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Weather and earth science, such as flooding, sunspots or the moon’s effects on weather, cloud-seeding, or man-made rain.

You can choose a topic from the topic section. This research is considered a research notebook or diary. The template will be uploaded. It contains questions that have to be answered in complete sentences Writing style is CSE. The subject is scientific writing.

Go to the website of the Special Litigation Section of the Civil Rights Division, US Department of Justice. (Links to an external site.) Review the background and overview of the Section’s authority and work. Are the enforced laws an effective police accountability mechanism? Why or why not? how to submit Your essay should be free of grammatical and spelling errors, and resources must be cited properly using APA style. Additional formatting requirements are as follows: Times New Roman 12 pt font Double spaced with no extra spacing (between paragraphs, lines, pages, etc.) 1 inch margins on all sides Title Page Reference Page, APA 6th edition 2-4 pages, excluding Title and Reference pages

The final paper assignment portion of the course will consist of a critical analysis of either a work of art, individual artist, or period/movement/artistic style of the student’s choosing, pending approval by the instructor. This assignment will be measured by the student’s ability to demonstrate a working knowledge, understanding, and competency of course lessons by applying said information to take shape as a written formal analysis. The final paper must be formatted in MLA, utilize a 12pt font, contain a bibliography, an illustrations page (do not insert illustrations into the text itself) and be at least 5 pages in length. While emphasis should be given to the understanding and ability to discuss art in a formal context, other areas that should be included in the paper are as follows: • Introduction- Begin by stating why you chose the particular artist, or art work and what interests it holds for you as an individual. What is the aesthetic and personal appeal for you as an individual? Then provide a clearly defined statement of intent in regarding the work. • Description- Describe the work visually along lines of the presence and use of the elements and principles of art, both as design and aesthetic compositional devices. So look at what’s there, literally right in front of you. Start with the most basic: what medium or material is it – a photograph, an object, a painting? How does it look? Rough and quick? Slick and neat? Shiny? Dirty? Carefully made? Thrown together? The artist will have made some very deliberate decisions about the materials, style and approach, and these will feed directly into the overall feel and meaning of the work. • Analysis- Refers to how we see the elements and principles of art. In this step, our minds take in the lines, values, and colors of the artwork. We also may take notice of the balance, proportion, rhythm, and unity found within the work. Look, see and think about what is before you. The first two – look and see – are just about using your eyes, and observational skills. The third requires a bit of thought, drawing on what we already know and creatively interpreting what we’ve observed within an artwork’s broader contexts. When we see anything, whether it’s a work of art, a movie or a billboard, our brains perform a massively complex split-second process of reading and making meaning. We absorb a whole range of clues that make up our understanding of any image, many of which we’re not even conscious of. • Context- Particulars should include biography, history as regarding artistic style and process, along with societal influences. The broader context of an artwork will help make sense of what you’ve already observed. Much of the information about context is usually given in the little labels that tell you the artist’s name, the title of the work and the year. And there are often other valuable morsels of information included too, such as the place and year an artist was born. • Meaning- We look for meaning in everything, so this is natural. An interpretation of the work based upon research with considerations given to the possible presence of universal themes, iconography, symbolism, metaphor, etc., that will help to give shape and inform of the inherent meaning within an artwork. What is the artist trying to communicate to us? • Judgement- This is a summation of the previous steps leading up to it. The goal is to provide a statement of the work’s cultural significance and worth based upon analysis, objective viewpoints, critical perspectives and reasoning. The aim is to provide an answer to the question, “Is this work of art successful?”.

post your replies to 4 other students you must engage with what they’ve said in their post and contribute your own thoughts: For instance, I think what you are saying is ________ . I would like to add to that by pointing out ___________ from the reading titled________ because it__________. Offer a different viewpoint on their thoughts that uses the same evidence they have presented and looks at it another way. you will be doing 4 replies using the above instructions I attached my other classmates posts so you can reply to them the first two post are from chapter 7 and posts 3 and 4 are from chapter 8. I attached both chapters in case you need to draw off of them for references from the chapter text. 1. Class, After reading this week’s required materials and lecture notes on zombies, I want to mainly focus my analysis on “From Zombi to Zombie: Lafcadio Hearn and William Seabrook” by Roger Luckhurst. I’d first like to say that I did not know much about zombie myths and folklore prior to this week’s material, so I found myself asking many questions. While reading through “From Zombi to Zombie,” I found Luckurst’s description of William Seabrook both fascinating and disturbing. Although Seabrook was known as an alcoholic, occultist, bisexual, satanist, drug addict and even a cannibal, his written material was still considered valuable and reliable. I wondered how he would be received if he lived in today’s world. Would anyone believe his writings and teachings? I think that he would have had a much more difficult time trying to be well-received if he attempted to live a similar life to the one he did in today’s world. I continued asking myself this question as I read on and discovered more disgusting details of his life. Aside from his life story, I did appreciate that Seabrook gave a clear definition of “zombie,” while Lafcadio Hearn did not do this. According to Seabrook, a zombie is a “soulless human corpse, still dead, but taken from the grave and endowed with sorcery” (p. 30). He goes on to write that the zombie would have been “a servant or a slave” to its creator. The most interesting part to me about his definition of a zombie is that the zombie is created using sorcery or magic. Is this true of other depictions of the zombie? Often times when zombies are represented in films, their transformation is not shown (they will walk out of their graves or appear in swarms to attack). This made me consider how the film I chose for my film analysis this week, I Am Legend, represented the transformation of the “darkseekers” from human to zombie. They are transformed using a genetically engineered virus created to cure cancer, whose side effects turned the victim from cancer-cured to rabid beast. With this example to think about, I ask you all to consider, what are other ways that zombies are created? 2. As Luckhurst wrote in Zombies, A Cultural History about Hearn and Seabrook’s experiences in investigating the history of zombies in Haiti, I began wondering why Haitians (or any other suppressed ethnic group, for that matter) didn’t create monsters (therefore folklore) out of the colonials that were terrorizing them? I then read the bit about Seabrook visiting along with his servant, Louis, and she said “…white strangers in this twentieth century city, with our electric lights and motorcars…were surrounded by another world invisible, a world of marvels, miracles, and wonders – a world in which the dead rose from their graves and walked.” What is your insight into what she was referring to? Was it that zombies didn’t “arrive” until white man, forcing the locals into these overworked zombie-like beings? 3. Before this week’s reading I honestly had no clue what the origins of a zombie were. In terms of modern cultural context, most of my knowledge comes from the Walking Dead. I would have never guessed the term ‘zombies’ was created in relation to slavery. I’ve taken numerous Colonial America classes, so I have a decent understanding of slavery in the New England colonies, but I’ve never learned about how slavery was conducted in Haiti. After reading The New York Times article I was able to come up with the question, why do you think our understanding of a ‘zombie’ has been transformed from a spiritual state to a physical one? What I mean by this was the slaves on the plantations in Haiti viewed being a zombie as eternal slavery or more of a spiritual endeavor. In modern society zombies are represented in much a much more physical manner. What do you think brought about these changes to how the term is viewed? One of my theories is due to its physical attributes the modern zombie is much easier to market to the masses. 4. After reading “A Zombie Is a Slave Forever” I was very intrigued because ive never heard of slaves fearing to become zombies after death. “Death was feared but also wished for…(pg 2/3)” Suicide was a slave’s way to stick it to the master since they considered it the worst kind of thievery. It was also their only way to take control of their bodies. But the fear that they could die and become a zombie prevented most from doing it. “To become a zombie was the slave’s worst nightmare: to be dead and still a slave, an eternal field hand.(pg. 2/3)” The only way for the zombie to have his soul back was for him to get ahold of some salt and consume it. I think this is interesting especially at the end of the article it says when a child comes up to your door on Halloween dressed as a zombie to offer them some salt sprinkled in with their candy corn. I like this because it becomes an educational point and a story to tell when the children ask why we would do this. The last point I would make about the article is that it breaks my heart. I couldn’t imagine how they could have felt. No escape not even death. How terrible.

Blog Project:Your BLOG will focus on a 20th Century Concert Dance History research topic. Your topic could be a person, a style, a genre, an era, a specific piece of choreography, or a particular innovation, a site or location, such as Jacobs Pillow is fine too. “The form is the message.” The overall form and design of your BLOG must in some way reflect the form and main ideas of your research topic. Each post must include visuals (i.e. photographic images or other 2D designs) and hyper-links to video footage or websites, at least 2 of each per post. Your blog needs to contain at least, but not limited to, SIX posts that consist of the following: Background: influences, training, lineage, collaborators, etc. Historical Context: How does this research express issues and changes occurring in the culture in their time? Personal Opinion: Why does this matter to you? What makes it meaningful to you personally in your own time and development? X-Factor: Leave room to have an additional post about a topic or idea that you feel needs to be included to thoroughly express your research. In one post include a link to a critical review, i.e. newspaper article of a performance. In one post include a link to a scholarly journal article about your topic and paraphrase the thesis of the article in your post.