6 Reasons to Read Before Class

6 Reasons to Read Before Class Everyones college and grad school experience is a little different, but the one thing all have in common is reading. You already know that college entails a lot of reading. Guess what? Grad school is way worse.  Expect your reading load to triple, at least, in graduate school. With such a huge set of reading assignments, you might be tempted to fall behind and not read before class. Here are six reasons why you should avoid temptation and read ahead of the class. Make the Most of the Class Time Class time is valuable. Be sure that you can follow along. When you read ahead of time, you are more likely to understand the organization of the lecture. Youll be better able to figure out whats important and what isnt (and thereby take effective notes). Understand the Topic and What You Don't Understand If everything that you hear in class is new, how will you determine what you understand and whether you have questions? If you have read beforehand you can focus your attention on filling gaps in your understanding by paying more attention during some parts of the lecture and by asking questions. Participate Most classes require at least some participation. Be ready to answer questions and to discuss the topic. Its easy to participate when you know the topic. Reading beforehand helps you to understand the material and gives you time to consider your perspective and opinions. Dont get caught unprepared. Professors opinions matter - do not get caught faking it. Show Off Reading before class lets you show that youve read, that you care, and that you are intelligent. Youll be able to ask good questions and participate in a way that demonstrates preparation, interest, and mastery of the material. These are all positive marks in profs views. Participate in Group Work Many classes require group work, often in class. If you have read, you are ready and likely will not mooch off of your classmates, or benefit from their hard work. In turn, if you have read you can tell when the group is taking a wrong turn. Contrary to some stereotypes, effective group work requires preparation. Show Respect Reading ahead of time shows respect for the instructor and interest in the class. While instructors feelings should not be the primary motivator of your behavior, relationships with faculty are important and this is one easy way to get your relationship with your professor off to a good start. Think ahead- faculty are often important resources for advice, recommendation letters, and opportunities. Many students find reading tiresome, a great deal of work. Try employing reading strategies such as the SQ3R method.

Maria Tallchief

Maria Tallchief Dates: January 24, 1925 - April 11, 2013Known for: first American and first Native American prima ballerinaOccupation: ballet dancerAlso known as: Elizabeth Marie Tall Chief, Betty Marie Tall Chief Maria Tallchief Biography Maria Tallchief was born as Elizabeth Marie Tall Chief and changed her name later to Europeanize it for career reasons. Her father was of Osage descent, and the tribe was the beneficiary of oil rights. Her family was well off, and she had ballet and piano lessons from age three. In 1933, pursuing opportunities for Maria and her sister, Marjorie, the Tall Chief family moved to California. Marias mother wanted her daughters to become concert pianists, but they were more interested in dance. One of Marias early teachers in California was Ernest Belcher, father of Marge Belcher Champion, wife and professional partner of Gower Champion. As a young teen, Maria, with her sister, studied with David Lichine and then with Bronislava Nijinska, who in 1940 cast the sisters in a ballet at the Hollywood Bowl that Nijinska had choreographed. After high school, Maria Tallchief joined the Ballet Russe in New York City, where she was a soloist. It was during her five years at the Ballet Russe that she adopted the name Maria Tallchief. While her Native American background led to skepticism about her talent by other dancers, her performances changed their minds. Her performances impressed audiences and critics. When George Balanchine became ballet master at the Ballet Russe in 1944, he took her as his muse and protege, and Maria Tallchief found herself in increasingly prominent roles which were adapted to her strengths. Maria Tallchief married Balanchine in 1946. When he went to Paris, she went as well and was the first American-born woman dancer to perform with the Paris Opera, in Paris and later with the Paris Opera Ballet in Moscow at the Bolshoi. George Balanchine returned to the US and founded the New York City Ballet, and Maria Tallchief was its prima ballerina, the first time an American had held that title. From the 1940s to the 1960s, Tallchief was one of the most successful of ballet dancers. She was especially popular and successful as and in The Firebird beginning in 1949, and as the Sugar Plum Fairy in The Nutcracker beginning in 1954. She also appeared on television, made guest appearances with other companies, and appeared in Europe. Having been trained by David Lichine early in her dance education, she played Lichines teacher, Anna Pavlova, in a 1953 movie. Tallchiefs marriage to Balanchine was a professional but not personal success. He began to feature Tanaquil Le Clerq in key roles, and he did not want to have children, while Maria did. The marriage was annulled in 1952. A brief second marriage failed in 1954. In 1955 and 1956, she was featured at the Ballet Russe de Monte Carlo, and in 1956 she married a Chicago construction executive, Henry Paschen. They had a child in 1959, she joined the American Ballet Theatre in 1960, touring America and the USSR. In 1962, when the recently-defected Rudolf Nureyev debuted on American television, he chose Maria Tallchief as his partner. In 1966, Maria Tallchief retired from the stage, moving to Chicago. Maria Tallchief returned to active participation in the dance world in the 1970s, forming a school connected with the Chicago Lyric Opera. When the school was the victim of budget cuts, Maria Tallchief founded her own ballet company, the Chicago City Ballet. Maria Tallchief shared duties as artistic director with Paul Mejia, and her sister Marjorie, also a retired dancer, became the schools director. When the school failed in the late 1980s, Maria Tallchief again became associated with the Lyric Opera. A documentary, Maria Tallchief, was created by Sandy and Yasu Osawa, to air on PBS in 2007-2010. Background, Family Father: Alexander Joseph Tall ChiefMother: Ruth Porter Tall Chief (Scots-Irish and Dutch ancestry)Siblings: one brother; sister Marjorie Tall Chief (Tallchief) Marriage, Children husband: George Balanchine (married August 6, 1946, annulled 1952); choreographer and ballet master)husband: Elmourza Natirboff (married 1954, divorced 1954; airline pilot)husband: Henry D. Paschen (married June 3, 1956; construction executive)daughter: Elise Maria Paschen (born 1959; poet, writing teacher) Education piano and ballet lessons from age 3Ernest Belcher, ballet teacher (father of Marge Champion)David Lichine, student of  Anna PavlovaMadame (Bronislava) Nijinski, sister of Vaslav NijinskyBeverly Hills High School, graduated 1942

Pulp Fiction Review Research Paper Example | Topics and Well Written Essays - 1250 words

Pulp Fiction Review - Research Paper Example Tarantino’s application of style in the Pulp Fiction is a representation of emerging approaches. It is centered on a movie context rather than real life. The use of alteration and paradox gives new energy to the film and gives its audience a new experience. The infamous Pulp Fiction is a tale of a number of connected lives of two men who make a living from killing, a boxer who is aging, a mob boss, accompanied with his wife. The story revolves around the lives of these individuals as they experience a number of unsettling, intense, memorable, comic and emotional situations. In a review of the film, Ebert Roger describes it as being a comic film that revolves around drugs, violence, blood, unusual sex, dead bodies and other graphic details. The plot of events and the theme of the film seem to be strange. Tarantino matures every scene sufficiently by the use of a variety of cinematic aspects, which transforms the film into an iconic and a memorable masterpiece (LoBrutto, 76). Ta rantino applies cinematography, editing, affectivity of sound and mise-en-scene to warn the audience of any events transitioning, introduce scenes, enlighten the audience hidden traits about the characters and enhance anticipation while maintaining suspense. This is evident in a scene where Vincent has to pick up Mia from Wallace’s house for the night. The scene commences with a tracking shot of him making his way to the front door in which his body forms a silhouette in the front door. The cameras capture for a brief moment the note that has been taped to the door and then make a zoom in on the note. The interests of the audience are maintained by the shift to Mia’s voice which narrates the note and this explains the content to the audience. Vincent enters the door and Tarantino’s expertise when it comes to mise-en-scence becomes apparent (Jewers, 99). The effect that immediately captures the eye is the color scheme of the house. Almost every item is white in c olor, which the inclusion of the couch, carpets, walls, lamps to even the shirt that Mia is wearing. For the enhancement of the white color scheme, key front lighting is used in the scene. This color also adds irony to the film since white in often linked to purity, yet the inhabitants of the house are far from innocent. One addicted to crack while the other is a mob boss. Juxtaposition is also introduced with regard to the fact that Vincent is wearing a black suit yet the rest of the house is white in color. Analysts may suggest that this is a premonition that he has no place in the house and that bad misfortune will befall him if he stays in the house. The house has also been designed to appear to be very modern since various forms of modern technologies have been incorporated into the house such as cameras that are able to watch over the main rooms (Polan, 133). While Vincent if unaware that he is being watched by Mia through a camera viewing station, he walks around the house at ease. To maintain the entertainment value of such a scene, Tarantino makes use of non-dietetic sound, despite the fact that it was coming from the record player, but the audience is not aware of that aspect until the end of the scene. The song is about a about a girl that is in love with the son of the