above will become the template for all future curated exhibits. Many of these considerations relate closely to the Core Values of Librarianship as defined by the American Library Association. By creating the online exhibit, we have extended the reach of the inperson exhibition to all those who have an internet connection. We view sharing these exhibits beyond the in-person traffic of our libraries as an important step in providing a complete university experience for users at our satellite campuses and fruitful learning opportunities for the general public. While we realize there will always be limitations and restrictions to access, it is our goal to limit restrictions at every step possible, a task which includes making new and useful information available through online media and, once it is available online, working to ensure that it remains accessible to as many users as possible. As librarians, we are charged with the responsibility to ensure that every step is taken to reduce the economic barriers to information access. Similarly, we wanted to ensure that the materials in our exhibition would be accessible to off-campus users in rural areas with slower or limited internet service. With this in mind, the local radio promotion and video presentation both include full transcriptions, which are available for download. In addition to providing access to online materials, it is also important to ensure access to our services and to create a democratic environment that encourages the free exchange of thoughts and ideas within a positive learning atmosphere. In order to guarantee that questions about a particular item would be answered by the appropriate party and in a timely manner, we included a general Special Collections Library email address rather than the individual address of a specific staff or faculty member. The Association encourages publishers to provide metadata that will facilitate the life cycle management of works in digital formats and to deposit digital works in repositories that provide for the long-term persistence and usability of digital content.
If climate change precludes us from sustaining desired levels of ecosystem composition skin care hindi purchase 30 gm permethrin overnight delivery, structure acne 6 days before period generic permethrin 30gm overnight delivery, and density acne 6dpo safe 30gm permethrin, then how can we sustain the ecosystem goods and services contingent on these components I believe the best answer to this question zone stop acne - order generic permethrin canada, as hopefully demonstrated by this white paper, is to apply correct dry-forest restoration practices, in correct places, at proper times, and for correct reasons. Stand density changes also influence rates and types of surface fuel accumulation. Future harvest could use uneven-aged management to restore intra-stand heterogeneity (fig. Small trees act as ladder fuel during wildfires, causing individual tree clumps to torch, or contributing to stand-level crown-fire behavior. An important objective of dry-forest restoration programs is to reestablish a stand structure similar to an old forest single stratum structural stage (see table 8), which predominated during historical (presettlement) eras (see figs. Table 5 describes composition and structure, tree density, vigor, fire regime, fuel dynamics, and resilience and risk characteristics associated with condition class 1 dry forests. Although this image shows a regeneration cutting method (shelterwood seed cut), it is illustrative because it shows what a post-treatment, tree-structure outcome might look like for restoration treatments designed to recreate an historical stand structure by emphasizing retention of larger-diameter, older-age ponderosa pine trees. And, note that this treatment obviously addressed ladder-fuels, but a paucity of smaller trees results in an unbalanced size-class distribution, which may not bode well for the future (especially if bark beetles, pine butterfly, or another disturbance agent affects a high proportion of the overstory-tree cohort). Note, however, that this image is not necessarily a good example of a comprehensive restoration treatment. Because, there is an obvious lack of dead wood, both as down logs and as standing dead trees (snags). A lack of dead wood, and an extreme reduction in surface fuels, was completed for research purposes, not in response to restoration goals and objectives. Reductions in surface fuel can be important, however, for ensuring overstory-tree survival during subsequent prescribed fire treatments (Fajardo et al. It shows post-treatment conditions for a restoration project completed in Swan Valley of western Montana. Note that the Swan Valley image still features an impressive reduction in surface and ladder fuels, but that a minimal component of dead wood was retained in the form of down logs and stem wood pieces containing attached branches. In many respects, uneven-aged management is ideally suited as a silvicultural system for perpetuating and sustaining dry-forest ecosystems, while also ensuring that heterogeneous stand structures are provided through time (Franklin et al. A white-headed woodpecker photograph used in Box 1 was acquired by Al and Elaine Wilson ( A panoramic image on page 104 shows a mixed-conifer forest with complex forest structure created by frequent use of prescribed fire in the Illilouette Basin, Yosemite National Park (image taken from North 2012, page 166). Unless noted otherwise, non-photographic charts, diagrams, or graphics were prepared by David C. Douglas-fir plant associations are well represented in this potential vegetation group, with Douglas-fir/low shrub types being especially common (snowberry, birchleaf spiraea, and ninebark associations). Although ponderosa pine is ubiquitous in the Blue Mountains, it is the climax species on a surprisingly small percentage of this area (certainly less than 10% for northern Blue Mountains, but a higher percentage than that for southern Blue Mountains). Many ponderosa pine plant associations were described for the Blue Mountains, and all of them were assigned to this potential vegetation group (Powell et al. Light selective cutting occurred in the Blue Mountains as early as late 1800s, and most early harvests involved relatively low timber volumes distributed across fairly small areas. Early mills were small and could easily be moved to a new site (portable circular saws); their locations changed frequently as available timber was depleted. Many early mills were located along streams because they depended on water power to run a circular saw. It covered an area of about 69,645 acres in the Camas and Meadow Creek watersheds (North Fork John Day Ranger District); western boundary of this unit was located app. Timber on the Camas unit consisted of a mixed stand of ponderosa pine, Douglas-fir, western larch, lodgepole pine, and other species (Matz 1932). All advertised volume was ponderosa pine; cutting of other species was optional at discretion of a purchaser (Stevenson 1937).
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Jacquelyn Marie Erdman and Bohyun Kim skin care mask order cheap permethrin, "What is Your Library Doing About Emerging Technologies Grubbs skin care videos youtube buy genuine permethrin line, "Inspiring Innovation: Collaboration in Support of 3D Printing as an Emerging Technology in Academic Libraries acne zones on face permethrin 30 gm otc," Florida Libraries acne pills generic 30 gm permethrin with mastercard, 57, 2 (2014): 11. For more information on using strategic plans to write a technology plan, see the Planning for Success Cookbook by Tech Soup for Libraries available at. Jones, "3D Printing in Libraries: A View from within the American Library Association: Privacy, Intellectual Freedom and Ethical Policy Framework," Bulletin of the American Society for Information Science and Technology, no. Library Technology and User Services: Planning Integration, and Usability Engineering. Director of Research and Learning Institute for the Study of Knowledge Management in Education Amee Godwin Director, Innovation Institute for the Study of Knowledge Management in Education the "State of Open" in the School Library Librarians in K-12 education are well-positioned to take on key leadership roles to address informational and instructional resource needs in their schools and communities. School librarians play many roles, but a primary duty in the twentyfirst-century learning environment has been to build, maintain, and share a *This work is licensed under a Creative Commons Attribution-ShareAlike 4. As digital curators, K-12 librarians research, locate, and organize digital materials to support teaching and learning goals and foment student interest. They also ensure accessibility and effective use of those resources through local cataloging and classification strategies, as well as through collaborating and sharing with teachers and learners around those resources. When librarians successfully model and guide digital curation, they save teachers instructional time, open up possibilities for new pedagogical approaches, and help to build more independent, engaged learners. The New Hampshire cohorts came into the project with knowledge of their own state science standards and were asked as part of the project to incorporate these standards into their co-design process. In appointing the school librarian as leader of the cohort and scaffolding the responsibilities of each role, cohorts were designed as a mechanism to build lasting partnerships that impact their teaching practice. To support cohort participants in these challenge areas, project leaders designed an inceptive guide for school librarian professional leadership and practice. School Librarian Leadership and Practice Rubric the rubric below has been designed to guide practice in supporting and evaluating effective school librarian leadership development. The table below outlines the core elements of the rubric, and associated outcomes for School Librarians: Leadership Element I. Articulate the rigor and relevance of the Common Core Science Literacy Standards and the crosscutting concepts of the applicable science literacy standards-including the concepts associated with national Next Generation Science Standards. Collaborators bring complementary expertise-for example, on the identification of quality resources for instruction, on subject content, on knowledge of standards to be included in instruction, and on instructional strategies-to a process of shared creation. Below is an outline of the Collaboration and Thought Partnership element of librarian leadership. In doing so, they contribute to the ongoing transformation of their profession-from school librarian to "teacher librarian" and instructional leader. The aim is to facilitate a shared understanding of the standards toward effectively creating literacy-based inquiry experiences. In building their leadership skills in Curriculum and Instruction, school librarians develop instructional strategies and co-lead the development of student learning experiences. The element additionally emphasizes the development of the necessary professional discernment to identify resources that meet instructional and curricular goals, as school librarians become adept at selecting quality resources and add value by adapting appropriate elements within each resource or resource collection in alignment with identified learning goals. Curriculum and Instruction Articulate the rigor and relevance of the Common Core Science Literacy Standards and the crosscutting concepts of the applicable science literacy standards-including the concepts associated with national Next Generation Science Standards. Includes modeling teaching of the structure of text, determining the accuracy and relevancy of information sources, guided reading through text-dependent questioning, student engagement with academic vocabulary, and the extraction of data and the production evidence from text sources.
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