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Here a single fact table may contain the important business processes milestones upon which the organization wishes to measure performance.

A different version of this same accumulating fact table may include the calculated lag time between the milestone dates as shown below. The lag number of days can be calculated from the claim date total time to complete the milestone or the lag can be calculated as the number of days since the last milestone was completed days spent in this stage.

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The important part is to be consistent in calculating the lag within the snapshot fact. Capturing of this lag data can make analysis on this process easier. There are other options you could use instead of an accumulating snapshot fact table to capture this information.

Finally, although you are capturing this information in an accumulating fact table you may want to also capture this information in a dimension as a type 2 SCD. Loading Hierarchical Bridge Tables May 24, Show all.

Lederman said stage magic offers a good entry point for considering situations where deception isn't a bad thing. The way magicians share their secrets among themselves and fiercely protect them from the public also illustrates important aspects of knowledge control, another topic in the course, Lederman said.

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To gain insights into these issues, students read "Trade of the Tricks," an ethnography in which cultural anthropologist Graham Jones is admitted into the modern-day Paris magic scene as an apprentice and offers a first-hand account of how magicians learn to perform their deceptions and how their knowledge is learned, shared or stolen. The book also describes how Jones accomplished his field research without violating this secretive community's trust. Professor of Anthropology Rena Lederman says the course pushes undergraduates to explore the complexity of personal and professional judgment, exploring situations that challenge everyday assumptions about the use of truth and deception.

Among the questions that emerged:. One student, recalling her own embellishment of stories shared with her family, argued for the importance of what she called "emotional truth. Another argued that Frey's case was different, because the lies he told affected many who read his story.

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A recent class meeting featured a lively discussion of the ethics of truth and deception in memoir, focusing on the fictionalized memoir "A Million Little Pieces" by James Frey. But because, in academia, we should never be satisfied by just saying that 'things are complicated,' we've tried at different points to come up with models for understanding those concepts.

Why and How I Teach With Historical Fiction | Scholastic

More to the point, her role in the text defies the very epistemological foundations on which these assumptions are built. She explains: The feminist in me consciously included the strong women—the mothers, grandmothers, aunts, comadres. But it was not a difficult task, for they were in my life and in my childhood. I wanted to tell the stories of women who sur- vived, who struggled, who worked as schoolteachers, who sold Avon and Stanley products door to door, as well as the mothers who went to work in the fields alongside the men.

Photographs reinforce the roles that women play as creative, collective forces throughout the text, beginning with the dusty shoeboxes of old pictures described in the prologue. As an adult, Azucena reflects wistfully on her own childhood in South Texas from the bed of her Spanish lover: Her childhood home on San Carlos Street holds the photographs of her life; these are stuffed in shoe boxes tied with old shoelaces, treasured and safe in that land in between that she calls la frontera, the land where her family has lived and died for generations.

In , back in that safe space, between two countries, the woman Nena and her mother bring out the boxes, untie the white-turned-yellow shoelaces, and begin go- ing through the memories. They continue, the mother filling in gaps for the daughter, of before, of the times before and during that she has forgotten, or changed in her mind. Disrupting these narratives is far more than just an archival project. It requires radical reconceptualizations of time and space in the United States that proceed from the knowledge and experiences of the marginalized. Alex Hughes and Andrea Noble point out that while contemporary photography studies often emphasize twenty- first-century concerns about race, place, gender, and identity, they remain firmly rooted in the not necessarily incompatible keystone texts of the field written by figures including Roland Barthes, Walter Benjamin, Susan Sontag, and John Berger.

The opening sentences reads: In the photograph, Peewee, Angelita, Sanjuana, and I wear long red-checked dresses; I smile a toothless second-grader chimuela—grin. Narrating as an adult, Azucena uses a combination of English and Spanish, providing enough context to keep non-Spanish speakers from getting lost for example, chimuela means toothless and zurda means left-handed yet still contesting the monolingualism of English-only classrooms symbolized by the alphabet running along the top of the blackboard in her memory.

More importantly, imagining a classroom setting that does not appear in the snapshot allows Azucena to remember her- self as a child who questions the logic of US patriotism.


However, this chapter is more than a simple celebration of emancipatory pos- sibilities. Image and text also work together to describe the processes and insti- tutions through which children in the United States are taught to worship the image of the white male hero.

This excerpt sug- gests that Azucena enjoyed romantic, musical comedies from Mexico at least in part as a respite from television shows steeped in the violent founding mytholo- gies of the United States. At the same time, she also demonstrates that television had a profound and lasting influence on her childhood.

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She recalls that her story had no female characters and the cowboy, the hero, saved the day for his friend and killed the bad guys in a shoot-out—not very creative and quite predictable given the models in the form of movies and shows I was watching. TV ever divined. She also recognizes that Mexican films project their own problematic gender relations when they represent men as active heroes who sing and woo their way through storylines in which women appear as passive objects of sexual desire. In the image she imagines, Azucena finds lit- erary subjects in South Texas that have little to do with either the popular iconog- raphy of the cowboy Western or its tendency to privilege singular, spectacular moments of rugged individualism and violence on screen.

Instead, she invites readers to see the women in her life within a much longer trajectory of laughter, support, and solidarity. Above all, women sharing life, tending to each other. Supporting each other.