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REVERDIE (French, "re-greening" with possible pun on reverie): A Old French of poetry popular in the 1300s, in which the poetic speaker meets a conventional woman of great beauty--and often with supernatural power--who personifies the spring season, sexual fecundity, and verdant nature. In later ballads, a conventional encounter with the god of Love became another component of the genre. The lyrics of the reverdie were often set to music, and they may have functioned as dance-songs (Shipley 478). Typically, the poem or song would consist of five or six stanzas without a refrain, with a structure similar to a (Cuddon 792).

RING-GIVING: See discussion under .

Please use the example at the bottom of this page to cite the Purdue OWL in APA.

Otegui MS, Kiessling LL, Batzli J.

In vitro and in vivo reconstitution of the cadherin-catenin-actin complex from Caenorhabditis elegans. Proc Natl Acad Sci. 2010 Aug 17;107(33):14591-6.

Livestock Prod Sci. Biochem Mol Biol Educ. J Dairy Sci.

The goal of your reference list is to help your reader identify each numbered source quickly and clearly. CSE has standardized the information to be provided for ease and predictability of reading.

Pages after the title page should have a running head that looks like this:

1st Grade Writing Prompts & Essay Topics

Even the most imaginary phenomena in the book are intended to carry some metaphorical weight, even though they don’t refer to specific things, and may be hard to fully explain. One of the images I had been thinking about for years involved a scene of rotting tenement buildings, over which are ‘swimming’ some kind of huge black serpents. I realised that these could be read a number of ways: literally, as an infestation of monsters, or more figuratively, as some kind of oppressive threat. And even then it is open to the individual reader to decide whether this might be political, economic, personal or something else, depending on what ideas or feelings the picture may inspire.

Once you have assigned a source a number, use that same number every time you cite it.

12 Wang Y, Borchert ML, Deluca HF. Kidney Int. 2012;81(10):993-1001.

This was uppermost in my mind during the long period of work on , a book which deals with the theme of migrant experience. Given my preoccupation with ‘strangers in strange lands’, this was an obvious subject to tackle, a story about somebody leaving their home to find a new life in an unseen country, where even the most basic details of ordinary life are strange, confronting or confusing – not to mention beyond the grasp of language. It’s a scenario I had been thinking about for a number of years before it crystallised into some kind of narrative form.

Example from  by UW-Madison Professor Amy Charkowski (Plant Pathology) et al.

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Unwittingly, I had found myself working on a graphic novel rather than a picture book. There is not a great difference between the two, but in a graphic novel there is perhaps far more emphasis on continuity between multiple frames, actually closer in many ways to film-making than book illustration. I have never been a great reader of comics (having come at illustration as a painter) so much of my research was redirected to a study of different kinds of comics and graphic novels. What shapes are the panels? How many should be on a page? What is the best way to cut from one moment to the next? How is the pace of the narrative controlled, especially when there are no words? A useful reference was by Scott McCloud, which details many aspects of ‘sequential art’ in a way that is both theoretical and practical, not least because it’s a textbook written a comic – and very cleverly done. I noticed also that many Japanese comics (manga) use large tracts of silent narrative, and exploit a sense of visual timing that is slightly different from Western comics, which I found very instructive. Simultaneously, I had been working in some capacity as an animation director recently with a studio in London, adapting The Lost Thing as a short film (where much of the narrative is silent) and closely studying to the techniques used by storyboard artists and editors in that industry. All of these pieces of ‘research’ informed the style and structure of the book over several full-length revisions.

Annu Rev Phytopathol. 2012;50:425-49. Mol Plant Microbe Interact. 2011 Jul;24(7):773-86.

Essay - definition of essay by The Free Dictionary

I am often searching in each image for things that are odd enough to invite a high degree of personal interpretation, and still maintain a ring of truth. The experience of many immigrants actually draws an interesting parallel with the creative and critical way of looking I try to follow as an artist. There is a similar kind of search for meaning, sense and identity in an environment that can be alternately transparent and opaque, sensible and confounding, but always open to re-assessment. I would hope that beyond its immediate subject, any illustrated narrative might encourage its readers take a moment to look beyond the ‘ordinariness’ of their own circumstances, and consider it from a slightly different perspective. One of the great powers of storytelling is that invites us to walk in other people’s shoes for a while, but perhaps even more importantly, it invites us to contemplate our own shoes also. We might do well to think of ourselves as possible strangers in our own strange land. What conclusions we draw from this are unlikely to be easily summarised, all the more reason to think further on the connections between people and places, and what we might mean when we talk about ‘belonging’.