17 resultados para Palmer, Rob

em Brock University, Canada


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The book is signed by S.D. Woodruff. A label the book indicates that it was also owned by "Band, of De Vere Gardens in Toronto".

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Instrument of protest from Edward Barrori Palmer, Notary Public of Oakville regarding a protest by Samuel Sutherland, Master of the schooner Elizabeth and Charles McEacherin, mate. The schooner belonged to the Port of Niagara. It set sail from Port Credit to the Port of Niagara. On the 15th day of May there was a violent storm. On the 16th day of May, part of the deck and cargo consisting of lumber went overboard. The mainsail was lost and the jib was split due to the wind. All losses and damages should be borne by the merchants and whomever else it concerned and not by or through the insufficiency of the schooner of neglect by the officers and mariners. This is a 2 ½ page handwritten document, May 16, 1837.

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Coach: Garney Henley Team (Alphabetically): Bruce Adams, Frank Capretta, Kevin Farrow, David Dennis, Rob Demott, Brian Hayden, Peter Kaija, Steve Kolenko, Leacoft Panton, Kevin Rome, Kevin Stevinson, Glen Tone, Moe Willoughby

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1970-71 Brock curling team in action. From L to R: Rob Kelly, John Donald, and John Goodwin

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Curlers Bill Anderson, Rob Kelly and Earl Hotton.

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Back Row: ?, John Stokes, Jim Brandford, Geoff Cudmore, Mike Nictota, Dave Iogna, Mike Cocca, Mike Taylor Front Row: ?, Rob Kelly, Alun Huges, Dave Underhill, Ken White, Joe ?, Mike ?, Jim Robinson

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The Common Tern (Sterna hirundo) is a ground nesting colonial seabird. Terns rely primarily on small prey fishes which they obtain through plunge diving for their survival as well as the survival of their offspring during the breeding season. The zebra mussel (Dreissena polymorpha) is a small bivalve mollusk that invaded North American waters in the late 1980's. Through its suspension feeding, the zebra mussel has the ability to alter the entire aquatic ecosystem, ultimately leading to a reduction in pelagic organisms including small prey fish. The objective of the study was to determine what (if any) indirect effects the invasion of the zebra mussel has had on fish prey captured by terns. The study took place in two separate two-year periods, 1990-91 and 1995-96 on a concrete breakwall off the north shore of Lake Erie near Port Colborne, Ontario. Daily nest checks revealed clutch initiation dates, egg-laying chronology, hatching success and morphological egg characteristics (length and breadth). Behavioural observations included time each sex spent in attendance with its brood, the frequency of feeding chicks and the prey species composition and size fed to chicks as well as to females (courtship feeding). Egg sizes did not differ between study periods, nor did feeding rates to chicks, suggesting that food was not a limiting resource. Terns spent less time with their broods (more time foraging) in the 1995-96 period. However, they also had significantly larger broods and fledged more offspring. The time of each individual foraging trip decreased, suggesting that fish were easier to obtain in 1995 and 1996. Lastly, kleptoparasitism rates decreased, suggesting that the costs of foraging (time, energy) actually decreased as fewer birds adopted this strategy to compensate for what I assumed to be a lack of available food (fish). The only significant difference between the periods of 1990, 1991 and 1995, 1996 was a change in diet. Terns delivered significantly fewer rainbow smelt and more emerald shiner in 1995 and 1996. However, the average size of fish delivered did not change. Thus, there was little impact on prey captured by Common Terns in Lake Erie since the invasion of the zebra mussel.

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In this thesis, I explore how the folk-rock music of Ani DiFranco has influenced the activist commitments, sensibilities, and activities of reproductive rights activists. My interest in the relation of popular music to social movements is informed by the work of Simon Frith (1987, 1996a, 1996b), Rob Rosenthal (2001), and Ann Savage (2003). Frith argues that popular music is an important contributor to personal identity and the ways that listeners see the world. Savage (2003) writes that fans develop a unique relationship with feminist/political music, and Rosenthal (2001) argues that popular music can be an important factor in building social movements. I use these arguments to ask what the influence of Ani DiFranco's music has been for reproductive rights activists who are her fans. I conducted in-depth interviews with ten reproductive rights activists who are fans of Ani DiFranco's music. All ten are women in their twenties and thirties living in Ontario or New York. Each has been listening to DiFranco's music for between two and fifteen years, and has considered herself a reproductive rights activist for between eighteen months and twenty years. I examine these women's narratives of their relationships with Ani DiFranco's music and their activist experience through the interconnected lenses of identity, consciousness, and practice. Listening to Ani DiFranco's music affects the fluid ways these women understand their identities as women, as feminists, and in solidarity with others. I draw on Freire's (1970) understanding of conscientization to consider the role that Ani's music has played in heightening women's awareness about reproductive rights issues. The feeling of solidarity with other (both real and perceived) activist fans gives them more confidence that they can make a difference in overcoming social injustice. They believe that Ani's music encourages productive anger, which in turn fuels their passion to take action to make change. Women use Ani's music deliberately for energy and encouragement in their continued activism, and find that it continues to resonate with their evolving identities as women, feminists, and activists. My study builds on those of Rosenthal (2001) and Savage (2003) by focusing on one artist and activists in one social movement. The characteristics of Ani DiFranco, her fan base, and the reproductive rights movement allow new understanding of the ways that female fans who are members of a female-dominated feminist movement interact with the music of a popular independent female artist.

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"We teach who we are" (Palmer, 1998, p. 2). This simple, yet profound, statement was the catalyst that began my thesis journey. Using a combination of self-study and participant narratives, Palmer's idea was explored as search for authenticity. The self-study component of this narrative was enhanced by the stories of two other teachers, both women. I chose to use narrative methodology to uncover and discover the relationship between the personal and professional lives of being a teacher. Do teachers express themselves daily in their classrooms? Do any lessons from the classroom translate into teachers' personal lives? The themes of reflection, authenticity, truth, and professional development thread themselves throughout this narrative study. In order to be true to myself as a teacher/researcher, arts-based interpretations accompany my own and each participant's profile. Our conversations about our pasts, our growth as teachers and journeys as individuals were captured in poetry and photographic mosaics. Through rich and detailed stories we explored who we are as teachers and how we became this way. The symbiotic relationship between our personal and professional lives was illustrated by tales of bravery, self-discovery, and reflection. The revelations uncovered illustrate the powerful role our past plays in shaping the present and potentially the friture. It may seem indulgent to spend time exploring who we are as teachers in a time that is increasingly focused on improving student test scores. Yet, the truth remains that, "Knowing myself is as crucial to good teaching as knowing my students and my subject" (Palmer, 1998, p. 2).

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In 1852 Robert Dolmage (ca. 1821-1889) a merchant of Palermo, Halton County, Ontario married Frances Palmer of Toronto. Together they had four daughters: Carrie, Fanny, Laura and Florence. The family resided in Halton County until they moved to Grimsby, Ont. after 1871 and before 1881. Robert Dolmage died in 1889 and his wife, Frances died in 1904. After Robert’s death the family continued to reside in the family home on Main Street in Grimsby, Ont. and the business interests were looked after by Claude A. Boden. Mr. Boden became one of the prime beneficiaries of Florence Palmer Dolmage’s estate after her death in 1945. Florence Dolmage was buried in Queen’s Lawn Cemetery on July 7, 1945. As she was the last remaining member of this family her estate was dispersed to extended family members as well as charitable organizations. At this time, no information is known about the connection between the Dolmage and Sillett families.

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Reel 1. E.J. Palmer's Grimsby illustrated; Merritton advance; The Evening review; Niagara Falls evening review; The academy; St. Catharines constitutional; St. Catharines daily news; St. Catharines daily standard; St. Catharines daily times; St. Catharines evening journal; St. Catharines evening star. -- Reel 2. St. Catharines evening star. -- Reel 3. St. Catharines evening star. -- Reel 4. St. Catharines evening star; St. Catharines gazette; St. Catharines journal; St. Catharines semi-weekly post; St. Catharines star journal; St. Catharines weekly news; St. Catharines weekly star; St. Catharines women's patriotic journal; St. Catharines women's standard; Welland Canadian farmer supplement; Welland Canadian farmer and grange record; Welland Canal works; Welland telegraph extra; Welland telegraph; Welland tribune and telegraph. -- Reel 5. Beamsville express; Vineland Jordan post; Grimsby independent; Haldimand advocate; Haldimand tribune; Niagara onghiara; Smithville pioneer; The Irish Canadian. -- Reel 7. St. Catharines daily times. -- Reel 8. St. Catharines daily times. -- Reel 9. St. Catharines daily times. -- Reel 10. The Monck reform press; Herald (Fonthill); Independent (Grimsby); Beamsville express; Post express (Lincoln); Jordan post (Vineland); The gleaner and Niagara newspaper; Niagara advance; Pelham herald; Port Colborne news; Farmers' journal and Welland Canal intelligencer; Welland tribune; Welland Tribune; Welland tribune and telegraph; Evening tribune (Welland Ship Canal, centenary issue).

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Survey map of the Second Welland Canal created by the Welland Canal Company showing the canal as it passes through Port Robinson. Identified structures associated with the Canal include the Guard Lock, Collector Toll Office, towing path, and the New Cut of the canal. The surveyors' measurements and notes can be seen in red and black ink and pencil. Local area landmarks are also identified and include streets and roads (ex. Island Street, Bridge Street, John Street, and Cross Street), bridges (Swing Bridge, and several unnamed bridges), Welland Railroad, Canal to Chippewa Creek (and two old locks and one new lock associated with the canal), Chippewa Creek, Back Water, an unnamed Island, Dry Dock leased to McFarland and Abbey, Abbey's Office, D. McFarland and Co. Saw Mill (Burnt), G. Jordan Tavern, Robert Elliot Store House and Wharf, Isaac Pew's Shop, Colemans Hotel, R. Band and Co. Girst Mill, Donaldson and Co. Grist Mill, H. Marlatt Dwelling House and barn, Henry W. Timms Hotel, Methodist Church, Post Office, Blacksmith Shop, a church, a structure labeled B. Patch, and a number of other structures that are not named. Properties and property owners of note are: Lots 202 and 203, S. Hill, D. McFarland, Church Society, G. Jordan, D. Coleman, John Brown, Rob Coulter, Robert Elliot, Isaac Pew, James McCoppen, William Bell, Charles Stuart, Andrew Elliot, Robert Band, Ed. Feney, John Betty, F. Sharp, William B. Hendershot, A. Brownson, H. Marlatt, J. S. Powell, and the School Trustees. Two reserved properties are labeled in red.The current spelling of Chippewa Creek is Chippawa. Although it not possible to make out the entire name of the H. W. Timms hotel located at Front and Bridge Street on the map itself, it was discovered to belong to Henry W. Timms after consulting the 1851-52 Canada Directory.

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Exploring the new science of emergence allows us to create a very different classroom than how the modern classroom has been conceptualised under the mentality of efficiency and output. Working on the whole person, and not just the mind, we see a shift from the epistemic pillars of truth to more ontological concerns as regards student achievement in our post-Modern and critical discourses. It is important to understand these shifts and how we are to transition our own perception and mentality not only in our research methodologies but also our approach to conceptualisations of issues in education and sustainability. We can no longer think linearly to approach complex problems or advocate for education and disregard our interconnectedness insofar as it enhances our children’s education. We must, therefore, contemplate and transition to a world that is ecological and not mechanical, complex and not complicated—in essence, we must work to link mind-body with self-environment and transcend these in order to bring about an integration toward a sustainable future. A fundamental shift in consciousness and perception may implicate our nature of creating dichotomous entities in our own microcosms, yet postmodern theorists assume, a priori, that these dualities can be bridged in naturalism alone. I, on the other hand, embrace metaphysics to understand the implicated modern classroom in a hierarchical context and ask: is not the very omission of metaphysics in postmodern discourse a symptom from an education whose foundation was built in its absence? The very dereliction of ancient wisdom in education is very peculiar indeed. Western mindfulness may play a vital component in consummating pragmatic idealism, but only under circumstances admitting metaphysics can we truly transcend our limitations, thereby placing Eastern Mindfulness not as an ecological component, but as an ecological and metaphysical foundation.

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A photograph of the female campers of July 1946 at Glen Bernard Camp on Lake Bernard. The group includes a wide range of ages and the girls are outside among the trees. The camp was started in the 1920s and became very popular. The photograph includes Anne McCordick, daughter of E.F. McCordick.