Although the subject of pottery would appear to the layman to be one of complicated formulas and difficult technical requirements, it is possible to reduce the on- tire procedure to a series of simple, logical processes. To do this is the purpose for which this thesis has been undertaken. It seems advisable to reduce the entire subject of elementary pottery to fifteen lessons, for two reasons. (1) The instructor who must teach the subject in one semester of eighteen weeks will be enabled by this plan to cover the subject logically and completely if she will adhere to the divisions which have been made. This will give ample time for outside work, tests, etc. (2) The craftsman who wishes to express himself in one more medium, or the home-maker who merely desires the diversion of self-expression, will find the directions, given in this logical sequence, so clear and untechnical that he cannot fail, with sufficient practice, to achieve definite results

This original panuscript of Teo-ch'an 1, . the Procedure of Dhyana, is part of a collection of eight voluman of 勍修百丈清规, Ch'sh Hau Pe Ca Ching Kuel, or in Japanese, the Chokushu Hyakujo Shingi. Its compiler is, Tokki or Te-kuel who, in 元朝, the the Yuan Dynasty, 1280-1368, received an imperial 大智夀聖禪寺, He resided at the $$ decree to do this work. He resided at 2 Shuo Chih Shou Sheng Shan Szu, which was in a locality that was a part of the Pai Chang mountains, in Hong Chow, about 150 miles east of Hankow. This monastery was started in, the T'ang Dynasty, (618-905 A.D.), ita master HuaiHal (720-814 A.D.), a disciple of achu (709-786A.0.), saw the nest for a better plated 2 monastery. He felt the groups at that time were too contemplative and were withdrawing within themselves more and more. Emphasis on other-worldliness was 1,2) See Appendix.

The project herein described is an experimental attempt to con- struct visual aids for the study of voice. Its purposes are: (1) to ako possible the visual perception of pitch change on a vertical scale; (2) to isolate certain overtones of the fundamental frequency in the hope of deriving some assistance to the improvement of quality. The principle of operation is the psychological phenomenon of stroboscopy, the illusion of stationary, constant light, as a result of synchronized interrupted vision. The Vocascope is composed of four essential parts: (1) the scanning drugs, (2) the light source, (3) the amplifier, (4) the filter.

The genus Polygonum belongs to the family of plants, the Polygonaceae, which includes about forty genera and seven hundred and fifty species. About two hundred end seventy-five of these belong within Polygonum. Scientists have also found distinctly recognizable fossil Polygonums which date from prehistoric ages. Dr. F. H. Knowlton¹ of the U. S. National Museum has listed twelve species which have been found in fossil form. While studying collection of Colorado fossil plants in the Geological Tunes et Columbia College, Small discovered a remarkably distinct Polygonum belonging to the subgenus Persicaria.

During periods of war, a nation wishes the morale of the fighting forces and the home front to be high in spirit. Every country strives to encourage and stimulate good feeling among its fellowmen. The United States is no exception to this time-honored fact. It has long realized the value of morale in winning a war. It has long realized, that without high morale, a nation my lose a conflict. The factors that contribute to desirable war morale are many. During periods of war they are closely guarded and carefully nurtured. A critical analysis is placed on every movement and act coming under the watchful eye of the War Department. The results of all contributing factors to the war effort are scrutinized closely for good bad effect.

Siva's Dance was a project which had been in various developmental stages for many years. The work symbolized movement in the universe through the cycles of creation and destruction; where life and death give birth to one another. Siva represented the continuing thread which weaves the years and cycles together. My choreographic intention was to thread small segments together to create an ongoing and evolutionary process. None of these segments vas meant as a complete statement, rather each was a compacted and cryptic piece to be seen as a color, or word added to the whole. The wide chronological spans are intended to portray the creative and destructive cycles as an ongoing process and the chosen subject matter for each piece was purely subjective.

Because of the nutritious value of sodium glutamate and its meat-like flavor, which is very pleasing to most people, and hence its demand if it were properly promoted, and because of the abundance of protein in accessible form for its manufacture, it is only reasonable to assume that if the optimum conditions of protein hydrolysis were found, the manufacturing could be made a highly successful enterprise. it was the purpose of this research to investigate the methods by which the hydrolysis of wheat glutes can do conveniently followed in order to determine the efficiency of reactions run under specific conditions.

To what extent this subtle censorship of López Valdizón by his compatriots is related to the author’s specific political activities, during and since the Guatemalan Revolution, shall have to remain a moot question since everyone, including López Valdizón himself, declined to discuss this issue. All things considered, López Valdizón emerged as an eminently qualified spokesman for his generation. Subsequent direct correspondence with the author during these intervening years has only served to confirm the original premise. Therefore, recognizing that the present effort is but one endeavor into an area which is still open to much investigation, it is hoped that this introduction of López Valdizón to the English-speaking world will give an insight into a “revolutionary” whose nationalism and reproving pen have their roots in the Guatemalan Revolution. The phrase “new realism” is an idea unique to the Guatemalan milieu of 1944-54 and to the generation of artists and writers who emerged during this period. More than a literary term, “new realism” originated as a formalized concept, ultra nationalistic in nature, and oriented toward refocusing and channelling intellectual endeavors toward the promotion of the Guatemalan Revolution.

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