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|Susanna Rostas||University Press of Colorado||ePub|
Those occasions when we come across the incongruous are comparatively rare. In Mexico City in the early 1990s, however, I encountered just that: groups of dancers who, calling themselves Concheros, enacted a sacred dance, circular in form and sometimes preceded by an all-night vigil. In one of the largest cities in the world, a religious tradition that claims to have indigenous rural roots was still flourishing as unchangingly as it could, despite the pressures and complexities of everyday life at the end of the twentieth century.
My first encounter with the Concheros was at a velación (all-night vigil). Usually held some nine days after a death, this particular vigil was for a man whose sons were dancers. The deceased was quite well-known in the Mexico City art and media worlds as he directed films and was also a dealer in antiquities. The occasion was thus supported not only by Concheros, a heterogeneous group of people who come literally from all walks of life, but also, at least during the earlier part of the night, by the luminaries of cinema, theater, and dance. In marked contrast to the professional middle-class aspect of the gathering was the ritual that slowly unfolded and took on more significance as the evening wore on. By midnight, most of the party attendees had departed and those remaining were fully involved in the rite to honor not only the dead man’s soul (anima) but also those of the Concheros’ antecedents. What struck me most forcibly at the time was how contradiction-laden the occasion seemed. Here were apparently sophisticated urbanites in one of the biggest cities in the world performing the various rites of an all-night vigil with the care, dedication, and love usually found in Mexico in the rituals of rural peoples: the kind of religious devotion predominantly associated with those living in small face-to-face communities of a few thousand. In such communities people come together, from a sense of obligation as much as commitment, to celebrate a way of being by contacting one or more superhuman agents, a religion in the sense of a rejoining (re-ligio) with each other as much as the deity.1See All Chapters
|Stengler ND, Mark||Basic Health Publications||ePub|
Cordyceps sinensis is also called the “caterpillar fungus,” as it grows on and acquires nutrients from several species of caterpillars. In China, it is referred to as “winter worm, summer grass.” This fungus is found at high altitude in the mountains of China, Nepal, and Tibet.
Cordyceps attracted the attention of the general public and the health profession in 1993 when a group of Chinese runners broke nine world records in the World Outdoor Track and Field Championships in Germany. The coach of these Chinese athletes attributed those results to the athletes regular use of a Cordyceps-based tonic. Because Cordyceps helps increase stamina, energy levels, and endurance, it has become one of the top-selling sports supplements among the worlds’ elite competitive athletes.
In traditional Chinese medicine, C. sinensis is considered to benefit the lung and kidney channels. It is commonly used with the elderly in China as a type of “super-ginseng” for rejuvenation and stamina.See All Chapters
|Christine Hedges||Sigma Theta Tau International||ePub|
“Money, by itself, does not make good research. Good researchers do that.”
–Lawrence Locke, Waneen Spirduso, and Stephen Silverman
Claudia DiSabatino Smith
WHAT YOU’LL LEARN IN THIS CHAPTER
• Before you seek funding, take the time to estimate your actual costs; do not underestimate and do not overestimate.
• After estimating your study costs, create a formal study budget that matches your potential funder’s guidelines.
• For nurses who develop strong research studies, many sources of public and private funding are available.
After you have developed a solid, feasible research study, it is time to consider how the proposed study will be funded. Most contemporary hospitals and/or clinical agencies do not include money for nursing research studies in their annual operating budgets. Therefore, it is important for you and your research team to spend time designing a study that is not only feasible for you to conduct in your setting, but one that is financially feasible. This chapter explains how to estimate costs associated with conducting your study and how to develop an effective budget to cover those costs. It also suggests where to look for available money and provides tips for increasing your success in securing the funding. Some basic principles of grantsmanship will be presented, along with a list of possible research funding sources.See All Chapters
In this chapter
It’s time to get interactive! Flash can be a rewarding design and animation tool, but you won’t be using the application to its fullest potential unless you include elements of interactivity. In Chapter 3, you wrote your first script, to prevent your animation from looping by default. In this chapter, you’ll give your audience some control through the use of buttons and ActionScript.
The easiest way to add interactivity to Flash is to use a button to run ActionScript. The projects featured in this chapter will all focus on button use. One project, for example, will be to modify the animation you created in Chapter 3, adding one button to replay the animation and another to open a web page.
You may be thinking, “Big deal, I can do those things with HTML.” True, but Flash buttons can be more powerful, and sometimes even easier to create, than their HTML counterparts. With Flash, it’s easier for buttons to contain animations and sound, to be activated or dimmed dynamically, and to be repositioned automatically when, say, the browser window is resized.See All Chapters
|Hough, Karen||Berrett-Koehler Publishers||ePub|
There’s a great concept in improvisation. It’s called “Oops to Eureka!” On the improv stage — heck, on any stage — things go wrong sometimes. Or they change, not in a worrisome way, but an unexpected way. “Oops” is the response when we realize something unexpected has happened. The key is to make those instances become “Eurekas” rather than disasters. This might require quite a change in mindset for many people. It’s hard not to minimize or walk away from our Oops moments. In improv, we’re not allowed to ignore the unexpected. We’re obligated to acknowledge it and keep it in the show. In reality, the unexpected is improv’s stock in trade. Even within our own troupes, we’re constantly trying to surprise each other with unexpected suggestions and scenes.
Scientists do the same thing: they never assume to know the outcome; they embrace “mistakes” or the unexpected as fully as they do the predictable. The questions become “What wonderful thing will happen now that the agenda has flown out the window?” “What discovery will be made?”See All Chapters
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