Teacher Resource For Brown Girl Dreaming By Jaqueline .
TEACHER RESOURCE FOR BROWN GIRL DREAMING BY JAQUELINE WOODSON ANCHOR TEXTThis resource with its aligned lessons and texts can be used as a tool to increasestudent mastery of Ohio’s Learning Standards. It should be used with carefulconsideration of your students’ needs. The sample lessons are designed to targetspecific standards. These may or may not be the standards your students need tomaster or strengthen. This resource should not be considered mandatory.Brown Girl Dreaming(Order Copies from CCS Book Warehouse)SHORTER LITERARY TEXTSINFORMATIONAL TEXTSAvailable HEREAvailable HEREMEDIA/VISUAL TEXTSAvailable HEREOHIO’S LEARNING POWER STANDARDSRESOURCE FOCUSW.9-10.3, W.9-10.9, RL.9-10.1, RL.9-10.2,Student learning will focus on the analysis of language, character, structure, and themes in Woodson’s Brown Girl Dreaming as amentor text that will guide students in their own narrative and informational compositions. Students will analyze and drawevidence from several exemplar texts to support their own narratives of real or imagined experiences or events using effectivetechniques, well-chosen details, and well-structured event sequences.RL.9-10.3, RL.9-10.4SAMPLE LESSON 1SAMPLE LESSON 2SAMPLE LESSON 3SAMPLE LESSON 4Prior to ReadingPart IPart IIPart IIILEARNING FROM LANGSTONI AM BORNRIBBONSBELIEVINGVOCABULARY LISTVOCABULARY LISTVOCABULARY LISTSAMPLE LESSON 5SAMPLE LESSON 6SAMPLE LESSON 7SAMPLE LESSON 8Part IVPart VAfter ReadingExtension of Standards to New MaterialSOMEONE WHO LOOKED LIKE MEHAIKUSTHEME CLUSTERSTHERE WAS A CHILD WENT FORTHVOCABULARY LISTVOCABULARY LISTVOCABULARY LISTWRITING/SPEAKING PROMPTS (TASK TEMPLATES AND RUBRICS: LDC 2.0, LDC 3.0, LDC GOOGLE, LDC SPEAKING & LISTENING, SPEECH)Argument-The significance of a title such as The Adventures of Huckleberry Finn is easy todiscover. However, in other works the full significance of the title becomes apparent tothe reader only gradually. Using Jacqueline Woodson’s memoir Brown Girl Dreaming,write a paragraph in which you make and defend a claim regarding the significance ofthe title. Show how the significance of the title is developed throughout the text. Besure to incorporate direct, quoted evidence in your response.-Works of literature often depict characters caught between colliding cultures -national, regional, ethnic, religious, institutional. Such collisions can call a character’ssense of identity into question. Choose a character from Woodson’s memoir who iscaught between colliding cultures. Then write a well-organized essay in which youdescribe the character’s response and make and support a claim regarding therelevance of this conflict to the work as a whole.-Woodson weaves in events from the Civil Rights movement that figure prominently inyoung Woodson’s life. Consider how issues of racial conflict and identity impactedWoodson’s development. Write an essay or prepare and deliver a speech in which youargue whether or not America has advanced since the 60s and 70s with regard to race.Make a claim in which you take a position on race in America: have we advanced,remained stagnant, or regressed with regard to the racial divisions that Woodsonillustrates in her memoir.Informative/Explanatory-After reading Woodson’s editorial entitled “The Pain of theWatermelon Joke,” write and deliver a speech in which you explain(using personal anecdote and research) the relationship betweenhumor and stereotypes.-Many works of literature use contrasting places (for example, twocountries, two cities or towns, two houses, or the land and the sea) torepresent opposed forces or ideas that are central to the meaning ofthe work. In a well-written essay, explain how Woodson’s use ofcontrasting settings contributes to her speaker’s development.-After reading or listening to the NPR interview with JacquelineWoodson, write an essay in which you explain what Woodson hopesto achieve through her writing by using examples from Brown GirlDreaming to illustrate her aim.English Language Arts 6-12 Curriculum, http://www.ccsoh.us/ELA6-12.aspxNarrative-Although the memoir focuses on Woodson’s experiences, she doesdescribe and imagine the experiences of those around her. Choose one ofthe other characters (consider Uncle Robert, Maria, Woodson’s mother,grandmother, or some other character) and write a mini memoir fromthat character’s point of view.-Write a narrative poem about the day of your birth that weaves inpersonal, family, and national history using Woodson’s poem “february12, 1963” as a model.-Choose one of the sections of Brown Girl Dreaming and adapt it to thescreen. Write a short screenplay that dramatizes the characters andevents of the section.1
SAMPLE LESSON 1: TWO DAYSPrior to Lesson: Students should read “Dreams” by Langston Hughes and “Learning from Langston” on page 245 of Brown Girl DreamingLEARNING FROM LANGSTON: WRITING FROM MODELSOPENING LESSON: Ask students to take a few minutes to write a short reflection in their notebooks in which they explore the topic of role models. Ask students to define a rolemodel and then identify a role model in their own lives. Ask them to describe the person and explain how he or she provides an example of an attribute or ability to which thestudents aspire. After giving students five to ten minutes for writing and reflection, have them partner up and share their responses.Next, foster a whole-group discussion in which students generate a list of contemporary role models. Record the names on the board or document projector. Foster a discussionon the strengths and weakness of role models in society. How do these images of success support and/or detract from our ability to dream of our futures and take steps towardrealizing those dreams? Consider using a T-Chart to organize student responses.Then have students reread Woodson’s poem “Learning from Langston” on page 245 as you read it aloud. Ask students to explore the ways in which Langston Hughes and hispoetry function as a role model for Woodson. Have them work in small groups to generate a list of at least three choices that Hughes makes in his poem that influenceWoodson’s response. Also ask students to focus on at least two ways that Woodson diverges from Hughes’s model. As groups share out, ask them to consider the importance ofmodels in creativity. How do the examples provided by artists, musicians, and writers help us develop our own creative capacities? You may also wish to extend the discussion toquestions of authenticity: if we are following a model are we truly creative? Why or why not?Next, turn students’ attention to the epigraph of the book, which is Langston Hughes’s poem “Dreams.” Briefly explain what an epigraph is and lead the class in an analysis ofHughes’s poem with a special focus on his use of repetition, rhyme, and metaphor. How does each technique contribute to the theme of the poem?STUDENT WORKSHOP: Have students work in groups of three. They will work together to analyze Hughes’s poem and then to generate three new stanzas to extend Hughes’spoem using his techniques but with original content. Finally, they will analyze how their extension both developed and complicated Hughes’s original composition. Tell studentsthat this workshop is designed to help them develop the learning standards of RL. 9-10.1 and RL. 9-10.4 by analyzing Hughes’s use of language and structure to convey themewhile honing their ability to cite evidence to support their interpretations. Sharable copies of the questions in Steps in this workshop can be found HERE.Step One: Together they will analyze the original poem answering the following questions:1.2.3.How does Hughes’s repetition of the clause “Hold fast to dreams” support the significance of his theme?What kind of sentence does Hughes employ (interrogative, imperative declarative) and how does this choice contribute to the theme?Hughes creates a poetic argument to justify the importance of his speaker’s repeated claim to “[h]old fast to dreams.” What two reasons does he provide forsupport?4. Examine the metaphors in the poem. What does Hughes imply about a life without dreams by comparing it to “a broken-winged bird / That cannot fly”? Whatmeaning does he convey by using a bird as the central image?5. How might the meaning of the poem change if instead he chose to compare such a life to a dog with a broken leg? What additional connotations does theimage of the bird convey that one of a dog would not?6. Now consider the metaphor in the second stanza. What does Hughes imply about a life in which dreams no longer are present by comparing it to a “barren field/ Frozen with snow”?7. Look up the word “barren.” How does the meaning of this word contribute to the tone of this stanza?8. How do the added images of “Frozen” and “snow” contribute to the pattern of desolation in the poem?9. Consider the significance of the image of a field. How might the meaning of the poem change if instead Hughes used the image of a lake rather than a field?What additional connotations does the image of the field convey that one of a lake would not?10. Notice the rhyme scheme of the poem. Scan it. How does the simplicity of the rhyme scheme contribute to the mood of the poem?11. Notice how the third line of each stanza is longer and has more beats than the others. Why might Hughes extend these third lines? What ideas are contained inthese third lines that are distinct from the content of the rest of the stanzas?English Language Arts 6-12 Curriculum, http://www.ccsoh.us/ELA6-12.aspx2
Step Two: Individually, students will compose an original stanza that develops Hughes’s poem using one of the templates below. Remind students that this process ofcomposition will deepen their mastery of the reading standards listed above while also developing their writing skills with regard to using details, techniques, andsequencing to produce writing appropriate to the task.1. Hold fast to dreamsExample:2. For if dreams dieHold fast to dreams3. Life is a(third line should be longer (have more syllables) than otherlines)For if dreams die4. (must end with aword that rhymes with “die” and consist of two accentedsyllables and two unaccented syllables)Life is a flooded plainThat will not dry.1. Hold fast to dreamsHold fast to dreams2. For if dreams goFor if dreams go3. Life is a(third line should be longer (have more syllables) than otherlines)Life is the hope of seedThat will not grow.4. (must end with aword that rhymes with “go” and consist of two accentedsyllables and two unaccented syllables)Step Three: Have each student share his/her stanza with the other group members. Have each member analyze the metaphors the other students created. Then havestudents work together to arrange the stanzas in an order that best develops the themes of the work as a whole.Step Four: Each group should practice and perform their collaborative poem for the rest of the class. After each group performs its poem, the rest of the class shoulddiscuss the choices that the group made, paying particular attention to the metaphors and how they developed and complicated the original themes of Hughes’s work.REFLECTION/FORMATIVE ASSESSMENT: Have students separate from their groups. Take a few minutes to summarize the activities. Have students open their notebooks andrespond to this prompt: How does Woodson’s choice to include Hughes’s poem as an epigraph to her book forecast themes she may develop. Justify your prediction of at leasttwo themes by linking evidence from Hughes’s poem with ideas generated by the title of Woodson’s memoir: Brown Girl Dreaming. Invite students to consider each word andits implications in the title.-You may collect this or assess the prompt responses during a reading/writing workshop time on another day or during a reading/writing conference.English Language Arts 6-12 Curriculum, http://www.ccsoh.us/ELA6-12.aspx3
SAMPLE LESSON 2: TWO TO THREE DAYSPrior to Lesson: Students should read Part I: pages 1-41I AM BORN: PART ONE: PERSONAL, FAMILY, AND NATIONAL HISTORY THREADSMINI-LESSON: Woodson’s poem “february 12, 1963” in many ways functions as an introduction to the whole memoir by creating a free verse tapestry within which she weavesthe threads of her personal history, her family history, and American history. Read the poem out loud to the students as they follow along. Ask students to share what they learnabout the narrative persona that inhabits the poem. Tell students that this lesson will help them cite evidence to support analysis as well as determine a theme or central idea ofa text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details.Then have the students read the poem again while focusing on the following questions: What do we learn about her personally? What do we learn about her family? What do welearn about the time period in which the memoir is located? What aspects of America’s past inform the speaker’s understanding of herself and her place in the world?Have students make a three-column chart in which they track these three threads by listing details from the poem that fit within each category. Then have students share theirideas. For example:Personal HistoryI am born on a TuesdayFamily Historymy great grandparents / worked the deeprich landNational Historyas the South explodesSTUDENT WORKSHOP: Invite students to look carefully at potential sections in which the threads overlap. For example, Woodson writes, “the people / who look like me / keepfighting / and marching / and getting killed” (2). This section combines the historical moment of her birth within the civil rights movement and her personal racial identity:“people / who look like me.” Ask students to identify and defend at least two such intersections. Challenge them to find a section on which all three threads coalesce.Put up butcher paper (or place laptops with open docs) around the room on which the following threads are labeled (one per paper or device): Personal History, Family History,National History, Personal and Family History Overlap, Family and National History Overlap, Personal and National History Overlap, and Personal, Family, and National HistoryOverlap. Have students move around the room to record their evidence for each of the categories. Once students have completed their records, foster a discussion in which youexplore the threads and why Woodson begins her memoir with this poem. How does this poem prepare us for the content she develops throughout part one?REFLECTION/FORMATIVE ASSESSMENT: Take a few minutes to summarize the activities. Have students open their notebooks to record their response to the following prompt:choose two of the three threads we have focused on for today’s lesson and select one poem from part one that develops these threads. Identify the poem, select and quoteevidence directly from the poem that develops each thread, followed by an explanation of how that evidence develops that thread. Use the following example for students tofollow in their own responses. You may collect this or assess it during a reading/writing workshop time on another day or during a reading/writing conference.Example ResponseThe poem “it’ll be scary sometimes” develops the thematic threads of family and national history. In this poem, Woodson describes the life’s work of her great-greatgrandfather: “Built his home and farmed his land, / then dug for coal when the farming / wasn’t enough.” In these lines, Woodson explores the characteristics of strength,determination, and resiliency that flow through her family’s history. The thematic thread of the nation’s history also weaves through this poem. Woodson mentions the CivilWar and even quotes the inscription on the Civil War Memorial that records her great-great-grandfather’s service: “William J. Woodson / United States Colored Troops, /Union, Company B 5th Regt.” Woodson’s choice to include this detail regarding her great-great-grandfather’s service as a member of the Colored Troops in the Union Armyreveals the history of oppression and the nation’s struggle to overcome injustices.English Language Arts 6-12 Curriculum, http://www.ccsoh.us/ELA6-12.aspx4
SAMPLE LESSON 2 CONTINUED: TWO TO THREE DAYSPrior to Lesson: Students should read Part I: pages 1-41I AM BORN: PART TWO: NARRATIVE POEM AND THEME DEVELOPMENTOPENING ACTIVITY: Return to the poem “february 12, 1963” and ask students to speculate on the process that Woodson may have undertaken to compose this work. What didshe have to know or research in order to create this text? What tools and or resources might she have used or consulted in this process? Students may record their answers intheir notebooks or share in a discussion.Then ask students to consider their birth date. What do they know about the day of their birth? Where were they born, what hospital, what day of the week? What do theyknow about the historical moment? What was going on politically, culturally, economically, socially? What do they know about their family’s past? Have them brainstormanswers to these questions in their notebooks. This process will help them recognize the need for additional research.Allow students to use their phones/tablets/secure Chrome books, or schedule time in the computer lab for this next step. Ask students to go online to research the date of theirbirth. Have them determine the day of the week, the top movies, songs, the headlines, and then expand their research to the whole year. Have students simply type in their yearof birth in Google to see a whole list of websites with relevant content. Have them record at least ten facts in a variety of categories (culture, politics, economics, etc.). Modelthis step yourself. For example, the author of this lesson was born on September 23, 1969, a Tuesday. During 1969, Nixon was newly elected, “Sugar, Sugar” by The Archies wason top of the charts, best selling books included The Love Machine and The Godfather, James Earl Ray pled guilty to the assassination of Martin Luther King, Jr. and then laterrecanted, the Stonewall Riots broke out, the Brady Bunch premiered, the Manson Family committed mass murder, the My Lai massacre took place, and men walked on themoon. These facts are among those that provided the content for the example poem below that students will use for their workshop.Now review the example poem (or use your own example). Note that the words in italics are taken from Woodson’s mentor text. HERE is an electronic copy for doc sharing.Read the poem to the class and then have students reread both poems to explore how the example poem follows the moves of Woodson’s poem. Have them work in groups ofthree to compare and contrast the two poems in terms of themes, language (syntax, diction, imagery, and figurative language) and structure (lineation, stanza breaks, contentdevelopment). Assign each group a different element to compare and contrast. Then use the jigsaw approach to enable students to become experts on all the criteria forcomparison by having students visit other groups and return to home groups. Review findings as a class.september 23, 1969I am born on a Tuesday at Kettering Medical CenterDayton, Ohio,USA—a country in betweenthe sixties of promise and theseventies of retreatin between the My Lai Massacre and the debut of the Brady Bunchin between the fist confirmed case of HIV/AIDS and the Stonewall Riotsin between the moon landing and CCR’s “Bad Moon Rising”in between Mary Joe Kepechne’s drowning at Chappaquiddick andtwo sleeping Black Panthers murdered in their beds by men in blue.I am born far from the placewhereEnglish Language Arts 6-12 Curriculum, http://www.ccsoh.us/ELA6-12.aspx5
my grandfather played banjo and watchedthe sunrise over Victoria’s Harbouror where my grandmother sat on herupholstered couch with her hands in her laplooking out of the window at Flatbush Avenueor where my great-great-grandfather oversawenterprises of great pitch and momentin Barbados, the land of rum, sugar, and slaves,the engines of power for the few.I am born as the Midwest fractures,dividing lines, drawn by zip codes and school zones,red lines and promises.The ruling of ‘54 finally bears fruit thatdrops: yellow school busses threading throughneighborhoods, a specter so frightening,the flight begins.Promises, promises. Broken in the light.Whispered in the dawn so that today—September 23, 1969and every day from this moment on,children like me will knowthey have gifts undeserved butsparkling, without a scent thatlets us know what we oweand will keep on owing untilwe see ourselves with both eyes open.I am born in Ohio butthe stories of the zones,the ships, the grab, the clutch,the generations and the germsalready pulse, pulselike drummingin my heart.English Language Arts 6-12 Curriculum, http://www.ccsoh.us/ELA6-12.aspx6
STUDENT WORKSHOP: After analyzing the mentor and the example poems, ask students to compose their own free verse poems about the date of their births. Tell them thatthis lesson will not only reinforce the learning standard regarding theme determination but will also support the narrative writing standard by developing real or imaginedexperiences or events using effective technique, well-chosen details, and well-structured event sequences.Have them use the content generated by their research in addition to their own knowledge of their history. Allow students to blend historical facts with their imagination. Theirpoems should weave together historical facts about the day and year of their birth with stories about their family and the country of their birth. Allow students to use real orimagined stories about their ancestry. The aim is to weave together stories of their family, their nation, and themselves in a way that points to their real or imagined futures.They must be thoughtful about their line breaks, their stanza breaks, and the governing structure of the poem. Require them to use at least five lines or phrases from Woodson’spoem as a way to create structure. Have them underline or italicize the borrowed language.After composition time (this may take more than one period), have students meet together in small groups (two to three) to share their compositions and give descriptivefeedback. Create a feedback form in which students reflect the content of the poet’s work: what do they learn about the speaker’s identity based on the details includedregarding the national, familial, and personal past? Have students who are providing feedback select and share with the poet their favorite line and explain why it is so effective.Invite students to share their composition with the whole class (select volunteers only). You may challenge each small group to nominate a poet within their group to share hisor her poem. The nominee may refuse, however. Be sensitive to student vulnerability when sharing original work. As an extension, have the students enter their poems into acontest, such as Ohio Poetry Association’s High School Contest.REFLECTION/FORMATIVE ASSESSMENT: Have students reflect in their notebooks on the composition process. What aspects of the process were the most challenging?Invention, research, selection of facts, shaping the content, sharing their compositions? Which aspects were the most satisfying? What line of their own poem are they mostsatisfied with? Why?You may collect this or assess it during a reading/writing workshop time on another day or during a reading/writing conference.English Language Arts 6-12 Curriculum, http://www.ccsoh.us/ELA6-12.aspx7
SAMPLE LESSON 3: TWO TO THREE DAYSPrior to Lesson: Students should read Part II: pages 43 - 138RIBBONS: IMAGE AS ANCHOROPENING ACTIVITY: This lesson focuses on how writers use images to anchor their development of meaning. Woodson often uses a central image around which she organizesher recollections and reflections. Especially poignant is her use of the image of ribbons in several of her poems, most notably in the poem entitled “ribbons” on page 121. Beforerereading the poem, have students write in their notebooks for a few minutes about an object they recall from their childhood that has significant meaning for them. It may bean article of clothing or jewelry, a gift, a tool, a toy, a food item, or even a smell. Have them describe the image and explore why this image has stayed with them. After five orten minutes of writing, ask students to share their images either as a whole class or with partners. See if the class can identify trends in the kinds of images and or the reasons fortheir significance.Next, ask students to turn to page 121 and read the poem “ribbons” out loud to the students as they follow along with the text. Then have them work in small groups of two orthree students on the analysis questions below. Emphasize to students that this lesson will help them to master the reading literature standard 9-10.4 in which students willdetermine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choiceson meaning and tone. If you want them to answer the questions on a sharable Google doc, use this file.1.2.3.4.5.6.Woodson grounds this poem on the image of ribbons announced by her title. How does she develop this central image? What other images does she use to expand thereader’s understanding of the significance of the ribbons? Select at least three details from the poem about the ribbons that help develop their significance. Quotedirectly from the poem and explain what each detail implies. For example, the description of the colors of the ribbons, “blue or pink or white,” helps create a concretevisual image for the reader to picture. The varied colors of the ribbons contribute to their importance as they stress the significance of the dress and appearance of thenarrator and her sister. Their grandmother clearly wants these ribbons to help her grandchildren appear deliberately and carefully dressed.Why does Woodson use linking verbs and passive voice in the first stanza? How do these choices contribute to the speaker’s representation of herself as a child in thepoem?Locate and cite images and details that contribute to the sense of innocence and youth throughout the poem.Most of the poem consists of specific details regarding the ribbons themselves. However, in four places, Woodson’s speaker diverges from description to reflection.Locate and cite at least two such places. What do these sections reveal about the significance of the ribbons to Woodson?Woodson subtly contrasts images of air and weight in the poem. Locate and cite at least three images that contribute to this pattern of contrast. Why does Woodsondevelop this pattern? How does the pattern contribute to the speaker’s attitude toward the ribbons?What, ultimately, do the ribbons symbolize? How does Woodson’s complex development of the image of ribbons reveal her complex attitude toward what theyrepresent?Review answers with the class and them pass out three or four other poems in which a central image provides the locus for meaning. Li-Young Li’s “The Gift” uses the image ofsplinter to ground the speaker’s reflection on his father. Ruth Stone’s “Air” similarly uses a blue shirt as the anchor for her speaker’s reflection. Another complex poem thatcenters on a central image is Jamaal May’s “There Are Birds Here” in which the speaker shapes the reader’s perception of Detroit and its citizens by carefully developing theimage of birds. Each of these texts would make an excellent model for student compositions. They are all available in the SHORTER LITERARY TEXTS FOR PAIRING section.Have students work in their groups to examine the development of the controlling image and how that development reveals the speaker’s attitude toward the image and themeaning of the poem as a whole. Have groups share their findings with the class.STUDENT WORKSHOP: Now that students have analyzed how poets use images to reveal meaning, have them prepare to compose their own poem that revolves around acentral image. Model the process with the students.First Step: Have students make a list of memorable moments in which an object figures prominently. The moment may be from the distant or more recent past, but the objectshould carry some emotional weight. The object and moment may not have any importance to anyone but the students.English Language Arts 6-12 Curriculum, http://www.ccsoh.us/ELA6-12.aspx8
Second Step: Now it’s time to have the students free write. Tell them to take one of the moments and its central object and begin to write. Allow thoughts to roam wildly andfreely. Record everything that comes to mind but try to use as much sensory detail as possible; really focus on the sights, sounds, tastes, touches that will help bring thismemory and its associations to life. Don’t worry if you seem to be leaving the original memory or object behind. Give yourself permission to go anywhere. Trust the mystery ofthe unconscious here. Turn off that critical part of the brain and let flow happen.Third Step: Have students write a first draft of a poem. As they did the free writing, allow them to advance without knowing where they are going. Allow the words to createmeaning and direction as they come. Students can do this in their notebooks or on a Google doc for easy sharing.Fourth Step: Have students meet in small writing groups to share their drafts and give and receive feedback on the use of their central image. Use the guide to peer feedback atthis wikipage to support students in this process.Fifth Step: Conclude class with a symphony round in which each student shares at least one phrase, line, or section from their draft to the class as a whole. Have studentsacknowledge each other’s contribution with snaps, oohs, ahs, or some other small signal of community appreciation.Extension Step: Have students use feedback to revise draft for submission t
TEACHER RESOURCE FOR BROWN GIRL DREAMING BY JAQUELINE WOODSON ANCHOR TEXT. Brown Girl Dreaming (Order Copies from CCS Book Warehouse) SHORTER LITERARY TEXTS. Available HERE . INFORMATIONAL TEXTS . Available . HERE MEDIA/VISUAL TEXTS. Available HERE . This resource with its aligned lessons and texts can be used as a tool to increase .
8002 Signal Brown 8003 Clay Brown 8004 Copper Brown 8007 Fawn Brown 8008 Olive Brown 8011 Nut Brown 8012 Red Brown 8014 Sepia Brown 8015 Chestnut Brown 8016 Mahogany Brown 8017 Chocolate Brown 8019 Grey Brown 8022 Black Brown 8023 Orange Brown 8024 Beige Brown 8025 Pale Brown. 8028 Earth Brown 9001 Cream 9002 Grey White 9003 Signal White
and 3 Grades 3rd Graders Bridge to Girl Scout Juniors Girl Scout Juniors th4th thand 5 Grades 5 Graders Bridge to Girl Scout Cadettes Girl Scout Cadettes th th6 , 7th and 8 Grades 8th Graders Bridge to Girl Scout Seniors Girl Scout Seniors th 9 and 10 th Grades 10 Graders Bridge to Girl Scout Ambassadors Girl Scout Ambassadors th11 and 12th Grades 12th Graders Bridge to Adult Girl Scouting
Bruksanvisning för bilstereo . Bruksanvisning for bilstereo . Instrukcja obsługi samochodowego odtwarzacza stereo . Operating Instructions for Car Stereo . 610-104 . SV . Bruksanvisning i original
Girl Scouts Great Plains Council Girl Scouts of Central Kansas, Inc. Girl Scouts of the Kaw Valley Council Girl Scouts of the Mid-Continent Council Girl Scouts of the Midland Empire Girl Scouts of the Ozark Area Council Girl Scouts of the USA Girl Scouts of the Wichita Area Council Girl Scouts Red Lands C
The Young-Girl as Phenomenon 23 2. The Young-Girl as Technique of the Self 48 3. The Young-Girl as Social Relation 62 4. The Young-Girl as Commodity 74 5. The Young-Girl as Living Currency 88 6. The Young-Girl as Compact Political Apparatus 97 7. The Young-Girl as War Machine 105 8. The Young-Girl Against Communism 114 9.
Girl Scout Juliettes is a girl-led, family driven Girl Scout experience. As a parent/guardian of a Juliette, you and your Girl Scout will be partners, shaping and sharing in the fun of the Girl Scout Leadership Experience. Parent/guardians will: Register her as Girl Scout. Go to girlscoutsoc.org and click on
10 tips och tricks för att lyckas med ert sap-projekt 20 SAPSANYTT 2/2015 De flesta projektledare känner säkert till Cobb’s paradox. Martin Cobb verkade som CIO för sekretariatet för Treasury Board of Canada 1995 då han ställde frågan
AngularJS i About the Tutorial AngularJS is a very powerful JavaScript library. It is used in Single Page Application (SPA) projects. It extends HTML DOM with additional attributes and makes it more responsive to user actions. AngularJS is open source, completely free, and used by thousands of developers around the world. It is licensed under the Apache license version 2.0. Audience This .
