Eliza Taylor-Cotter, Eliza Taylor: Occupation: Actress: Years active: 2002–present: Notable work: Neighbours The 100: Eliza Jane Taylor-Cotter (born 24 October 1989. Eliza Taylor Cotter Biography Of PopeEliza Jane Taylor-Cotter (born 24 October 1989) is an Australian actress, best known for her role as Janae Timmins in the Australian soap opera Neighbours (2005-2008) and the lead role of Clarke Griffin in The CW series The 100. Eliza Taylor-Cotter Quotes Eliza Taylor-Cotter on Leaving Neighbours It was difficult but at the same time i really was ready to go because i'd been there for so long. Eliza Jane Taylor-Cotter (Melbourne, 24 ottobre 1989) è un'attrice australiana. Ha partecipato alle riprese del telefilm per ragazzi The Sleepover Club, in cui. Eliza Taylor biography, pictures, credits,quotes and more. Eliza is an Australian actress, best known for her roles in the TV. Eliza Taylor Eliza Jane Taylor (born on 24 October. Eliza Taylor. Biography. Showing all 20 items. Jump to. Eliza Jane Taylor-Cotter: Nickname: Liza-Loo : Height: 5' 5' (1.
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Examples are currently Chicago style and American Psychological Association (APA). This is the 'Sample Chicago Annotation' page of the 'Annotated Bibliographies' guide. Alternate Page for Screenreader Users Skip to Page Navigation. Creating an annotated bibliography in Chicago style. history and other disciplines. The style guide is summarized online here (BU Writing Centre) and here (Owl Perdue). Kate Turabian's A Manual for Writers of Term Papers, Theses, and. Write an Annotated Bibliography 1 Battle, Ken. "Child Poverty: The Evolution and Impact of Child Benefits." In A Question of Commitment: Children's Rights in Canada, edited by Katherine Covell and Howe, R. Brian, 21-44. Waterloo, ON: Wilfrid Laurier University Press, 2007. Ken Battle draws on a close study of government documents, as well as his own research as an extensively-published policy analyst, to explain Canadian child benefit programs. WHAT IS AN ANNOTATED BIBLIOGRAPHY? Examples Using MLA format, APA Format and Chicago/Turabian Format.The Grass Arena is an autobiography that was made into a British film released in 1991. It is based on the true story of John Healy. The book had been out of print. Get this from a library! The grass arena : an autobiography. [John Healy]. The Grass Arena: An Autobiography: John Healy: 9780571151707: Books Healy was born into an impoverished, Irish immigrant family, in the slums of Kentish Town, North London. Out of school by 14, pressed into the army and intermittently in prison, Healy became an alocholic early on in life. Despite these obstacles Healy achieved remarkable, indeed phenomenal expertise in both writing and Chess, as outlined in the autobiographical The Grass Arena. --This text refers to an out of print or unavailable edition of this title. Buy The Grass Arena: An Autobiography by John Healy (ISBN: 9780571151714) from Amazon's Book Store. Free UK delivery on eligible orders. The Grass Arena: An Autobiography [John Healy] on Amazon.com. *FREE* shipping on qualifying offers. Winner of the J.R.Ackerley prize for The Best Literary. The Grass Arena: An Autobiography [John Healy] on Amazon.com. *FREE* shipping on qualifying offers. In this prize-winning autobiography, John Healy describes his. McClellan & Corren, A Law Corporation, is a women-owned law firm providing efficient and aggressive defense representation in civil and workers’ compensation matters. In the San Francisco Bay Area and throughout Northern California, we represent insurance companies, third-party administrators, and employers in all aspects of civil litigation and workers’ compensation matters, including Labor Code section 132a, subrogation claims, and coverage matters.At McClellan & Corren, we offer diversity, flexibility, and personal service. Our team of lawyers is experienced and able to meet the distinct and ever-changing goals of our clients. We strive to provide the highest quality defense representation and client service by tailoring the management of each case to suit the needs of each particular client. Our attorneys work proactively and efficiently to achieve favorable results in every case.At McClellan & Corren, our defense attorneys have a deep commitment to personal service. We are dedicated to building and maintaining strong relationships with our clients, through prioritizing accessibility and open communication. McClellan & Corren lawyers approach each case with the understanding that every client is unique and important. Our firm overview describes our history, practice, and philosophy in greater detail. To learn more about our services or to schedule a consultation with one of our defense attorneys, contact McClellan & Corren, A Law Corporation, today. McClellan & Corren, A Law Corporation, represents clients in all Northern California courts, including San Francisco, Oakland, Santa Rosa, San Jose, Salinas, Sacramento and Stockton. We also service Redding, Chico, Fresno and Bakersfield. Welcome to Portsmouth Mind affiliated with national Mind, the mental health charity. Portsmouth Mind promotes and supports mental health and wellbeing in Portsmouth. Despite the research supporting online education, recruiters and hiring managers still see an online MBA as a second-class credential. In its 2009. Skate For Change is a non-profit started by Mike Smith but carried out by youth all across America. What started out as a simple exercise of kindness has sparked a.
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Alicia Alonso (born Alicia Ernestina de la Caridad Martínez Hoya; 21 December 1921) is a Cuban prima ballerina assoluta and choreographer. Her company became the Ballet Nacional de Cuba in 1955. She is most famous for her portrayals of Giselle and the ballet version of Carmen. From the age of nineteen, Alonso was afflicted with an eye condition and became partially blind. Her partners always had to be in the exact place she expected them to be, and she used lights in different parts of the stage to guide herself.} Alonso was born in Havana, one of two daughters of an army officer and his wife. The family was financially comfortable and lived in a fashionable section of the then-vibrant capital. Alonso revealed at a very early age an affinity for music and dance - her mother could occupy her happily for long periods with just a phonograph, a scarf, and some records. She started dancing at the age of seven or eight. In June 1931 she began studying ballet at Sociedad Pro-Arte Musical in Havana with Nikolai Yavorsky. She performed publicly for the first time 29 December 1931, aged 10 years old. Her first serious debut was in Tchaikovsky's Sleeping Beauty at the Teatro Auditorium 26 October 1932. She originally danced in Cuba under the name of Alicia Martínez. Rapid progress in her lessons came to an abrupt halt in 1937, when the teenager fell in love with a fellow ballet student, Fernando Alonso, whom she married. After her marriage, she changed her surname to Alonso. The new couple moved to New York City, hoping to begin their professional careers. There they found a home with relatives on the Upper West Side of Manhattan, near Riverside Drive. Alonso gave birth to a daughter, Laura, but managed to continue her training at the School of American Ballet and took private classes. She arranged to travel to London to study with Vera Volkova. Meanwhile, her husband had joined the new Mordkin Ballet Company in New York.[ After seeing the doctor for worsening vision problems, Alonso was diagnosed in 1941 with a detached retina. She had surgery to correct the problem. This surgery consisted of completely removing the eyeball, injecting it with an antibiotic and putting it back in She was ordered to lie motionless in bed for 3 months so her eyes could completely heal. Unable to comply completely, Alonso practiced with her feet alone, pointing and stretching to, as she put it, "keep my feet alive." When the bandages came off, Alonso was dismayed to find that the operation had not been completely successful. The doctors performed a second surgery, but its failure caused them to conclude that the dancer would never have peripheral vision. Finally, she consented to a third procedure in Havana, but this time was ordered to lie completely motionless in bed for an entire year. She was not permitted to play with Laura, chew food too hard, laugh or cry, or move her head. Her husband sat with her every day, using their fingers to teach her the great dancing roles of classical ballet. She recalled of that period, "I danced in my mind. Blinded, motionless, flat on my back, I taught myself to dance Giselle." Finally, she was allowed to leave her bed, although dancing was still out of the question. Instead, she walked with her dogs and, against doctor's orders, went to the ballet studio down the street every day to begin practicing again. Then, just as her hope was returning, Alonso was injured when a hurricane shattered a door in her home, spraying glass splinters onto her head and face. Amazingly, her eyes were not injured. When her doctor saw this, he cleared Alonso to begin dancing, figuring that if she could survive an explosion of glass, dancing would do no harm.[ Alonso traveled back to New York in 1943 to begin rebuilding her skills. However, before she had barely settled, out of the blue she was asked to dance Giselle to replace the Ballet Theatre's injured prima ballerina. Alonso accepted and gave such a performance that the critics immediately declared her a star. She was promoted to principal dancer of the company in 1946 and danced the role of Giselle until 1948, also performing in Swan Lake, Antony Tudor's Undertow (1943), Balanchine's Theme and Variations (1947), and in such world premieres as deMille's dramatic ballet Fall River Legend (1948), in which she starred as the Accused. By this time in her career, she had developed a reputation as an intensely dramatic dancer, as well as an ultra-pure technician and a supremely skilled interpreter of classical and romantic repertories. The Ballet Theatre's Igor Youskevitch and her other partners quickly became expert at helping Alonso conceal her handicap. To compensate for only partial sight in one eye and no peripheral vision, the ballerina trained her partners to be exactly where she needed them without exception. She also had the set designers install strong spotlights in different colors to serve as guides for her movements. She knew, for instance, that if she stepped into the glow of the spotlights near the front of the stage, she was getting too close to the orchestra pit. There was also a thin wire stretched across the edge of the stage at waist height as another marker for her, but in general she danced within the encircling arms of her partners and was led by them from point to point. Audiences were reportedly never the wiser as they watched the prima ballerina.[ Alonso's desire to develop ballet in Cuba led her to return to Havana in 1948 to found her own company, the Alicia Alonso Ballet Company, which she maintained with little financial support, this company eventually became Ballet Nacional de Cuba. Fernando was general director of the company, which was at that time composed mainly of Ballet Theater dancers temporarily out of work due to a reorganization in the New York company. Fernando's brother Alberto, a choreographer, served as artistic director for the company. The company debuted briefly in the capital and then departed for a tour of South America. The performances were a hit with audiences everywhere, but Alonso found herself funding the company with her savings to keep it going despite donations from wealthy families and a modest subsidy from the Cuban Ministry of Education. Meanwhile, she commuted between Havana and New York to recruit the world's best teachers to train her new students. She remained a sought-after prima ballerina during this hectic time, dancing twice in Russia in 1952 and then producing and starring in Giselle for the Paris Opéra Ballet in 1953.[ From 1955-59, Alonso danced annually with the Ballet Russe de Monte Carlo as guest star. She was the first dancer of the Western Hemisphere to perform in the Soviet Union, and the first American representative to dance with the Bolshoi and Kirov Theaters of Moscow and Leningrad (St. Petersburg) respectively in 1957 and 1958. During the decades to follow Alicia Alonso had cross-world tours through West and East European countries, Asia, North and South America, and she danced as guest star with the Opera de Paris, the Royal Danish Ballet, the Bolshoi and with other companies. She staged versions of Giselle, Pas de Quatre, and Sleeping Beauty for the Paris Opera. She staged Giselle at the Vienna State Opera and the San Carlo Theater of Naples, Italy, as well as La Fille Mal Gardée at the Prague State Opera, and Sleeping Beauty at La Scala, Milan, Italy.[ Alonso worked with the Ballet Russe until 1959, during which time she performed in a 10-week tour of the Soviet Union, dancing in Giselle, the Leningrad Opera Ballet's Path of Thunder, and other pieces. Her performances earned her the coveted Dance Magazine Award in 1958.[ Cuba in the 1950s was the center of modern Latin American entertainment and art. When Fidel Castro took power from the Batista government on 1 January 1959, Castro vowed to increase funding to the nation's languishing cultural programs. Encouraged by this sudden change and eager to see her homeland from which she was never exiled and to which she had always been permitted to return, Alonso returned to Cuba and in March 1959 received $200,000 in funding to form a new dance school, the Ballet Nacional de Cuba, along with a guarantee of annual financial support.[ Alonso has since described receiving a message from Castro in 1958 sent from the Sierra Maestra inviting her to head the company upon the triumph of the July 26 Movement. Alonso officially founded the school in 1960, and within several years her dancers were winning international dance competitions. Due to Alonso's affiliation with the new regime in Havana, U.S. audiences largely turned their backs on the prima ballerina. In addition, as with the Russian ballet companies, exposure to western audiences would promote defectors who would cause huge embarrassment to the Soviet Union, so the Cuban government from the 1960s through the 1980s did not allow Cubans to perform in the U.S. and monitored anyone with contacts outside Cuba via phone cables and letters. Alonso's company, however, continued to build its powers and achievements in both Eastern and Western Europe. In 1967 and 1971 she performed in Canada, where reviewers noted that Alonso was still the greatest ballerina of her time. When the Vietnam War ended and Richard Nixon left the presidency, Fidel Castro permitted Alonso to perform again in the United States in 1975 and 1976. An American reviewer said of the dancer, then 54 years old and a grandmother, "she creates more sexual promise than ballerinas half her age."[ Alonso danced solos in Europe and elsewhere well into her 70s. She continued to serve as the director of the Ballet Nacional de Cuba until the early 21st-century. Numerous books have been written on the ballerina, including Alicia Alonso: At Home and Abroad (1970), Alicia Alonso: The Story of a Ballerina (1979), Alicia Alonso: A Passionate Life of Dance (1984) and Alicia Alonso: First Lady of the Ballet (1993). As director and leading dancer of the Ballet Nacional de Cuba, she has taught many now notable dancers in Cuba and beyond. Some of her former students have danced or dance with the American Ballet Theatre, the Boston Ballet, the San Francisco Ballet, the Washington Ballet, the Cincinnati Ballet and the Royal Ballet, among others. Dance Magazine Annual Award, 1934 Dance Magazine Annual Award, 1958 Grand Prix de la Ville de Paris, 1966 Anna Pavlova Award of the University of Dance, Paris, 1966 Grand Prix de la Ville de Paris together with her company, 1970 Order of Work of the Democratic Republic of Vietnam, 1974 Gold Medal of the Gran Teatro by Premio Gran Teatro de La Habana in 1985 National Prize for Dance from the Ministry of Culture of Cuba, 1998 Gold medal from the Circulo de Bellas Artes of Madrid, 1998 UNESCO Pablo Picasso Medal for her extraordinary contribution to dance, 1999 Grand Prix de la Ville de Paris, 1999 Premio Benois de la Danza, 2000 Honorary doctorate in art from the University of Havana, 1973 Received an international homage in Paris, organized by UNESCO, 1980 Council of State of the Republic of Cuba gave her the Order Felix Varela, 1981 Honorary doctorate in dancing art from the Superior Institute of Arts of Cuba, 1987 Received the Commendation of Isabel Catholic Order, given by the King of Spain Juan Carlos I, 1993 Public recognition was given in her honor at the Scientific, Artistic, and Literary Ateneo of Madrid for her valuable artistic and cultural creations, 1996 The Ballet Nacional de Cuba honored Alicia Alonso on the 50th anniversary of Theme & Variations, a ballet created by George Balanchine for her and Igor Youskevitch, 1997 Honorary degree from the Universidad Politecnica of Valencia, 1998 Art & Letters Order, Commander Degree, from the Ministry of Culture and Communication of France, 1998 Prix Benois de la Danse for lifetime achievement, 2000 Order of José Marti by the Council of State of the Republic of Cuba, 2000 Received the highest official awards from Mexico, the Dominican Republic, and Panama: the Order Aguila Azteca, the Order Duarte, Sanchez, and Mella, and the Order Vasco Nunez de Balboa, respectively Named National Hero of Labor in Cuba Holds membership in the Advisory Council to the Ministry of Culture in the National Committee of Writers and Artists Union of Cuba Holds membership in the Collaborating Council of the Governing Boards of the Federation of Cuban Women Honorary Citizen of Mérida (México)and Messenger of Peace, 2011 List of Cubans Magazine Cuba in the Ballet. Founded in 1970; ISSN 0864-1307. Cuba Magazine in the Ballet; ISSN 0864-1307. Cultural Publication specialized in the world of the Cuban ballet, includes critical, chronicle, and comments..., as well as a news section. National Ballet of Cuba: half a century of glory. Book that collects the fifty years of the company. Written by Miguel Cabrera (Punta Bava, Havana, 1941), Historian of the BNC, summarizes the most outstanding aspects in five decades where generations of dancers, choreographers and specialized personnel have given the best. The book provides good information of the NBC, including tours, ballets throughout its history. Published by Ediciones Cuba in the Ballet. University for All (Tabloid). History and Appreciation of the Ballet. Cultural publication with texts that support the telelectures delivered by specialists of the National Ballet of Cuba and other guest personalities. DIALOGUES WITH THE DANCE by Alicia Alonso; the fourth edition of this title, in which the reader will be able to find memories of the initial moments of her career, brief impressions on some works of her repertoire, testimonies about famous personalities she worked with, as well as points of view sometimes referred to polemic questions concerning the dancer's profession and the art of the dance in general. Política Publisher. Alicia Alonso profile, UNESCO.org; accessed 5 May 2014. Alicia Alonso entry, the Concise Encyclopædia Britannica; accessed 5 May 2014. Profile, ABT Original Carmen premiere, abt.org; accessed 5 May 2014. ABT Original Theme and Variations, abt.org; accessed 5 May 2014. Entrevista a Alicia Alonso, danzaballet.com; accessed 5 May 2014. Profile, Ballet Nacional de Cuba; accessed 5 May 2014. Archive footage, Alonso and Erik Bruhn performing "Pas de Deux" from Giselle, Act II (1955) at Jacob's Pillow; accessed 5 May 2014. Alicia Alonso Alicia Alonso (born Alicia Ernestina de la Caridad Martínez Hoya; 21 December 1921) is a Cuban prima ballerina assoluta and choreographer. Her company became the. Definition of Alicia Alonso in the AudioEnglish.org Dictionary. Meaning of Alicia Alonso. Who is/Who was Alicia Alonso? Proper usage and pronunciation (in phonetic. Best 100 College and University Persuasive Essay Topics - hand selected by professionals. Find a topic that you like the most for your persuasive paper writing. Next Thursday, I have a persuasive essay due for English class. I need some interesting topics to write on. The idea is to state my opinion on a matter and persuade my readers to agree with my viewpoint by giving logical, intelligent and original arguments to support it. Some example topics include the matter of abortion, animal testing, school uniform, legal drinking age, etc. If you can give me some ideas it'd be much appreciated! Thanks. 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