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Current Semester Courses
ENGL 11300-01, 02 INTRODUCTION TO POETRY HU LA 3a
INSTRUCTOR: Kevin Murphy, Muller 332, Ext. 4-3551
OBJECTIVES: The objective of this course is to familiarize the student with both traditional and contemporary forms of poetry. To do so, we will study poetry both chronologically (from Shakespeare to the present) and formally (the sonnet, the ode, the dramatic monologue, etc.). This survey from the 16th through the early 20th century will take place during the first half of the semester, and during the second half we will focus on American poetry written since 1950.
FORMAT AND STYLE: Some lecture, mostly discussion.
REQUIREMENTS: 3 short critical essays (4-5 pages), a mid-term, and a final examination.
GRADING: Grading based on attendance, participation in class discussion, examinations, and papers.
ENGL 11300-03, 04 Introduction to Poetry LA 3a HU
3 credits
INSTRUCTOR: James Swafford, Muller 330
PREREQUISITES: None
COURSE DESCRIPTION: This course is designed to help the student develop skills in reading, analyzing, and writing about poetry. We will read a wide range of English and American poetry, both traditional and contemporary, sometimes comparing poems of a similar "kind" (narrative poems, sonnets, dramatic monologues), sometimes studying poems in the context of an author's other work or of a common theme. One major unit will focus on the life and work of English Romantic poet William Wordsworth (1770-1850).
COURSE FORMAT/STYLE: Mostly discussion.
COURSE REQUIREMENTS & GRADING: Written work will consist of three essays, a number of short written exercises/quizzes, an hour exam, and a final exam. Grading will be based on attendance, written work, and the quality of class participation.
ENGL 11300-05 Introduction to Poetry LA 3a HU
3 credits
INSTRUCTOR: Michael Stuprich, Muller 316A
PREREQUISITES: None
COURSE DESCRIPTION: A very traditional "intro to poetry" course, with a broad overview of Anglo-American poetry from the sixteenth through the early twenty-first centuries. We'll look at many of the "great" poems in the English language, and spend 7-8 classes focusing on the poetry of John Keats and Elizabeth Bishop.
COURSE FORMAT/STYLE: Almost entirely discussion.
COURSE REQUIREMENTS & GRADING: Active class participation and steady attendance are mandatory. We'll do weekly close-reading exercises and brief response papers, and there will be a final paper in the 4-5 page range.
ENGL 19401-01, 02 Identity: The Search for the Self in Short Stories, credits 3
INSTRUCTOR: Jean Sutherland, Muller 320, ext. 4-1935, email@example.com
ENROLLMENT: 20 PREREQUISITES: None STUDENTS: Open to all students. COURSE DESCRIPTION: What creates our sense of who we are? How does a work of fiction reveal the complex web of influences that shape one's identity and how one views the world? What roles do family, peers, age, class, education, ethnicity, gender, and sexual orientation play in influencing the way one thinks and acts, and how can an author suggest all of that in the space of a short story? What can a literary work reveal about our understanding of ourselves and of our world? In studying these works of short fiction, we will also consider some secondary material such as the authors' comments about their work and scholarly commentary about them in order to enrich our understanding of why these stories are short but not slight.
The goal of the course is to make you a more active and critical reader. This is NOT a class in fiction writing
COURSE FORMAT/STYLE: This class relies largely on discussion. You will be expected to do much of the talking.
COURSE REQUIREMENTS & GRADING: Text: The Short Story and Its Writer, 8th edition Ann Charters, ed. Two essays; daily quizzes or writing exercises; essay mid-term and final exam.
Grading is based on the requirements, with emphasis placed upon class participation.
ENGL 19402-01,02: Oh Cruel World! The Literary Character in Crisis LA 3a HU
3 credits
INSTRUCTOR: Paul Hansom, Muller 321
ENROLLMENT: 20 per section
PREREQUISITES: None
COURSE DESCRIPTION: What is a crisis? We can trace the word itself back to the Greeks (Krisis), where it was directly connected to a medical condition, when it was used to describe that specific, definable moment where a turning point was reached in a disease. The patient may become sicker, or that same patient might actually tilt toward recovery. Thus, to examine the very idea of crisis is to focus directly on that experience of turning, that border/boundary between wellness and disease, the threshold of change that marks stability and/or instability.
This class will broadly focus on the concept of literary crisis, where a character is plunged into that peculiar moment of change and potential disaster. As part of our inquiry, we will examine specific crisis conditions and circumstances (moments of transition, epiphany, insight, horror, breakdown, action, death, ageing, temptation, etc), and the ways in which literary characters face these challenges in terms of their own identity, spirituality, sexuality, politics, and morality. To help deepen our investigation, we will be exploring a wide selection of literary forms, ranging from the Classical Greek drama to the modern play, the Anglo-American short story, the novella, and the contemporary novel itself.
COURSE FORMAT/STYLE: Discussion/lecture.
COURSE REQUIREMENTS & GRADING: active class participation, response papers, analytical essays, final exam.
ENGL 19403-01, 02 Madness in Modern Literature
3 credits
INSTRUCTOR: Jennifer Spitzer
ENROLLMENT: 20 per section
PREREQUISITES: None
COURSE DESCRIPTION: From Freud's Dora to Woolf's Septimus Smith to Ellison's Invisible Man, twentieth-century literature is dominated by representations of madness. These figures may be mad but they are also capable social commentators, poised by virtue of their distance from centers of power and privilege to call attention to conditions of "powerful powerlessness," to use the phrase of a noted scholar. As marginal or non-normative, these figures are situated to reflect and respond to issues of patriarchy, racial terror and discrimination, homophobia, war, and capitalism. Indeed, their madness offers complex responses to overwhelming social, economic and cultural forces. In this course, madness will provide a prism through which to understand a nexus of intellectual and political concerns of the twentieth century. Some specific questions we will address: What is madness and what work does it perform in these texts? How does it alter the quality of our attention to important psychic and social phenomena? Can madness be read as a subversive discourse that has the potential to challenge or overturn dominant discourses? And how does madness provide an impetus for artistic experimentation? We will read works by Henry James, Charlotte Perkins Gilman, Virginia Woolf, Sigmund Freud, Ralph Ellison, Pat Barker and Ken Kesey.
COURSE FORMAT/STYLE: Discussion/with the occasional lecture.
COURSE REQUIREMENTS & GRADING: active class participation, close-reading exercises, mid-term paper, final paper
English 19404-01, 02 American Masks LA 3a HU
3 credits
INSTRUCTOR: Kirsten Wasson, Muller 328
PREREQUISITES: none
COURSE DESCRIPTION: This course examines 19th, 20th, and 21st –century literature by writers who explore American identity. Race, class, and gender contribute to the way in which a character's self is interpreted by others, so these will be frequent topics of discussion. The writers considered here suggest that identity is a "performance," and that being an American involves the wearing of various masks. Texts may include Twain's The Adventures of Huckleberry Finn, Johnson's Autobiography of an Ex-Colored Man, Hemingway's The Sun Also Rises, Hurston's Their Eyes Were Watching God, and Gish Jen's Who's Irish?
COURSE FORMAT/STYLE: Discussion with occasional lectures.
COURSE REQUIREMENTS & GRADING: Several (1-page) response papers, two (5-page) essays, a mid-term, and a final exam. Participation is 10-15% of your grade, so silence is ill advised. Attendance policy.
ENGL 19405-01, 02: Prizing the Postcolonial: Novels of the Booker Prize
3 Credits
INSTRUCTOR: Chris Holmes, Muller 318
ENROLLMENT: 20 per section
PREREQUISITES: None
Course Description: The Man Booker Prize, the most prestigious literary prize in Britain, is awarded each year to a novel in English, written by a British citizen or member of the Commonwealth. This broad geographic reach allows British literature to imagine itself as a literary-colonial power on par with the scope of cultural domination that the British Empire enjoyed in the 19th century. This poses a problem for the very idea of national canons of literature: namely, in an age increasingly defined by transnational movement, habitation, and citizenry, who is a British writer? This class begins with the assumption that to study the Booker is to study the history of decolonization and how the flux in relationship from Empire to Commonwealth to post-colony resonates in the form of the novels, and in the standards of prizing that form. In this class we will approach the novels as both literary moments in and of themselves, and as well, as part of a new chapter of postcolonial literary history.
COURSE FORMAT/STYLE: Discussion with occasional lectures.
COURSE REQUIREMENTS & GRADING: Response papers, two (4-6 page) essays, a mid-term, and consistent and thoughtful contributions in class.
ENGL 19407-01, 02 'Tis Folly to be Wise: Fools, Madmen, Saints
INSTRUCTOR: David Kramer, Muller 322
Enrollment: 20 per section
Prerequisites: None.
Course Description: By representing the struggle of madmen and fools to understand society's rules and customs--often incorrectly, often comically—authors manipulate and destabilize our preconceptions of what is sane, "normal," and good; in the world of story (and perhaps other worlds) goodness may be mad, madness good, and folly universal. The works in this course, some tragic, some funny, some both, will examine the inter-relatedness of madness and heroism, and how these categorical blurrings and anxieties refer back to the origins and ends of storytelling itself.
Format and Style: Class is highly conversational.
ENGL 19408-01 The Power of Injustice & the Injustice of Power LA 3a HU
3 Credits
INSTRUCTOR: Derek Adams, Muller 304
PREREQUISITES: none
COURSE DESCRIPTION: Many individuals continue to feel as though they live at the margins of society, despite the "melting pot" rhetoric of inclusivity and acceptance that dominates narratives of American identity. While we commonly consider purposeful exclusion an act of injustice on the part of the powerful, we are often unaware of the way that subtle, hidden forms of power render particular groups and individuals powerless. American literature is one of the most widely utilized platforms for articulating the specific issues that arise in response to these forms of power. This course will use an array of American literary texts to explore the complexities of the life experiences of those who are forced by the powerful to live at the margins. We will examine texts from both white and black, and male and female authors that deal with traditionally marginalized groups. At the same time, we will consider the possible powerlessness of individual members of traditionally privileged groups.
COURSE FORMAT/STYLE: Discussion with the occasional lecture
COURSE REQUIREMENTS: Students will closely examine course materials, put together an in-class presentation, actively engage in class discussions, craft three short textual analysis essays, and complete a final exam.
ENGL-20004-01 Honors Intermediate Seminar: American Breakdown
3 credits
INSTRUCTOR: Hugh Egan 306 Muller
ENROLLMENT: 20 per section
PREREQUISITES: Limited to members of the Ithaca College Honors Program
COURSE DESCRIPTION: In this honors seminar we will investigate some of America's literature of madness and psychological instability, beginning with a Puritan sermon and proceeding more or less chronologically through the 20th century. American literature is often viewed in terms of its self-reliant and "sane" male narrators and characters (including Benjamin Franklin and the founding fathers, Ralph Waldo Emerson, Henry David Thoreau and others), but there is another, equally powerful and counterbalancing literary strain that records narratives of breakdown, psychosis, and suicidal descent. These two literary traditions are not mutually exclusive, and indeed might best be seen as weirdly co-dependent. A number of discrete themes will emerge in the course of our reading, including: the importance of the Puritan tradition to America's volatile self-image; how "madness" in America is inflected in terms of race and gender; how the process of going mad is recorded in language; and how psychological interpretations of literature unearth buried assumptions about self and nation.
COURSE FORMAT/STYLE: Guided discussion.
COURSE REQUIREMENTS & GRADING: active class participation, three short essays, and a final project.
ENGL 20100-01 Approaches to Literary Study LA 3a HU
3 credits
INSTRUCTOR: Hugh Egan 306 Muller
ENROLLMENT: 15 per section
PREREQUISITES: One course in English
COURSE DESCRIPTION: This course is designed to encourage English majors and minors early in their careers to become more reflective, self-conscious readers, writers, and thinkers, and thus better prepared for the upper-level English curriculum. Students will grapple with the issues and concerns that occupy literary critics when they think about literature, including the biases and assumptions that guide them. Focusing on a handful of well-known texts spanning a variety of literary genres, we will practice the skills of close reading and critical application—that is, we will attempt, first, to inhabit these works as worlds unto themselves, and second, to place them in appropriate critical conversations. The course will thus involve both formal analysis and scholarly commentary.
COURSE FORMAT/STYLE: Guided discussion.
COURSE REQUIREMENTS & GRADING: active class participation, three 5-page essays, and a final research project.
English 21100-01 Jewish American Writers
3 credits
INSTRUCTOR: Kirsten Wasson , Muller 328
ENROLLMENT: 20 per section
PREREQUISITES: One course in the humanities or social sciences or sophomore standing.
COURSE DESCRIPTION: In this course we read fiction and non-fiction of 20th and 21st-century writers who are both Jewish and North American, beginning with work concerned with immigration from Eastern Europe. Then we address works that explore post-holocaust life in the United States. Mid-century writers such as Malamud, Singer, Paley, Roth and Bellow are included in our readings, and we conclude the class with authors whose work has come to the fore in the last three decades: Steve Stern, Cynthia Ozick, Art Spiegelman, Johnathan Safron Foer, Nicole Krauss and Allegra Goodman. Themes include assimilation, spirituality, representation of historical events, cultural, and religious identities.
COURSE FORMAT/STYLE: Discussion/lecture.
COURSE REQUIREMENTS: Short response papers, a mid-term, two 5-page essays, and a final exam.
ENGL 21400-01, 02 Survey of Science Fiction LA 3a HU
3 credits
INSTRUCTOR: Paul Hansom, Muller 321
ENROLLMENT: 20 per section
PREREQUISITES: One course in the humanities or social sciences, or sophomore standing.
COURSE DESCRIPTION: The single, defining reality of the world today is change, and that change is exactly what Sci-Fi is all about. Sci-Fi is the new realism of a technological society, it is a literature of transformations, of visions, of terrors, and possibilities. J.G. Ballard described Sci-Fi as the main literary tradition of the Twentieth Century, perhaps the most vital and responsive form to date. He's not far wrong. This class digs into the historical roots of Sci-Fi, whisking us back to H.G. Wells, up through the golden age of American pulp writing (roughly 1930-60), into the New Wave, the postmodern, and beyond. From steam-heroes to cyberpunks, this class will explore key Sci-Fi icons (cities, spaceships, wastelands, robots, monsters, etc), in a landscape dominated by environmental, technological, humanistic, and futuristic questions. We'll be reading awesome stories, staggering novels, and astonishing ourselves with cinematic imagery.
COURSE FORMAT/STYLE: Discussion/lecture.
COURSE REQUIREMENTS & GRADING: active class participation, response papers, analytical essays, final exam.
ENGL 21800-01, 02: Modern American Drama LA 3a HU
INSTRUCTOR: Claire Gleitman, Muller 303
ENROLLMENT: 20 per section
PREREQUISITES: One course in the humanities or social sciences, or sophomore standing.
COURSE DESCRIPTION: If American dramatists are to be trusted, dysfunctionality and the American family go hand in hand. Indeed, the deteriorating family has been a thematic obsession for American playwrights almost since the birth of American drama as a distinct body of writing. In this course, we will begin close to the middle of the last century, with Tennessee Williams' landmark 1944 play The Glass Menagerie. From there, we will cover roughly 70 years of American playwriting, concluding with Amy Herzog's 2012 play, 4000 Miles. All of the plays that we will read together focus upon familial relationships. In most, though not all of them, these families are suffering from a corrosive misery, one that seems to pass like a contagion from generation to generation as the sadness, self-loathing and (often) alcoholism of the parents is visited upon the children—unless they find a way, however compromised, to escape. Our interest will be to examine these portraits of familial distress in the context of the portraits of America that each one offers. What is the relationship between the family drama and the larger cultural drama that our authors are staging? Plays will include: The Glass Menagerie, Cat on a Hot Tin Roof, All My Sons, Death of a Salesman, Long Day's Journey into Night, Who's Afraid of Virginia Woolf, How I Learned to Drive, Topdog/Underdog, The Brother/Sister Plays, 4000 Miles.
COURSE FORMAT/STYLE: Discussion.
COURSE REQUIREMENTS & GRADING: Short reaction papers, three longer essays, class participation, final exam.
ENGL 21900-03, 04 SHAKESPEARE HU LA 3a h
INSTRUCTOR: Daniel Breen, 302 Muller
ENROLLMENT: 20 students per section
PREREQUISITES: One course in the humanities or social sciences, or sophomore standing.
COURSE DESCRIPTION: Students and readers of Shakespeare have for centuries admired his ability to create impressively realistic and vital characters; to express, in Samuel Johnson's words, "human sentiments in human language." Typically this "humanity" tends to be discussed within the contexts generated by the protagonists in Shakespeare's tragedies, who seem so relatable to modern readers because of the ways in which they present compelling glimpses of the inner workings of their psychologies and insist that the audience understand them as individual human beings. This course offers a different perspective on Shakespeare's "humanity" by using the comedies to explore the more social aspects of his characters' experiences. While tragedy is concerned to illustrate how human beings draw upon their own emotional, spiritual, and intellectual resources in response to crisis, comedy is much more attuned to the question of how different social groups identify and solve problems collectively. We will read a diverse selection of comedies written across the full span of Shakespeare's twenty-year career as a playwright, including A Midsummer Night's Dream; Much Ado About Nothing; As You Like It; The Merchant of Venice; Measure for Measure; and one tragedy, Romeo and Juliet. Among the questions the course will address are the following: what space for the individual voice does the essentially social framework of Elizabethan comedy allow? Is comedy a conservative or a radical genre? How does comedy force a compromise between punishment and forgiveness?
COURSE FORMAT/STYLE: Discussion, with some context-setting lectures.
COURSE REQUIREMENTS & GRADING: Two 4-5-page essays, one short response paper, a midterm and a final, and class participation. Grading will be A-F based on the above requirements. Because of the discussion-oriented format, class participation will be an essential part of students' final grades.
ENGL 21900 01-02, Shakespeare LA 3a HU
3 credits
INSTRUCTOR: Christopher Matusiak, Muller 326
ENROLLMENT: 20 per section
PREREQUISITES: One course in the humanities or social sciences, or sophomore standing.
COURSE DESCRIPTION: After four hundred years, Shakespeare's characters continue to resonate on the page, stage, and screen. His vibrant female characters in particular provoke lively controversy among scholars, and this course invites students to engage in a series of contentious interpretive debates over matters such as the violent courtship of Katherine in The Taming of the Shrew, malevolent witchcraft in Macbeth, and the sublime histrionics of Antony and Cleopatra's eponymous queen. To better understand Shakespeare's construction of female character in seven major plays, we will also venture beyond the playhouse to explore the social and political status of real sixteenth- and seventeenth-century women. Contradictions abound: pulpits and polemicists decried women as perpetrators of original sin, yet the English revered their female monarch, Elizabeth I, as a divinely appointed "Virgin Queen." Poetry and plays idealized women as ennobling goddesses, even as actresses were barred from performing on London's public stages. Where do Shakespeare's representations of women (and, indeed, of men) fit into this world? How does he conceive the behaviors, desires, and ambitions of women in relation to such institutions as the family, the church, and the state? Are Shakespeare's works essentially conservative or progressive? Answering these questions will inevitably involve reflecting upon ideas of womanhood that we celebrate or reject today, thereby bringing us closer to understanding why Shakespeare remains so deeply fascinating in the twenty-first century.
COURSE FORMAT/STYLE: Discussion/lecture.
COURSE REQUIREMENTS & GRADING: active class participation, close-reading exercises, formal essay, final exam.
ENGL-23200 Medieval Literature
INSTRUCTOR: Michael Twomey, Muller 329, Ext. 4-3564, firstname.lastname@example.com.
PREREQUISITE: One course in the humanities or social sciences, or sophomore standing.
OBJECTIVES: The modern world was made in the Middle Ages. Systems of law, nation-states, international trade, monetary exchange, and university education; the Christian, Jewish, and Muslim religions as we know them today; the mass-production technology of printing, and even the eyeglasses that people need in order to read the fine print—all are medieval creations. This course examines medieval literature both as a reflection of the culture that made the modern world, and as the originator of modern literary forms. We will (re)discover genres and subjects that first became popular in the Middle Ages, and with which English and American writers have been working ever since: epic, saga, romance, and tale.
In this course we'll learn to recognize and appreciate forms and genres, literary conventions and strategies, themes, plots, and characters that make medieval literature medieval—and which modern writers continue to employ. We'll learn, too, the cultural values at work in medieval literature, as well as the terms of cultural and literary discourse used by medieval people and by modern readers of medieval literature.
This semester has a special unit on medieval Celtic literature and its afterlife. Texts: The Irish epic, Cattle Raid of Cooley; selections from the Welsh Mabinogi; the Saga of Grettir the Strong, about a misfit outlaw; selected lais of love and fairy magic by the English author Marie de France; the gender-bending romance Silence; Dante's Inferno; selections from the Canterbury Tales by Geoffrey Chaucer and from the Decameron by Giovanni Boccaccio.
STUDENTS: Open to all students who meet the prerequisites.
FORMAT AND STYLE: Discussion, lecture.
REQUIREMENTS: Regular attendance and participation, short response pieces, two 5-page essays, midterm and final exams.
ENGL 27200-01 Literature of the Enlightenment LA 3a HU
3 credits
INSTRUCTOR: Michael Stuprich, Muller 316A
PREREQUISITES: One course in the humanities or social sciences, or sophomore standing.
COURSE DESCRIPTION: We'll read, study and discuss works written in England between 1660 and 1812. The syllabus will include The Country Wife, Gulliver's Travels, The Rape of the Lock, and Pride and Prejudice. All works will be read within significant cultural, historical, political, and religious contexts. Freshmen and non-English majors are strongly advised not to take this course.
COURSE FORMAT/STYLE: A little lecture, a lot of class discussion.
COURSE REQUIREMENTS & GRADING: Steady, active class participation; steady class attendance; 6-7 short (2-3 page) papers; one major (7-8 page) essay; mid-term exam.
ENGL 28100-01 Romantic-Victorian Literature LA 3a HU
3 credits
INSTRUCTOR: James Swafford, Muller 330
PREREQUISITES: One course in the humanities or social sciences, or sophomore standing.
COURSE DESCRIPTION: William Blake publishes proverbs in the voice of the Devil; Lord Byron praises Prometheus, committer of a "Godlike crime"; John Keats writes a love-poem starring "a cruel man and impious" who invades a woman's home, dream, and body. This course will focus on 19th-century English writers' fascination with transgressors, whose violations of the bounds of law or custom allow us to explore the value and dangers of radical individualism and the benefits and evils of an ordered social world. Other writers we'll study include Ludwig Tieck (our one non-English author), S. T. Coleridge ("The Rime of the Ancient Mariner"), Mary Shelley (Frankenstein), Emily Brontë (Wuthering Heights), Thomas Hardy (Tess of the D'Urbervilles), and Oscar Wilde. English majors should note that this course is one of those included in the category "periods of literature before 1900."
COURSE FORMAT/STYLE: Mostly discussion.
COURSE REQUIREMENTS & GRADING: Grading will be based on two essays, a number of short written exercises/quizzes, attendance, active class participation, and a final exam.
INSTRUCTOR: David Kramer, Muller 322, ext. 4-1344
Enrollment: 20 per section
Prerequisites: Any three courses in English, history of the theater, or introduction to the theater.
Course Description:: The course will survey drama from its origins in ancient Greece through the seventeenth-century dramatic renaissance in Spain, France, and England. Emphasis will be laid on formal and thematic analysis, theatrical and intellectual history, and the problems inherent in producing the plays.
Students: Open to all students.
Format and Style: Class is highly conversational.
Requirements: Texts: Euripides, The Bacchae; Plautus, The Menechmi; Shakespeare, Comedy of Errors, Jonson, Volpone; Webster, Duchess of Malfi; Corneille, l'Illusion Comique, Calderón, La Vida es Sueño, Molière, School for Wives; Behn, The Rover; Beaumarchais, Marriage of Figaro, Gogol, Inspector General; two seven-page essays; reading quiz and reading response every class; essay mid-term and final.
Grading: Based on the above requirements, with emphasis placed upon class participation.
ENGL-32500-01 Studies in Medieval Literature: Why Arthur? HU 3a
INSTRUCTOR: Michael Twomey, Muller 329, Ext. 4-3564, firstname.lastname@example.com.
PREREQUISITE: 3 courses in literature (English and/or foreign language).
What draws us to the legend of Arthur? What meanings do we assign it? Using Thomas Malory's Morte Darthur as the base text, we will work backwards into the history of Arthurian legend and forwards into its modern incarnations, studying how and to what purposes succeeding generations of writers have imagined and re-imagined Arthur and the Round Table. Our texts will come from the earliest accounts just after the Anglo-Saxon conquest of Britain; from the medieval chronicles and romances that gave rise to popular legends such as the Holy Grail and to characters such as Merlin and Morgan le Fay; and from modern authors and filmmakers who used Arthurian fiction as a vehicle for historical nostalgia, religious propaganda, and, yes, even entertainment. Some questions I'd like to investigate are:
• Where, how, and why did the legend originate?
• What did the legend mean to the people of medieval Britain—first the Celtic Britons themselves, then to the English who supplanted them?
• What did the legend of Arthur mean to medieval people living on the Continent?
• How shall we understand Arthur's incest with his half-sister, which produces a son who destroys him?
• How shall we understand the adultery of Lancelot and Guinevere?
• What is the Holy Grail, where did the legend of the grail come from, and how did it develop? How does is the Grail figures in modern culture (e.g., DaVinci Code)?
• How do modern Arthurian novels revise both Malory and 5th century British history, and what are their agendas?
STUDENTS: Open to all students who meet the prerequisites.
FORMAT AND STYLE: Discussion, lecture, student presentations; viewings of films.
REQUIREMENTS: Regular attendance and participation, in-class presentations, short essays, term paper.
ENGL 33100-01, Studies in the English Renaissance: The Erotic Renaissance LA HU
3 credits
INSTRUCTOR: Christopher Matusiak, Muller 326
ENROLLMENT: 20 per section
PREREQUISITES: ENGL-21900, ENGL-27100, or ENGL-37300
COURSE DESCRIPTION: Erotic desire is ubiquitous in English Renaissance literature. The powerful force human sexuality exerts on everyday life clearly fascinated sixteenth- and seventeenth-century writers, but as important was the period's tendency to draw imaginative analogies between lovers and their beloveds, the subject and the sovereign, and the soul and God. Although ostensibly concerned with the satisfaction or frustration of sensual desire, Renaissance erotic writing was more fundamentally a vehicle that enabled writers to participate in debates about political power, social identity, and theological controversy. Units in this course will include the study of Petrarchan verse experiments by Sir Thomas Wyatt, Edmund Spenser and Lady Mary Wroth; amatory verse exchanges between Queen Elizabeth I, Sir Walter Ralegh and other courtier-poets; John Donne's unique and brilliant songs and sonnets; a pair of grotesque Jacobean sex tragedies by John Webster and Thomas Middleton; and the satiric obscenities of the Earl of Rochester, Aphra Behn, and other Restoration libertines. As we indulge in the pleasure of reading these works, we will develop a detailed understanding of how erotic literary discourse functioned to convey the ambitions, insecurities, and hostilities stirred by major events of the era, including the rise of the Tudor dynasty, the Protestant Reformation, transatlantic exploration, and the English civil wars.
COURSE FORMAT/STYLE: Discussion/lecture.
COURSE REQUIREMENTS & GRADING: active class participation, mid-term paper, final paper.
ENGL 35100-01 GIRLHOODS IN LITERATURE HU, Liberal arts
3 credits
INSTRUCTOR: Katharine Kittredge, Muller 317, Ext. 4-1575
PREREQUISITES: Three courses in the humanities; sophomore standing.
COURSE DESCRIPTION: This course will look at the emerging and changing image of girlhoods from the 18th to the 21st century as it is reflected primarily in the texts written for an audience of young girls—in children's books, young adult literature, and some canonical literature with strong female characters. We will be looking at the texts to gain an understanding of the evolution of children's literature and to consider the extent to which these iconic images of girlhood reflect the ways in which the roles of women changed over the three centuries. Possible texts might include: Goody Two Shoes, Little Women, Eloise, Pippi Longstocking, Ramona, Harriet the Spy, Speak, and Terrier (by Tamora Pierce).
COURSE FORMAT/STYLE: Discussion
COURSE REQUIREMENTS & GRADING: Papers, journals, and projects. Grading based on written work, attendance, and the quality of class participation.
ENGL 36500-01 Studies in the Novel: The Fiction of Ernest Hemingway
3 credits
INSTRUCTOR: Michael Stuprich, Muller 316A
PREREQUISITES: Nine (9) credits of literature or permission of instructor.
COURSE DESCRIPTION: In this course we will read, study, and discuss the fiction of Ernest Hemingway produced between the early 1920s and 1940. This will include many of his most famous short stories (including all the Nick Adams stories) as well as the novels The Sun Also Rises, A Farewell to Arms, and For Whom the Bell Tolls.
COURSE FORMAT/STYLE: Almost entirely discussion.
COURSE REQUIREMENTS & GRADING: We'll do a number of short (2-3 page) writing assignments and a major, end-of-term essay in the 8-10 page range. Along the way we'll also break into groups and do a few class presentations. Steady attendance and participation will be mandatory
ENGL 37100-01 Studies in African American Literature LA 3a HU
3 Credits
INSTRUCTOR: Derek Adams, Muller 304
PREREQUISITES: 9 Credits in English
COURSE DESCRIPTION: This course examines a body of literature that challenges the oversimplification of the black-becomes-white dimension of racial passing narratives. Literary works from Melville, Twain, Larsen, Schuyler, Griffin, Ovington, Everett, Packer, and Morrison reveal that racial passing is more multifaceted and complex than originally imagined. These stories paint a broader, more colorful portrait of the American landscape that encourages us to rethink the conventions and limitations of black/white racial identification. We will also consider the more subtle motivations behind passing. For instance, how do we account for the desire of white individuals to assume a black identity? Why do only a relatively small number of black and mixed-race individuals pass as white? Is it possible to engage in racial passing without moving between different racial groups? With these questions in mind, we will reassess what constitutes deception in acts of passing and who is being deceived. Lots of in-class discussion so come ready to talk!
COURSE FORMAT/STYLE: Discussion with the occasional lecture
COURSE REQUIREMENTS: Students will closely examine course materials, put together an in-class presentation, actively engage in class discussions, and craft a midterm essay and final essay.
ENGL 38000-01 Studies in World Literature: The Post Apartheid Novel HU 3a LA
3 Credits
INSTRUCTOR: Chris Homes, Muller 318
PREREQUISITES: 9 Credits in English
COURSE DESCRIPTION: "Apartheid," the system by which the minority colonial government in South Africa ghettoized the majority population by racial/ethnic classification into separate homelands, was the dominant system of governance for half a century. With the end of Apartheid and the rise of democratic, Black African rule came great uncertainties about the future of the nation's history, culture, and language. Literature has played a particularly important role in imagining what that future might hold, and our seminar will be considering some of the major literary works responsible for forging that vision. We will be reading novels and historical accounts written since 1994 that attempt with broad and narrow foci to encapsulate the struggle for a reconstituted nation and the potential for historical healing. Our goal will be to explore the broader theme of human rights in the age of decolonization by taking up issues of land ownership, interracial relationships, new kinship communities, and revolution vs reconciliation. In considering the social context of the novels, we will engage the formal choices and experiments with which the writers seek to reframe the dialogue of how to speak the post-Apartheid nation into existence.
COURSE FORMAT/STYLE: Seminar Discussion
COURSE REQUIREMENTS & GRADING: Three Essays, a Midterm, and consistent written/discussion work on the course website and in the classroom.
ENGL 38200-01: Studies in Modern Literature: Sex, Gender and Modernism
3 Credits
INSTRUCTOR: Jennifer Spitzer
PREREQUISITIES: 9 Credits in English
COURSE DESCRIPTION: The period commonly referred to as modernism produced a body of formally adventurous texts that can be viewed as responses to the upheavals of modernity, including WWI, the expansion of empire, rapid industrialization, the emergence of psychoanalytic theories of the self and family, and changes in gender roles. In this course, we will think about literary modernism as a crucible of experiment within the realms of aesthetics, sexual practice and gender, paying particular attention to the ways in which conventional formulations of modernism have privileged male heterosexual experience at the expense of women and queer subjects. What happens if we take these "marginal" perspectives as central and think about how literary works reflect and respond to the gender politics of modernity? What happens if we turn our attention away from male "high modernism" and towards the writings of female and gay authors? Some of the subjects we will address will be modernism and the avant-garde, canonization, psychoanalysis, homosexuality, the marriage problem and the figure of the New Woman. Authors will include Virginia Woolf, T.S. Eliot, Rebecca West, D.H. Lawrence, Christopher Isherwood and W.H. Auden.
COURSE FORMAT/STYLE: Seminar Discussion
COURSE REQUIREMENTS & GRADING: active class participation, close-reading exercises, mid-term paper, final paper, class presentations
ENG46000-01 James Joyce's Ulysses
3 credits
Instructor: Kevin Murphy, Muller 332, ext. 4-3551
Enrollment: 10
Objective: James Joyce's Ulysses is arguably the most important novel written in the past century. The work is a radical departure from traditional forms and assumptions in literature, and, along with T.S. Eliot's "The Waste Land," which was also published in 1922, the novel establishes the foundation of literary modernism. As such, the novel's experimental structure and stream-of-consciousness narration has had a profound impact on the fiction written throughout the twentieth century. Given the special difficulty attendant reading such a dense and experimental work, the primary purpose of this seminar is to provide and structure a close reading of the novel, one which will emphasize the integrity of the work and the multiple contexts (social, psychological, stylistical, and textual) within which and against which the novel was written. Given its experimental nature, the novel has also lent itself to a number of innovative theoretical approaches to the nature of literature itself which will also be considered in the course of the semester.
Students: Four courses of literature, or permission of the instructor
Format and style: There will be occasional background lectures, films, and audiotapes, but the seminar will proceed on the basis of student reports and presentations focused on the eighteen different episodes of the novel.
Requirements: Each student will be expected to give two oral presentations on aspects of the novel, one before and one after the midterm. In addition, there will be two papers due, a five-page essay at the midterm and a 10-12 page research essay due at the end of the semester.
ENGL 46500-01: Seminar in Drama: Beckett, Stoppard, Churchill HU LA
INSTRUCTOR: Claire Gleitman, Muller 303
PREREQUISITES: Either four literature courses, ENGL 31100, or ENGL 31200; permission of instructor.
COURSE DESCRIPTION: In this advanced seminar, we will engage in an intensive analysis of 3 major playwrights of the second half of the 20th century, considering how their stylistic and thematic preoccupations converge and part company. We will begin with Samuel Beckett, examining early and late works that together define what we now call Absurdist drama. We will move next to Tom Stoppard, who begins his career as a faithful Beckettian but whose plays become increasingly elaborate in form, historicized in content, and realistic in style. Caryl Churchill's trajectory is the reverse: from highly elaborate history plays, she moves toward a radically pared down, fragmented style of dramaturgy that bears some of the hallmarks of Absurdism. Together these authors will provide us with a rich, though focused and selective, sense of modern and postmodern Irish and British drama. Plays will include some or all of the following: Beckett's Waiting for Godot, Endgame, Happy Days, Krapp's Last Tape, Play; Stoppard's Rosencrantz and Guildenstern are Dead, Trifles, The Real Thing, Arcadia; Churchill's Cloud 9, Top Girls, A Number, Blue Heart and Far Away.
COURSE FORMAT/STYLE: Discussion. Because this is an advanced seminar that meets just once a week, all students should expect to attend and engage actively in discussion at every class meeting.
COURSE REQUIREMENTS & GRADING: One presentation; one 6-8 pp. paper; one 12-15 pp. research paper; regular attendance and participation.


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The extent of injury from exposure to these chemicals depends on the amount you are exposed to, how long you are exposed, and how you come in contact with the agent.
Signs of nerve agent exposure include the following:
Exposure to a large amount of a nerve agent by any route may result in these additional health effects:
Showing the signs and symptoms listed above does not necessarily mean that a person has been exposed to a nerve agent; these symptoms can also be caused by other conditions.
During any public health emergency, health officials will provide instructions through TV and radio on how best to protect yourself and your loved ones. Were a chemical release to occur in New York City, stay tuned to the news media. Do NOT immediately rush to hospital emergency rooms. You may not be in immediate danger, and hospitals have to treat those who need immediate care. Furthermore, many treatments will be provided in non-hospital settings (emergency clinics) that would be established in multiple locations throughout the five boroughs.
Last Updated: January 15, 2013

subset: commoncrawl


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Quick Facts
- NAME: James Arness
- OCCUPATION: Film Actor, Television Actor, Radio Personality
- BIRTH DATE: May 26, 1923
- DEATH DATE: June 03, 2011
- Did You Know?: James Arness was the older brother of actor Peter Graves.
- EDUCATION: Beloit College
- PLACE OF BIRTH: Minneapolis, Minnesota
- PLACE OF DEATH: Los Angeles, California
- Full Name: James King Arness
- AKA: James Arness
- AKA: James Aurness
- Originally: James King Aurness
Best Known For
Actor James Arness received fame and fortune for his portrayal of Marshal Matt Dillon on the television series Gunsmoke, which aired from 1955 to 1975.
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Answer questions and see how you rank against other players.
Play NowJames King Arness. (2014). The Biography Channel website. Retrieved 06:04, Mar 11, 2014, from http://www.biography.com/people/james-arness-9189187.
James King Arness. [Internet]. 2014. The Biography Channel website. Available from: http://www.biography.com/people/james-arness-9189187 [Accessed 11 Mar 2014].
"James King Arness." 2014. The Biography Channel website. Mar 11 2014, 06:04 http://www.biography.com/people/james-arness-9189187.
"James King Arness," The Biography Channel website, 2014, http://www.biography.com/people/james-arness-9189187 [accessed Mar 11, 2014].
"James King Arness," The Biography Channel website, http://www.biography.com/people/james-arness-9189187 (accessed Mar 11, 2014).
James King Arness [Internet]. The Biography Channel website; 2014 [cited 2014 Mar 11] Available from: http://www.biography.com/people/james-arness-9189187.
James King Arness, http://www.biography.com/people/james-arness-9189187 (last visited Mar 11, 2014).
James King Arness. The Biography Channel website. 2014. Available at: http://www.biography.com/people/james-arness-9189187. Accessed Mar 11, 2014.
James Arness was born on May 26, 1923, in Minneapolis, Minnesota. After recovering from a severe leg injury received in World War II, he moved to Hollywood and began acting in films. He became a star in his role as Marshal Matt Dillon on television's Gunsmoke, a Western set in 1870s Kansas. He appeared on the series from 1955 to 1975. Arness was 88 when he died on June 3, 2011, in Los Angeles, California.
"I was the tallest guy in the school and I was very conscious of being larger than anybody—classmates and teachers."
"I had a wonderful life and was blessed with some many loving people and great friends."
"You know, the stars don't go to lunch with the day players and the day players don't eat with the extras. Jim Arness just tore that all to hell and everybody was treated very nice. And it does start with the star of the show. 'Gunsmoke' was a very classy show and nobody dared act like an ass or a jerk because Jim wasn't."
Early Life
James Arness was born James King Aurness in Minneapolis, Minnesota, on May 26, 1923. He grew up with his younger brother, Peter (who later changed his name and became the actor Peter Graves). Arness was an indifferent student but followed his mother's wishes that he enroll in college.
World War II Service
With World War II raging during his freshman year, Arness understood that he would likely soon be called up to fight. He wanted to become a fighter pilot, but his impressive height (he was 6'7") made that path impossible. Instead, he was drafted into the U.S. Army in 1943.
Arness served as an infantryman in a unit that was sent to Italy. There, in 1944, he was hit by machine-gun fire, which resulted in severe injuries to his right leg. He needed multiple surgeries and almost a year of hospitalization to recover, and had a small limp for the rest of his life. He received the Bronze Star and the Purple Heart for his service.
Hollywood Career and 'Gunsmoke'
Arness worked in radio in Minneapolis before moving to Hollywood in 1946. Interested in acting, he took lessons and changed his last name from Aurness to Arness. He made his film debut in The Farmer's Daughter (1947), in which he played one of Loretta Young's brothers. He then got steady work, including the title role in the science-fiction film The Thing From Another World (1951). In Big Jim McLain (1952), he worked with John Wayne, who became a good friend.
When the popular radio drama Gunsmoke was adapted for television, there was a search for the right actor to play Marshal Matt Dillon (William Conrad, who voiced the role on radio, was deemed too rotund for TV). The rumor that Wayne was offered the part is probably false—he would not have been expected to give up a successful movie career—but it is possible that he recommended Arness for the role. When Arness was reluctant to commit to TV, Wayne helped convince him to take the job.
On Gunsmoke, Arness gave an understated yet compelling performance as a lawman who was the moral backbone of Dodge City, Kansas, in the 1870s. He received three Emmy Award nominations for the role. Though he was the star of the show, Arness did not make demands, instead forging a convivial on-set atmosphere. He appeared on the series, one of the longest-running on TV, from 1955 to 1975.
Later Years
Though Gunsmoke made Arness a millionaire, he continued to work after it went off the air, appearing in TV miniseries such as How the West Was Won (1977), and in made-for-TV movies like The Alamo (1987). He also reprised his role as Marshal Dillon in five Gunsmoke sequels.
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Celebrity Enlistees
Hollywood stars often get flack for their extravagant lifestyles, and sometimes they seem to be far removed from the rest of us. Not so for all celebrities, though—a surprising number of stars have taken on the big responsibility of serving in the United States Armed Forces. We know them as actors, athletes, musicians, and comedians, but these brave individuals have actually put their lives on the line for their country. Here's a look at celebrity enlistees.
Celebrity Enlistees 84 people in this group
Notable Wild West Film Actors
Got chaps? Their cowboy and cowgirl personas are tough, rugged, and wild—just like the frontier in which they come from—and in turn, they elicit the nostalgia of The Old West with its fierce individualism and sense of golden opportunity. From the indomitable swagger of John Wayne to the intimidating scowl of Clint Eastwood, explore our Wild West Film Actors group.
Notable Wild West Film Actors 15 people in this group
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Posts Tagged 'Industry News'
TV to Cell Phone + Pico Projector = Big Screen Experience from a Small Device!
June 9th, 2009
by Tiffany Bradford
Check out today's article in the Los Angeles Times which highlights the opportunity to send live video to mobile devices on the newly available analog spectrum once the digital switch for television is made. This will allow Americans to combine 2 things we love: cell phones and TV. As mobile content proliferates and tiny displays continue to hinder the enjoyment of this content, pico projectors offer a solution to the small screen bottleneck.
Broadcasters compete to put TV on cellphones
The digital switch will let video be sent to mobile devices — phones, computers, car systems – on the newly available analog spectrum. Contenders include MobiTV, Qualcomm's Flo TV and Transpera.
The digital switch is the end of one TV era, but broadcasters and device companies hope it's opening up another.
Their vision for the future: a world in which we access live television not just on the big screens in our living rooms, but also on cellphones and computers in cars.
Tags: Industry News, mobile TV, Pico Projectors
Posted in Ecosystem, Industry News, Innovation, Pico Projectors | 8 Comments »


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As Hard As It Sounds
January 5, 2012
A year or so before Emma was born I signed up to serve a three-year term on a church committee. DUMB. Dumb dumb dumb. At the time I was thinking, "Something else to do! A chance to get out of the house! Grown up conversation!" And it was for a while, but then Emma was born and tonight was the first meeting I've attended since. I mean, at this point they should pretty much fire me for poor attendance.
Actually, last night I was feeding the baby and I blindly reached over to the nightstand, feeling around for my phone to check the time. Then I noticed I had an email and the subject line said "meeting minutes". So I spent the rest of the middle of the night feeling horrendously guilty for not only skipping my meeting this month but NOT EVEN KNOWING I WAS SKIPPING IT!
Except, I woke up this morning and realized they were the minutes of LAST month's meetings, and perhaps I am a little spaced out when checking the time at three something in the morning.
Anyway, I went to the meeting TONIGHT and there was a new person in attendance and all the committee veterans were asked to quickly introduce ourselves. I went through my usual spiel - how long we've been there, married to the devastatingly handsome Chinese man, mother of three - and this time I added their ages. "Four, three, and three months." And then? EVERYONE SNICKERED!
Oh yes they did. And I honestly had no idea what to do or say or how to respond at all. I mean, it was a GOODNATURED snickering. It might even have been a sympathetic snickering. But it was snickering nonetheless and in that split second I had to ask myself, "Did I INCITE snickering? In what sort of TONE did I list those ages?" Because honestly, Internet, I was just giving the facts. I was not fishing for hugs or sympathetic glances. If anything I want to come off as ROCKING this mom-of-three gig. I mean, have you met me? And my need to succeed at everything? Or at least make it LOOK THAT WAY?
I gave a fake little "ha ha" to show that I was in on the joke, except I still wasn't quite sure what the joke WAS.
But now I wonder if it was a joke at all. Maybe it wasn't snickering. Nearly every other person in the group, when introducing themselves, mentioned college-aged children. Marriages that have lasted nearly thirty years. Now I'm thinking that these people weren't snickering so much as making a sort of "Oh we KNOW how that GOES" sound. A sound of EMPATHY.
Because you know what? This stuff is hard. People keep asking me if Emma is hard and I have to say EMMA is not hard. Emma, on her own, is actually pretty easy. But throw in two preschoolers who rarely nap anymore, the holidays, the dreary dark weather in the Pacific Northwest, a husband who travels for work, and my less-than-suited-to-stay-at-home-motherhood personality and things get harder. As much as I hate to admit it, maybe I'm not making it look as easy as I'd like. I'd love to hear what, "Four, three, and three months" sounded to ears other than mine.
As I was leaving the meeting, one of the women said, "Do you have a picture?!" And you guys, I am TOTALLY the mom busting out the nine million pictures of my baybeee on my phone. I had no shame. Emma in her Christmas outfit. Emma in the bathtub. Emma with her brother and sister. Emma asleep in her crib. "I've been thinking about you," she told me. "How are you doing?"
"It's hard," I said. I know most people don't have this problem, but it was a super huge deal for me to say that. Can something be hard, but also awesome and exactly what you want to be doing at the same time? Because that's what this is.


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Due to technical difficulties, all Medical Marijuana online applications will be unavailable until 8AM, Tuesday, March 11th. We apologize for the inconvenience and thank you for your patience.
Division of Behavioral Health Services
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Click any link above to quickly jump to a specific definition section or download the entire list below. NOTE: These definitions are periodically revised; you may need to revisit this page to download the latest version.
BHS Definitions List (revised 02/25/14)
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Click on a words below to see the definition.
An incident or occurrence that is or was likely to constitute a violation of a state or federal statute, regulation, court decision or other law.
Immediate Response
An expedited and instant response to a person who may be in need of medically necessary covered behavioral health services. An immediate response should be initiated without delay, within a timeframe indicated by the person's clinical needs, but no later than two hours from the initial identification of need.
In-network services
Services provided by Tribal and Regional Behavioral Health Authority (T/RBHA) contracted providers.
Incapacitated Person
Any person who is impaired by reason of a mental illness, mental deficiency, mental disorder, physical illness or disability, chronic use of drugs, chronic intoxication, or other cause, except minority, to the extent that he lacks sufficient understanding or capacity to make or communicate responsible decisions concerning his person.
Incident or Accident
Include the following:
- Deaths;
- Medication error(s) requiring medical services;
- Adverse reaction to medications requiring medical services;
- Suicide attempt requiring medical services;
- Self-inflicted injury requiring medical services;
- Suspected or alleged abuse;
- Suspected or alleged neglect;
- Suspected or alleged exploitation of client;
- Physical injury occurring on premises or during a licensee-sponsored activity requiring medical services;
- Food poisoning requiring medical services;
- Unauthorized absence from a residential agency, inpatient treatment program, Level IV transitional agency providing services to clients under the age of 18, or an adult in a therapeutic foster home;
- Physical injury that occurs as the result of a personal or mechanical restraint;
- Suspected or alleged criminal activity that occurs on the premises or during a licensee- sponsored activity off the premises;
- Incidents or allegations of violations of the rights contained in A.A.C. R9-20-203 for all enrolled persons or in 9 A.A.C. 21, Article 2 for persons determined to have a Serious Mental Illness; and
- Discovery that a client, staff member, or employee has a communicable disease listed in A.A.C. R9-6-202 (A) or (B)
Independent Community Housing
A setting where a person can live either alone or with a roommate in a home or apartment without on-going daily supervision from behavioral health providers. Options include: HUD Section 8 programs through local Public Housing Authorities; Low-income subsidized housing through local non-profit organizations; Shelter Plus Care and Supportive Housing Programs funded with federal grants and administered by RBHA contracted housing providers; State subsidized rental units; and Permanent Houses and apartments purchased with HB 2003 funding.
Independent Licensed Practitioners
Behavioral health professionals who are Physicians (MD and DO), Licensed Psychologists, Nurse Practitioners, or Physician Assistants and the following behavioral health professionals who are licensed by the Arizona Board of Behavioral Health Examiners and authorized to practice without direct supervision: Licensed Clinical Social Workers, Licensed Professional Counselors, Licensed Marriage and Family Therapists, and Licensed Independent Substance Abuse Counselors.
Independent Living Setting
A setting in which a person lives without supervision or in-home services provided by a T/RBHA or subcontracted provider agency.
Any person currently or previously enrolled in a T/RBHA.
Individually Identifiable Health Information
(45 C.F.R. § 160.103) Information, including demographic data, that relates to the individual's past, present or future physical or mental health or condition, the provision of health care to the individual, or the past, present, or future payment for the provision of health care to the individual, and that identifies the individual or for which there is a reasonable basis to believe can be used to identify the individual.
Individual Service Plan (ISP)
A complete written description of all covered behavioral health services and other informal supports that have been identified through the assessment process that will assist the person to meet his/her specified goals. The ISP is documented in the comprehensive clinical record and provided to all agencies involved in providing services identified on the ISP.
Infant and Early Childhood Mental Health
The ability of children from birth to age five to grow, develop and learn in a way that enhances their psychological, physical, social and emotional health both as an individual and in relationship to their caregivers, environment and culture with respect for each child's uniqueness.
Informed Consent
A Voluntary agreement, oral or written, except when explicitly required to be written, following presentation of all facts necessary to form the basis of an intelligent consent by the person or guardian prior to the provision of specified behavioral health services.
An incident, condition or occurrence that is demeaning to a person with Serious Mental Illness or which is inconsistent with the proper regard for the right of the person to humane treatment.
Initial Assessment
The assessment of a person made by a behavioral health professional or a behavioral health technician under the supervision of a behavioral health professional between the person's first visit with the behavioral health professional or behavioral health technician and the completion of the interim service plan.
Inpatient Services
A behavioral health service provided in a psychiatric acute hospital (including a psychiatric unit in a general hospital), a residential treatment center for persons under the age of 21, or a sub-acute facility.
Inpatient treatment and discharge plan or "ITDP"
Is the written plan for services to a client prepared and implemented by an inpatient facility in accordance with the R9-21-101, et seq.
Institution for Mental Disease (IMD)
A hospital, nursing facility, or other institution of more than 16 beds that is primarily engaged in providing diagnosis, treatment, or care of persons with mental diseases, including medical attention, nursing care, and related services. An institution is an IMD if its overall character is that of a facility established and maintained primarily for the care and treatment of individuals with mental diseases.
Institutionalized individual
An institutionalized individual means a full-benefit dual eligible individual who is an inpatient in a medical institution or nursing facility for which payment is made under Medicaid throughout a month, as defined under section 1902(q)(1)(B) of the Act.
The collection by appropriately trained T/RBHA/provider staff of basic demographic information about a person in order to enroll him/her in the ADHS/DBHS system, to screen for Title XIX/XXI AHCCCS eligibility and to determine the need for any copayments.
Intake / Enrollment
The collection by appropriately trained T/RBHA/provider staff of basic information about a Non- Title XIX/XXI eligible person in order to enroll him/her in the ADHS/DBHS system, to screen for Title XIX/XXI AHCCCS eligibility and to determine the need for any copayments.
Inter-class Polypharmacy
Defined as more than three medications prescribed at the same time from different classes of medications for the overall treatment of behavioral health disorders. The medical record must contain documentation specifically describing the rationale and justification for the combined use.
Interim Service Plan
A written description of interim behavioral health services and other informal supports that have been identified to address immediate needs until an Individual Service Plan (ISP) is developed.
The transfer of oral speech from a source language into a target language while maintaining the speaker's intent.
A service, practice, treatment or variable that can create change.
Intra-class Polypharmacy
Defined as more than two medications prescribed at the same time within the same class, other than for cross-tapering purposes. The person's medical record must contain documentation specifically describing the rationale and justification for the combined use.


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Ping Scottsdale TR Carefree L
Features & Benefits
- Variable-depth groove insert has deeper grooves in the center are shallower closer to the heel and toe, this equalizes ball speeds across the entire face for very consistent distance control.
- The insert is made out of A lightweight 6061 aerospace grade aluminum that feels and sounds similar to a traditional steel face putter.
- Rich non-glare black PVD finish.
- Straight Arc stroke type with a double bend neck and broomstick length.


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Sat 31 Aug 2013
Seamus Heaney climbs back "out of the marvellous as he had known it"
Posted by alistair under cultural stuff , quotes1 Comment
The annals say: when the monks of Clonmacnoise
Were all at prayers inside the oratory
A ship appeared above them in the air.The anchor dragged along behind so deep
It hooked itself into the altar rails
And the, as the big hull rocked to a standstill,A crewman shinned and grappled down the rope
And struggled to release it. But in vain.
'This man can't bear our life here and will drown,'The abbot said, 'unless we help him.' So
They did, the freed ship sailed, and the man climbed back
Out of the marvellous as he had known it.
Seamus Heaney, Squarings


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Today is the last day of school (Thank god) Today is Nikki's birthday (Happy Birthday Nikki) Amy told me about his website, I messaged Anthony today to see if we were still together I hope we are he is really Hot and Sweet. I'm so scared about the Holidays I'm having an Operation in the second week. I'm SOOOOOO SCARED I don't want tomorrow to come either because PARENT TEACHER INTERVIEW helppppppppp I got a good report is that good!!!!!!!!!!! Well g2g HAPPY BIRTHDAY NIKKI ROCK ON SISTERS (and brothers) |
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WINSTON-SALEM, N.C. – L.N. Dorairajan, M.D., a urologist from India, has received a prestigious scholarship from the Indian American Urological Association to spend two months studying robot-assisted and laparoscopic surgery at the Wake Forest University Baptist Medical Center's Department of Urology.
The association awards a maximum of two Chakraborty fellowships annually that allow young physicians who are involved in research to spend three months observing at an institution of their choice. It is designed to provide junior faculty members with the opportunity to enrich their urologic education.
Dorairajan, a professor of urology at Jawahar Lal Nehru Institute of Post-graduate Medicine and Research in Pondicherry, India, selected Wake Forest Baptist because of its leadership role in robotic surgery.
"We were honored that Dr. Dorairajan selected our center," said Ashok Hemal, M.D., director of the department's Robotic and Minimally Invasive Surgery Program.
Hemal is a world pioneer in robot-assisted surgery and helped develop many of the protocols used by physicians nationwide.
Urology Urology Welcome to the Department of Urology! Each week, hundreds of patients choose to be treated at the only urology practice in western North Carolina that is part of an academic medical center. Our urologists are experienced caring for the most complicated and difficult cases - from prostate
Disclaimer: The information on this website is for general informational purposes only and SHOULD NOT be relied upon as a substitute for sound professional medical advice, evaluation or care from your physician or other qualified health care provider.


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Institute of Historical Research
An Essay towards a Topographical History of the County of Norfolk: volume 8
Francis Blomefield
Citation Show another format: BHO MLA Turabian Chicago MARC21 Wikipedia
'Clavering Hundred: Wyndale', An Essay towards a Topographical History of the County of Norfolk: volume 8, pp. 69-70. URL: http://british-history.ac.uk/report.aspx?compid=78408 Date accessed: 12 March 2014. Add to my bookshelf
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WYNDALE. Rectors. Footnotes
This town was also part of the manor of Stockton, and of Gillingham, and so not mentioned in the book of Domesday, and coming to the Crown at the conquest, so remained, till granted to Hugh Bigot Earl of Norfolk, by King Stephen; (fn. 1) from the Bigots, it came to Brotherton Earl of Norfolk, &c. so to the Mowbrays and Howards Dukes of Norfolk; and after that in the Crown.
In the reign of Queen Elizabeth, Edward Everard is said to hold the manor of Wyndale of the Crown, as of her lordship of Stockton.
The church of Wyndale is dedicated to St. Andrew; was a rectory in the reign of Edward I. in the patronage of Roger Bigot Earl of Norfolk; and the rector had a manse with 10 acres; valued at 40s. Peter-pence 18d. Carvage 3d.
In 1318, Thomas Pateman was instituted, presented by Thomas Brotherton, Earl of Norfolk.
1349, John Aldham, by Sir Edward de Montacute.
1392, Thomas Chalke, by Margaret Countess of Norfolk.
1404, Thomas de Burton, by Thomas Mowbray, Earl-Marshal, and of Nottingham.
In 1440, July 20, on the petition of the Duke of Norfolk, the patron, it was united to the church of Gillingham, All-Saints.
In the 17th of Charles I. this rectory with that of Winston, was held by Nicholas Bacon, Esq. of Simon Smith, Esq. as of his manor of Stockton, which he farmed of the Crown. Sir Edmund Bacon, patron in 1742, and of Gillingham. See there, for the rectors, &c.
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Janice L. Holland, PhD, PAS
Janice L. Holland, PhD, PAS is an associate professor of Equine Studies at Midway College in Midway, KY. Her main academic interests are equine nutrition, pasture management, and behavior.
Articles by Janice Holland
Selecting Farm Equipment
March 07, 2014
Here's how to determine your needs; comparison shop; and decide whether to buy, rent, or lease farm equipment. Read More
Skinny Horse Help
January 01, 2012
Learn how to determine if your horse is underweight and what feeding options are available for hard keepers. Read More
Equine Ulcers ... For Life?
February 01, 2011
Some horses are more predisposed to getting gastric ulcers, due to management, performance, or temperament Read More
Analyzing Feed and Forage for Horses
July 01, 2010
Awareness of what your horse is eating can help you determine if his dietary needs are being met and, if not, what can be added to meet those needs. With respect to the nutritional needs of a horse, it is important to know the meaning Read More
Year-Round Pasture Management
March 01, 2010
Proper pasture management prevents erosion and nutrient loss from the soil, which also helps improve stream and water quality. In addition, pastures can provide an excellent "free-choice" exercise plan for horses. But the most important role pasture Read More
The Replacements: Alternative Forages and Feeds
September 01, 2009
Quality forage and grain alternatives can help owners manage horses during drought and economic downturn. Read More


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[JURIST] The Appeals Chamber of the International Criminal Tribunal for the former Yugoslavia (ICTY) [official website] on Wednesday denied [judgment, PDF] an appeal by former Bosnian Serb leader Radovan Karadzic [case materials; JURIST news archive] to postpone his war crimes trial. Karadzic appealed the trial date last month, claiming a February court ruling that increased the remuneration for his defense lawyers also gave him extra time to prepare for his case. Karadzic had claimed that he needed more time to read through more than 400,000 pages of documents turned over by the prosecution. In rejecting his argument, the appeals chamber of the ICTY said:
[We] are satisfied that the trial chamber took into account all the relevant factors including the February 2010 decision on the staffing of Karadzic's defense team and possible remedies for the period when his team was understaffed. As a result, the Trial Chamber made no error in assessing that further postponement of the trial was not justified. Karadzic has failed to demonstrate that the Trial Chambers abused its discretion in reaching this conclusion.


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Full forecast and current conditions are always available on your mobile device.
Click here to download our StormTrack Mobile App.
The bitterly cold winter is making things tougher for Ohio growers - and that could translate to higher food prices later in the year.
The sub-zero temperatures have caused Ohio wine-grape, blackberry and peach growers to lose much of this year's crop, according to The Columbus Dispatch.
The value of the crops lost to the cold weather hasn't been determined. Laboratories are analyzing grapevines, blackberry canes and strawberry plants for damage. And, of course, the winter is not over yet.
Mitch Lynd, owner of Lynd Fruit Farm east of Columbus, tells the newspaper that he likely lost most of the fruit on his 3,000 peach trees when temperatures fell well below zero.
Local consumers could end up paying more, but global competition tends to keep prices down.
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Celebrate the return of Spike TV's Ink Master on October 9th with a chance to have your best tattoo photos featured on Complex.com.
Continue Reading » Oct 9, 2012 | 12:12:04 PM | Art+Design | ADD A COMMENTSpike TV's hit show Ink Master returns October 9th at 10/9c, and will permanently change your perspective on tattoos.
Continue Reading » Oct 8, 2012 | 04:23:18 PM | Art+Design | ADD A COMMENTMost Popular: Complex.com


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To twitter or not to twitter I've been trying for the past week to get friends and listeners to start Twittering, so I thought I would explain what Twitter is and... |
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Episode 2 has been postponed Due to various metaphysical and technical problems, we will have to postpone episode 2 of the Tech Report Podcast until March 8. Despite my deep... |
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Send in listener mail and we'll answer on the podcast Due to popular demand, we will be featuring listener mail on the next episode of The Tech Report Podcast. You can send questions related to... |
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Friday night topic: Light bulbs? Yep, light bulbs | 201 |


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Watch: Stormchaser Tracks Massive Mississippi Tornado
See the destructive aftermath
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Stormchasers tore after a monster tornado that raced across Mississippi on Sunday night, destroying hundreds of homes and leaving at least 12 people injured. As the tornado ripped across counties, it left a path of destruction: debris, downed power lines and fallen trees.
PHOTOS ON SKYE: Tornado Rips Through Hattiesburg, Miss.


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Chic, stylish & comfortable
The largest rooms at Traders Hotel, Maldives, Executive Rooms feature open balconies from which to enjoy the fresh ocean breeze.
Spacious comfort is guaranteed as well as a full array of amenities to ensure a productive trip.
Bathroom features a triple-function massage rain shower.
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National Invitation Tournament
The National Invitation Tournament is a men's college basketball tournament operated by the National Collegiate Athletic Association. There are two NIT events each season. The first, played in November and known as the NIT Season Tip-Off, was founded in 1985. The second, the original NIT, is a post-season tournament played in March and April that is now called the NIT; it was founded in 1938. In both cases, the final rounds of the tournament are played at Madison Square Garden in New York City. In both common and official use, "NIT" or "National Invitation Tournament" refers to the post-season tournament unless otherwise qualified. Both the pre- and post-season tournaments were operated by the Metropolitan Intercollegiate Basketball Association up until 2005, when they were purchased by the NCAA.
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LIVE: President Obama's State of the Union
February 12, 2013 7:33PM
Cleopatra Cowley-Pendleton, left, mother of shooting victim Hadiya Pendleton stands next to Michelle Obama, center in the joint congressional box of the U.S. House of Representatives before the State of the Union speech by President Barack Obama. Tuesday, February 12, 2013. | Courtesy ABC Network News
- Obama's State of the Union Address calls for a "rising, thriving middle class"
- The President's Plan for a Strong Middle Class and a Strong America
- Video and Transcript: President Obama's 2013 State of the Union as delivered
- Obama invokes memory of Hidaya Pendleton
- Obama calls for increase in minimum wage, curbing of gun violence
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Updated: February 12, 2013 8:34PM
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I really think that playing a tough out of conference game is better than playing 9 league games. In the best football league under the NFL, the SEC members should want to play foes from other leagues early in the season to prove to the prejudiced media and other conference 'haters' (see Mr.G at Ohio State) that the SEC IS the best football conference in the USA. You can't prove that unless your conference plays some games with other conferences. Insomuch as playing too many in conference games , the prejudiced get to judge with their biased opinions instead of letting it be done on the field. Alabama took Michigan out of any hyped up title run early last season. Sabans' gripe may well be that some of the top SEC dogs will always play another tough out of league game, but some won't , giving them an edge in conference play. ( I think that A&M was guilty of that last season.)
If they do decide to make 75% of the SEC schedule play in conference, football in the SEC will get treated as poorly as does basketball. The SEC should have had 3 more teams in the NCAA tournament last year, but didn't because it was bashed down by the prejudiced committee in the NCAA office. They are licking their chops to do the same to football. So all the teams in the SEC need to play a tough non conference opponent as Bama, Florida and Georgia always do, and leave the 8 game schedule as is, and keep the prejudiced Big Ten, ACC, &PAC 12 from dictating who plays for the BCS championship................because if given any opportunity, the SYRACUSE, DUKE AND OHIO STATE media big dogs will do their absolute best to drive the SEC down...............and for the folks that think that is hogwash, the President of Ohio State proved that this past week !
This post was edited by Oldcarlcat on 6/1/2013 at 11:57 AM
It makes no sense for the SEC to move to a 9-game schedule. With the new playoff system, the SEC's goal should be to have at least 2 teams of the 4 in that playoff system ever year in order to maximize revenue. That's pretty easy to do under the 8-game schedule since the SEC champion every year will either finish undefeated or with 1 loss and finish in the top 4. Also, typically there's multiple one loss teams in the opposing division, where the team that loses the tiebreaker and doesn't play in the Championship game, would finish in the top 4 and get the SEC's 2nd playoff bid (example: Florida from last season).
But when you add that 9th game, most of the SEC East teams are going to have to play a really tough game against an SEC West opponent like TAMU, LSU, Alabama, etc. so you can kiss the scenario of having multiple one loss SEC East teams goodbye. Therefore, the addition of the 9th conference game will make it much less likely to have 2 SEC teams finish in the top 4 and virtually impossible for 3 SEC teams to finish in the top 4.
I think Steve Spurrier put it perfectly, would you rather watch UK vs. Texas A&M or Texas A&M vs. Texas? Also, as a UK fan I would much rather watch UK vs. Louisville than UK vs. Texas A&M. If the SEC network is anything like the Big Ten Network, the 9th conference game doesn't offer it any benefits since there will be fewer games to televise. You'll have more content, advertising space, and viewers by televising UK vs. Louisiana Monroe and LSU vs. Tulane than you would by televising just UK vs. LSU.
The important thing for UK is to keep the permanent game against Mississippi State. Miss. State is the undisputed odd-man out in the SEC West and is currently getting their clock cleaned in recruiting by all the other SEC West teams. Ole Miss has sky-rocketed ahead of them and will dominate Mississippi recruiting in the years to come. Its tough seeing them winning any SEC West games the next few years unless Auburn gets put on probation. So, I'd rather go to a 9-game conference schedule, keep our game against Miss. State, and trade the Louisville game for a non-conference cupcake, than go to an 8-game conference schedule with 2 rotating SEC West teams. Although obviously, maintaining the existing SEC scheduling system is in the best interest of all the SEC teams.
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Teaching English in Vietnam: At a Glance
ESL teachers who come to Vietnam may never want to leave. From the watery green rice fields and sleepy villages of the Mekong Delta, to the floating markets and french colonial architecture of busy Hanoi, this country is a unique and varied paradise.
Other East Asia / Southeast Asia Countries:
Cambodia ~ China ~ Hong Kong ~ India ~ Indonesia ~ Japan ~ Korea ~ Kyrgyzstan ~ Laos ~ Malaysia ~ Nepal ~ Taiwan ~ Thailand ~ VietnamA gastronomic Asian paradise, Vietnam offers cuisine influenced by Thailand, Japan, China, and France. Teachers here will also enjoy several distinct climate zones and a more stable economy than in neighboring developing countries.
The combination of Oxford Seminars' internationally recognized TESOL/TESL/TEFL Certification and the Graduate Placement Service included with the course makes teaching English abroad a reality. Learn more about teaching English in Vietnam and other opportunities teaching English abroad by calling 1-800-779-1779, or by attending an upcoming free Information Session in your area.
* Wages vary depending on the economy of the country.
** The Big Mac Index is a credible, reliable, third-party cost-of-living index created by The Economist. For comparison purposes, it lists the cost of an American Big Mac at $4.07.
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