Young Women of Excellence is a National Mentoring Program created by Joyce L. Rodgers and sponsored by the COGIC International Youth Department. The workshop and empowerment tools for young ladies is a manual that offers vital information and methods of application to enhance the physical, mental, financial, educational, and spiritual development of young ladies ages 13-21.

This report aims to 'crack the code' by deciphering the factors that hinder and facilitate girls' and women's participation, achievement and continuation in science, technology, engineering and mathematics (STEM) education and, in particular, what the education sector can do to promote girls' and women's interest in and engagement with STEM education and ultimately STEM careers.

Lord, deliver us from distractions, especially the fatal ones!Woman of God, the devil wants to discourage you and keep you ineffective in all areas of your life. Learn why you are such a threat to him and how you can experience major breakthroughs.Using biblical characters and principles, evangelist Joyce Rodgers explains the importance of becoming a proactive, solution-seeking woman of the twenty-first century. You must develop a positive, confident attitude and sidestep the fatal distractions that lurk around the next corner.Lord, enable us to triumph over our adversary! You do not have to be distracted by the enemy for one more minute of one more day. You are a woman of destiny. The victory is yours; step into it!

"This book covers a wide range of topics involved in the outsourcing of information technology through state-of-the-art collaborations of international field experts"--Provided by publisher.

Nightwood Theatre is the longest-running and most influential feminist theatre company in Canada. Since 1979, the company has produced works by Canadian women, providing new opportunities for women theatre artists. It has also been the "home company" for some of the biggest names in Canadian theatre, such as Ann-Marie MacDonald. In Nightwood Theatre, Scott describes the company?s journey toward defining itself as a feminist theatre establishment, highlighting its artistic leadership based on its relevance to diverse communities of women. She also traces Nightwood?s relationship with the media and places the theatre in an international context by comparing its history to that of like companies in the U.K. and the U.S