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Teaching students to be ethnographers includes teaching them to use details to describe or portray things, gather and evaluate information about groups, places, and people, and helping them be aware of their own beliefs (Beach, 1999, 88). Beach and Finders (1999) write that, “Engaging students as ethnographers of their own communities may change relationships within the classroom, allowing students to gain understanding of diverse experiences. While students may still have to enter new contexts without the rules for navigating firmly in hand, work as ethnographic writers may help them to judge unfamiliar social worlds more positively”(88).

Beach, R., & Finders, M. J. (1999). Students as Ethnographers: Guiding Alternative Research Projects. The English Journal, 89(1), 82-90.

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"One recent study of young people in the U.S. found, in a typical day 8- to 18-year-olds spent more than seven and a half hours using some form of media [...] Digital technologies have created opportunities for individuals to create, distribute, and read multimodal texts with ease and enthusiasm" (Williams, 2012, 1).

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"One recent study of young people in the U.S. found, in a typical day 8- to 18-year-olds spent more than seven and a half hours using some form of media [...] Digital technologies have created opportunities for individuals to create, distribute, and read multimodal texts with ease and enthusiasm" (Williams, 2012, 1).

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Williams, B.T., & Zenger, A.A. (Eds.). (2012). New
media literacies and participatory popular culture across borders. New York: Routledge.

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"Students who are already reading popular culture texts from other countries, or communicate with online friends across borders, are developing ideas about literacy and culture that are significantly different than those of previous generations" (Williams, 2012, 2).

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"Students who are already reading popular culture texts from other countries, or communicate with online friends across borders, are developing ideas about literacy and culture that are significantly different than those of previous generations" (Williams, 2012, 2).

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Williams, B.T., & Zenger, A.A. (Eds.). (2012). New
media literacies and participatory popular culture across borders. New York: Routledge.

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"Among people that were between 50-64, 26% answered that they intended to buy the new book".

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"Among people that were between 50-64, 26% answered that they intended to buy the new book".

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(Pew Research Center. (2007, July 19). News of the Week Doesn’t Grab Public’s Attention: Harry Potter Book Widely Anticipated.)

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Only 8% of households paid close attention to the news surrounding the release and a possible movie release, but that number climbed a bit to 13% for households with teenagers. 

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Only 8% of households paid close attention to the news surrounding the release and a possible movie release, but that number climbed a bit to 13% for households with teenagers. 

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(Pew Research Center. (2007, July 19). News of the Week Doesn’t Grab Public’s Attention: Harry Potter Book Widely Anticipated.)

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In 2007, when the last book was released, 79% of households with either a teenager or a college graduate planned to buy the last Harry Potter book.

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In 2007, when the last book was released, 79% of households with either a teenager or a college graduate planned to buy the last Harry Potter book.

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(Pew Research Center. (2007, July 19). News of the Week Doesn’t Grab Public’s Attention: Harry Potter Book Widely Anticipated.)

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"collector’s items associated with the books and movies often have no trouble auctioning for thousands (sometimes millions) of dollars. Here are nine magical pieces of memorabilia whose selling prices would drain the average Gringotts account" (Debczak, 2016).

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June 16, 1904 is the day that James Joyce, the Irish author of Modernist masterpieces like Dubliners and A Portrait of the Artist as a Young Man, and who was described as "a curious mixture of sinister genius and uncertain talent," set his seminal work, Ulysses. It also thought to be the day that he had his first date with his future wife, Nora Barnacle.

He was as mythical as the myths he used as the foundations for his own work. So in honor of that June day in 1904-known to fans worldwide as "Bloomsday," after one of the book's protagonists, Leopold Bloom-here are 12 facts about James Joyce.

1. HE WAS ONLY 9 WHEN HIS FIRST PIECE OF WRITING WAS PUBLISHED.

In 1891, shortly after he had to leave Clongowes Wood College when his father lost his job, 9-year-old Joyce wrote a poem called "Et Tu Healy?" It was published by his father John and distributed to friends; the elder Joyce thought so highly of it, he allegedly sent copies to the Pope.

No known complete copies of the poem exist, but the precocious student's verse allegedly denounced a politician named Tim Healy for abandoning 19th century Irish nationalist politician Charles Stewart Parnell after a sex scandal. Fragments of the ending of the poem, later remembered by James's brother Stanislaus, showed Parnell looking down on Irish politicians:

His quaint-perched aerie on the crags of Time
Where the rude din of this century
Can trouble him no more

While the poem was seemingly quaint, young Joyce equating Healy as Brutus and Parnell as Caesar marked the first time he'd use old archetypes in a modern context, much in the same way Ulysses is a unique retelling of The Odyssey.

As an adult, Joyce would publish his first book, a collection of poems called Chamber Music, in 1907. It was followed by Dubliners, a collection of short stories, in 1914, and the semi-autobiographical A Portrait of the Artist as a Young Man (in which Clongowes Wood College is prominently featured) in 1916.

2. HE CAUSED A CONTROVERSY AT HIS COLLEGE'S PAPER.

While attending University College Dublin, Joyce attempted to publish a negative review-titled "The Day of the Rabblement"-of a new local playhouse called the Irish Literary Theatre in the school's paper, St. Stephen's. Joyce's condemnation of the theater's "parochialism" was allegedly so scathing that the paper's editors, after seeking consultation from one of the school's priests, refused to print it.

Incensed about possible censorship, Joyce appealed to the school's president, who sided with the editors-which prompted Joyce to put up his own money to publish 85 copies to be distributed across campus.

The pamphlet, published alongside a friend's essay to beef up the page-count, came with the preface: "These two essays were commissioned by the editor of St. Stephen's for that paper, but were subsequently refused insertion by the censor." It wouldn't be the last time Joyce would fight censorship.

3. NORA BARNACLE GHOSTED HIM FOR THEIR PLANNED FIRST DATE.

By the time Nora Barnacle and Joyce finally married in 1931, they had lived together for 27 years, traveled the continent and had two children. The couple first met in Dublin in 1904 when Joyce struck up a conversation with her near the hotel where Nora worked as a chambermaid. She initially mistook him for a Swedish sailor because of his blue eyes and the yachting cap he wore that day, and he charmed her so much that they set a date for June 14-but she didn't show.

He then wrote her a letter, saying, "I looked for a long time at a head of reddish-brown hair and decided it was not yours. I went home quite dejected. I would like to make an appointment but it might not suit you. I hope you will be kind enough to make one with me-if you have not forgotten me!" This led to their first date, which supposedly took place on June 16, 1904.

She would continue to be his muse throughout their life together in both his published work (the character Molly Bloom in Ulysses is based on her) and their fruitful personal correspondence. Their notably dirty love letters to each other-featuring him saying their love-making reminded him of "a hog riding a sow" and signing off one by saying "Goodnight, my little farting Nora, my dirty little f**kbird!"-have highlighted the NSFW nature of their relationship. In fact, one of Joyce's signed erotic letters to Nora fetched a record £240,800 ($446,422) at a London auction in 2004.

4. HE HAD REALLY BAD EYES.

While Joyce's persistent money problems caused him to lead a life of what could be categorized as creative discomfort, he had to deal with a near lifetime of medical discomfort as well. Joyce suffered from anterior uveitis, which led to a series of around 12 eye surgeries over his lifetime. (Due to the relatively unsophisticated state of ophthalmology at the time, and his decision not to listen to contemporary medical advice, scholars speculate that his iritis, glaucoma, and cataracts could have been caused by sarcoidosis, syphilis, tuberculosis, or any number of congenital problems.) His vision issues caused Joyce to wear an eye patch for years and forced him to do his writing on large white sheets of paper using only red crayon. The persistent eye struggles even inspired him to name his daughter Lucia, after St. Lucia, patron saint of the blind.

5. HE TAUGHT ENGLISH AT A BERLITZ LANGUAGE SCHOOL.

In 1904, Joyce-eager to get out of Ireland-responded to an ad for a teaching position in Europe. Evelyn Gilford, a job agent based in the British town of Market Rasen, Lincolnshire, notified Joyce that a job was reserved for him and, for two guineas, he would be told exactly where the position was. Joyce sent the money, and by the end of 1904, he and his future wife, Nora, had left Dublin for the job at a Berlitz language school in Zurich, Switzerland-but when they got there, the pair learned there was no open position. But they did hear a position was open at a Berlitz school in Trieste, Italy. The pair packed up and moved on to Italy only to find out they'd been swindled again.

Joyce eventually found a Berlitz teaching job in Pola in Austria-Hungary (now Pula, Croatia). English was one of 17 languages Joyce could speak; others included Arabic, Sanskrit, Greek, and Italian (which eventually became his preferred language, and one that he exclusively spoke at home with his family). He also loved playwright Henrik Ibsen so much that he learned Norwegian so that he could read Ibsen's works in their original form-and send the writer a fan letter in his native tongue.

6. HE INVESTED IN A MOVIE THEATER.

There are about 400 movie theaters in Ireland today, but they trace their history back to 1909, when Joyce helped open the Volta Cinematograph, which is considered "the first full-time, continuous, dedicated cinema" in Ireland.

More a money-making scheme than a product of a love of cinema, Joyce first got the idea when he was having trouble getting Dubliners published and noticed the abundance of cinemas while living in Trieste. When his sister, Eva, told him Ireland didn't have any movie theaters, Joyce joined up with four Italian investors (he'd get 10 percent of the profits) to open up the Volta on Dublin's Mary Street.

The venture fizzled as quickly as Joyce's involvement. After not attracting audiences due to mostly showing only Italian and European movies unpopular with everyday Dubliners, Joyce cut his losses and pulled out of the venture after only seven months.

The cinema itself didn't close until 1919, during the time Joyce was hard at work on Ulysses. (It reopened with a different name in 1921 and didn't fully close until 1948.)

7. HE TURNED TO A COMPLETELY INEXPERIENCED PUBLISHER TO RELEASE HIS MOST WELL-KNOWN BOOK.

The publishing history of Ulysses is itself its own odyssey. Joyce began writing the work in 1914, and by 1918 he had begun serializing the novel in the American magazine Little Review with the help of poet Ezra Pound.

But by 1921, Little Review was in financial trouble. The published version of Episode 13 of Ulysses, "Nausicaa," resulted in a costly obscenity lawsuit against its publishers, Margaret Anderson and Jane Heap, and the book was banned in the United States. Joyce appealed to different publishers for help-including Leonard and Virginia Woolf's Hogarth Press-but none agreed to take on a project with such legal implications (and in Virginia Woolf's case, length), no matter how supposedly groundbreaking it was.

Joyce, then based in Paris, made friends with Sylvia Beach, whose bookstore, Shakespeare and Company, was a gathering hub for the post-war expatriate creative community. In her autobiography, Beach wrote:

All hope of publication in the English-speaking countries, at least for a long time to come, was gone. And here in my little bookshop sat James Joyce, sighing deeply.

It occurred to me that something might be done, and I asked : "Would you let Shakespeare and Company have the honour of bringing out your Ulysses?"

He accepted my offer immediately and joyfully. I thought it rash of him to entrust his great Ulysses to such a funny little publisher. But he seemed delighted, and so was I. ... Undeterred by lack of capital, experience, and all the other requisites of a publisher, I went right ahead with Ulysses.

Beach planned a first edition of 1000 copies (with 100 signed by the author), while the book would continue to be banned in a number of countries throughout the 1920s and 1930s. Eventually it was allowed to be published in the United States in 1933 after the case United States v. One Book Called Ulysses deemed the book not obscene and allowed it in the United States.

8. ERNEST HEMINGWAY WAS HIS DRINKING BUDDY-AND SOMETIMES HIS BODYGUARD.

Ernest Hemingway-who was major champion of Ulysses -met Joyce at Shakespeare and Company, and was later a frequent companion among the bars of Paris with writers like Wyndham Lewis and Valery Larbaud.

Hemingway recalled the Irish writer would start to get into drunken fights and leave Hemingway to deal with the consequences. "Once, in one of those casual conversations you have when you're drinking," Hemingway said, "Joyce said to me he was afraid his writing was too suburban and that maybe he should get around a bit and see the world. He was afraid of some things, lightning and things, but a wonderful man. He was under great discipline-his wife, his work and his bad eyes. His wife was there and she said, yes, his work was too suburban--'Jim could do with a spot of that lion hunting.' We would go out to drink and Joyce would fall into a fight. He couldn't even see the man so he'd say, 'Deal with him, Hemingway! Deal with him!'"

9. HE MET ANOTHER MODERNIST TITAN-AND HAD A TERRIBLE TIME.

Marcel Proust's gargantuan, seven-volume masterpiece, À la recherche du temps perdu, is perhaps the other most important Modernist work of the early 20th century besides Ulysses. In May 1922, the authors met at a party for composer Igor Stravinsky and ballet impresario Sergei Diaghilev in Paris. The Dubliners author arrived late, was drunk, and wasn't wearing formal clothes because he was too poor to afford them. Proust arrived even later than Joyce, and though there are varying accounts of what was actually said between the two, every known version points to a very anticlimactic meeting of the minds.

According to author William Carlos Williams, Joyce said, "I've headaches every day. My eyes are terrible," to which the ailing Proust replied, "My poor stomach. What am I going to do? It's killing me. In fact, I must leave at once."

Publisher Margaret Anderson claimed that Proust admitted, "I regret that I don't know Mr. Joyce's work," while Joyce replied, "I have never read Mr. Proust."

Art reviewer Arthur Power said both writers simply talked about liking truffles. Joyce later told painter Frank Budgen, "Our talk consisted solely of the word 'No.'"

10. HE CREATED A 100-LETTER WORD TO DESCRIBE HIS FEAR OF THUNDER AND LIGHTNING.

Joyce had a childhood fear of thunder and lightning, which sprang from his Catholic governess's pious warnings that such meteorological occurrences were actually God manifesting his anger at him. The fear haunted the writer all his life, though Joyce recognized the beginnings of his phobia. When asked by a friend why he was so afraid of rough weather, Joyce responded, "You were not brought up in Catholic Ireland."

The fear also manifested itself in Joyce's writing. In Portrait of the Artist as a Young Man, the autobiographical protagonist Stephen Dedalus says he fears "dogs, horses, firearms, the sea, thunderstorms, [and] machinery."

But the most fascinating manifestation of his astraphobia is in his stream of consciousness swan song, Finnegans Wake, where he created the 100-letter word Bababadalgharaghtaka-mminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk to represent a symbolic biblical thunderclap. The mouthful is actually made up of different words for "thunder" in French ( tonnerre), Italian ( tuono), Greek ( bronte), and Japanese ( kaminari).

11. HE'S THOUGHT OF AS A LITERARY GENIUS, BUT NOT EVERYONE WAS A FAN.

Fellow Modernist Virginia Woolf didn't much care for Joyce or his work. She compared his writing to "a queasy undergraduate scratching his pimples," and said that "one hopes he'll grow out of it; but as Joyce is 40 this scarcely seems likely."

She wasn't the only one. In a letter, D.H. Lawrence-who wrote such classics as Women in Love and Lady Chatterley's Lover- said of Joyce: "My God, what a clumsy olla putrida James Joyce is! Nothing but old fags and cabbage stumps of quotations from the Bible and the rest stewed in the juice of deliberate, journalistic dirty-mindedness."

"Do I get much pleasure from this work? No," author H.G. Wells wrote in his review of Finnegans Wake. " ... Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?"

Even his partner Nora had a difficult time with his work, saying after the publication of Ulysses, "Why don't you write sensible books that people can understand?"

12. HIS SUPPOSED FINAL WORDS WERE AS ABSTRACT AS HIS WRITING.

Joyce was admitted to a Zurich hospital in January 1941 for a perforated duodenal ulcer, but slipped into a coma after surgery and died on January 13. His last words were befitting his notoriously difficult works-they're said to have been, "Does nobody understand?"

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9 Harry Potter Collector's Items That Sold for Small Fortunes

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June 16, 1904 is the day that James Joyce, the Irish author of Modernist masterpieces like Dubliners and A Portrait of the Artist as a Young Man, and who was described as "a curious mixture of sinister genius and uncertain talent," set his seminal work, Ulysses.

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"there’s no point pretending that you’re not good at Defense Against the Dark Arts, because you are" (Greers, 2015).

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"Books! And cleverness! There are more important things - friendship and bravery and - oh Harry - be careful!"

"At least no one on the Gryffindor team had to buy their way in, They got in on pure talent."

"Well, if you two are going to chicken out, fine, I don't want to break rules, you know. I think threatening Muggle-borns is far worse than brewing up a difficult potion. But if you don't want to find out if it's Malfoy, I'll go straight to Madam Pince now and hand the book back in -"

"There you are, then, they see the Grim and die of fright. The Grim's not an omen, it's the cause of death! And Harry's still with us because he's not stupid enough to see one and think, right, well, I'd better kick the bucket then!"

"If being good at Divination means I have to pretend to see death omens in a lump of tea leaves, I'm not sure I'll be studying it much longer!"

"Honestly, am I the only person who's ever bothered to read Hogwarts, A History?"

"Don't you dare call Hagrid pathetic, you foul - you evil little cockroach!!" [Hermione confronting Draco Malfoy]

"Well, honestly . . . 'the fates have informed her' . . . who sets the exam? She does! What an amazing prediction!" [Hermione mocking fraudster Professor Trelawney]

"You know, house-elves get a very raw deal! It's slavery, that's what it is! That Mr. Crouch made her go up to the top of the stadium, and she was terrified, and he's got her bewitched so she can't even run when they start trampling tents! Why doesn't anyone do something about it?"

"It's people like you, Ron, who prop up rotten and unjust systems, just because they're too lazy to -"

"You do realize that your sheets are changed, your fires lit, your classrooms cleaned, and your food cooked by a group of magical creatures who are unpaid and enslaved?"

"Oh I see, so basically, you're going to take the best-looking girl who'll have you, even if she's completely horrible?" [Hermione chiding Ron on his dating strategies]

"My parents don't read the Daily Prophet. [Rita Skeeter] can't scare me into hiding!"

"Oh for heaven's sake! Listen to me, all of you! You've got just as much right as wizards to be unhappy! You've got the right to wages and holidays and proper clothes, you don't have to do everything you're told - look at Dobby!"

"This sort of thing is exactly what Dumbledore was talking about. You-Know-Who's only been back two months, and we've started fighting among ourselves. And the Sorting Hat's warning was the same - stand together, be united."

"I've got a query about your course aims [...] there's nothing written up there about using defensive spells, [and] surely the whole point of Defense Against the Dark Arts is to practice defensive spells?" [Hermione questioning Dolores Umbridge]

So now we know how we ended up with Umbridge! Fudge passed this 'Educational Decree' and forced her on us! And now he's given her the power to inspect other teachers! I can't believe this. It's outrageous!"

"Yes, Harry, but all the same, there's no point pretending that you're not good at Defense Against the Dark Arts, because you are. You were the only person last year who could throw off the Imperius Curse completely, you can produce a Patronus, you can do all sorts of stuff that full-grown wizards can't."

"Then I'll go back again tomorrow! I'll plan his lessons for him if I have to. I don't care if she throws out Trelawney but she's not taking Hagrid!"

"That foul, lying, twisting old gargoyle! You see what she's up to? It's her thing about half-breeds all over again - she's trying to make out Hagrid's some kind of dim-witted troll, just because he had a giantess for a mother - and oh, it's not fair, that really wasn't a bad lesson at all - I mean, all right, if it had been Blast-Ended Skrewts again, but thestrals are fine - in fact, for Hagrid, they're really good!"

"[Ron], you are the most insensitive wart I have ever had the misfortune to meet."

"One day, you'll read Hogwarts, A History, and perhaps that will remind you that you can't Apparate or Disapparate inside Hogwarts."

"So the Daily Prophet exists to tell people what they want to hear, does it?"

"Maybe [I don't understand Quidditch], but at least my happiness doesn't depend on Ron's goalkeeping ability."

"A giant! A giant in the forest! And we're supposed to give him English lessons! Always assuming, of course, we can get past the herd of murderous centaurs on the way in and out! I - don't - believe, - him!"

"Oh, you're so naive sometimes, Harry, you really think Umbridge will wait for proof?"

"I just think it's very irresponsible to start performing spells when you don't even know what they're for, and stop talking about 'the Prince' as if it's his title, I bet it's just a stupid nickname, and it doesn't seem as though he was a very nice person to me!"

"Quidditch! Is that all boys care about? Cormac hasn't asked me one single question about myself, no, I've just been treated to 'A Hundred Great Saves Made by Cormac McLaggen' nonstop!"

"The truth is that you don't think a girl would have been clever enough!" [Hermione arguing with Harry and Ron about the identity of the Half-Blood Prince]

"You said to us once before, that there was time to turn back if we wanted to. We've had time, haven't we?"

"Harry, [Voldemort] is taking over the Ministry and the newspapers and half the Wizarding world! Don't let him inside your head too!"

No, Harry, you listen, we're coming with you. That was decided months ago - years, really."

"No, I'm not [going to work at the Ministry of Magic], I'm hoping to do some good in the world!"

"Harry, Kreacher doesn't think like that, he's a slave; house-elves are used to bad, even brutal treatment; what Voldemort did to Kreacher wasn't that far out of the common way. What do wizard wars mean to an elf like Kreacher? He's loyal to people who are kind to him, and Mrs. Black must have been, and Regulus certainly was, so he served them willingly and parroted their beliefs."

"And are they bothering to give an excuse for torturing Harry's whereabouts out of people?"

"Harry caught the fish and I did my best with it! I notice I'm always the one who ends up sorting out the food, because I'm a girl, I suppose!" [Hermione responds to Ron's complaints about the food]

"[Dumbledore] changed, Harry, he changed! It's as simple as that! Maybe he did believe these things when he was seventeen, but the whole of the rest of his life was devoted to fighting the Dark Arts! Dumbledore was the one who stopped Grindelwald, the one who always voted for Muggle protection and Muggle-born rights, who fought You-Know- Who from the start, and who died trying to bring him down!"

"But that's - I'm sorry, but that's completely ridiculous! How can I possibly prove it doesn't exist? Do you expect me to get hold of - of all the pebbles in the world and test them? I mean, you could claim that anything's real if the only basis for believing in it is that nobody's proved it doesn't exist!"

"I'm a mudblood! Mudblood, and proud of it! I've got no higher position under this new order than you have, Griphook! It was me they chose to torture, back at the Malfoys'!"

"We will fight! We'll have to, to reach the snake! But let's not lose sight now of what we're supposed to be d-doing! We're the only ones who can end it!"

"Fear of a name only increases fear of the thing itself."

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41 Badass Hermione Granger Quotes That Will Inspire You To Live Life Louder

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"Books! And cleverness! There are more important things - friendship and bravery and - oh Harry - be careful!" "At least no one on the Gryffindor team had to buy their way in, They got in on pure talent." "Well, if you two are going to chicken out, fine, I don't want to break rules, you know.

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"a virtual roleplay of everyone’s favorite school of witchcraft and wizardry. From classes to Quidditch matches, it’s guaranteed to be an exciting and immersive experience."

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Our world is built in the virtual online community of Second Life®. Second Life® is built entirely by its users, meaning Mischief Managed is built entirely by your fellow students, professors and staff.

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Our world is built in the virtual online community of Second Life®. Second Life® is built entirely by its users, meaning Mischief Managed is built entirely by your fellow students, professors and staff.

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"This Wiz, I’m ice cold, Im Voldemort, That white gold
This one, for that H.P. Says he hates me, But what can he do?
Caught the kid, boy who lived, Harry’s outta luck
With the Elder wand, stop the chosen one
Maybe make a new horcrux? (Ha!)".

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Dark Lord Funk - Harry Potter Parody of "Uptown Funk"

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Support us on PATREON: https://www.patreon.com/KFaceTV Song up on iTunes: http://apple.co/1agIEbQ Song up on AMAZON: http://amzn.to/1F2nqbY Song up on Google: http://bit.ly/1CVrXOb SUBSCRIBE, We've got more coming!: http://www.youtube.com/user/kfacetv?sub_confirmation=1 TURN ON SUBTITLES FOR LYRICS w/ THE VIDEO Instagram: @Kfacetv Facebook: KFaceTV #darklordfunk Voldemort and his crew singing their own version of "Uptown Funk" by MarK Ronson ft.

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Media Education Paradigm Katie Graves Example

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Media Education Paradigm Katie Graves Example 2 Example 3 Example 1 Whatever is left over after we have determined what "high culture" is (Storey, 6). How does this relate to agency? It is chosen by the people, and depends on our personal choice of what "high culture" is.