text:
not great but ok
|29-05-2010, 17:02
Registered User
|29-05-2010, 19:59
Registered User
English Notes
Funeral Blues
By W.H AudenBackground:
This poem was written by W.H Auden in the reaction to the death of a very close friend. The poem is extremely popular and famous. It is often used at funerals and was most famously used in the movie "Four Weddings and a Funeral".
One of the characters recited the poem at the funeral of his friend.
Theme of death, the poet describes his reaction to the death of his very close friend. The poet feels that his life is not worth living anymore because of his friends death.
"The stars are not wanted now, put out everyone. For nothing now can come to any good"The poet wants everything in the world to stop. He orders in the opening stanza that;
"Stop all the clocks, cut off the telephone", "Prevent the dog from barking"The poet is stunned and deeply shocked by his death. It's clear that he was very close to his friend.
"He was my North, my South, my East and West"He is very emotional when he says:
"I thought love would last forever, I was wrong"Death is viewed very negatively in this poem and the poem suggests that there is no life for those who remain, after the person has died.
"Pack up the moon, and dismantle the sun"I find the image of death very depressing in this poem, because the poet suggests that there is no hope.
In the first two stanzas, the poet orders that life should stop. He demands that the clocks, telephone, piano be stopped, so that the coffin and the mourners can come. The poet is very upset and angry in those stanzas.
"Let aeroplanes circle moaning overhead scribbling on the sky, the message He Is Dead"The third stanza of the poem conveys a different tone. The poet is emotionally upset and reveals how deeply he loved his friend.
"He was my North, my South, my East and West"The tone also reveals the poets bitterness. He thought love would last forever but
"I was wrong"The poet is in a hopeless and depressed mood in the final stanza. He paints a picture of the world where there are no stars, moon, sun, sea, or land - where there is NOTHING. His despair and deep depression is seen in the final line.
"for nothing now can come to any good"Structure:
The poet comprises 4 stanzas with four lines in each one. This combined with the regular end of line rhyme gives the poem a steady rhythm and even structure.
End of Line Rhyme:
The end of line 1 & 2, line 3 & 4 rhyme in every stanza.
Telephone/bone, Drum/come, Overheard/dead, Doves/gloves, West/rest, Song/wrong, One/sun, Wood/good.
I like the rhyme scheme in this poem, and it makes the poem easy to read aloud.
Visual Imagery:
The poet uses some very striking visual images.
"pack up the moon", "dismantle the sun", "policemen wear black cotton gloves"
Aural Imagery:
The imagery in this poem not only appeals to the eye but also to the ear. In stanza one there are many wonderful aural images.
"clocks", "telephone", "dog barking", " silence the piano", "muffled drum"
The poem is also remarkable for its use of striking metaphors. Stanza 3 is most notable, the poet uses series of metaphors to describe the depth of his love for his dead friend.
He describes his friend as "my working week and my Sunday rest". I think he is suggesting here that he spent all his time with his friend.
He also describes him as "my North, my South, my East and West". This is a very unusual metaphor, again highlighting how much his friend meant to him.
"My noon, my midnight, my talk, my song"
Hope they help
|29-05-2010, 20:02
Registered User
1918 - 1933Adolf Hitler was born in Austria but moved to Germany to fight for them in WWI . When Germany signed the surrender in 1918, Hitler was in hospital and it angered him greatly. He, like many other Germans disagreed and called the politicians who signed it the November Criminals.
Germany then was run by a new government called the Weimer Republic. It was very unpopular with the people. Meanwhile, Hitler became leader of the Nazi party. He disagreed with the way the governmentt were running the country so he planned a revolution. This was known as the Munich Putsch. He failed though and he was jailed for 5 months. While in jail, he wrote a book with all his beliefs called Mein Kampf. Some of his beliefs were:
He hated Jews, and blamed them for all Germany's problems
He dispised communism also
Germany needed lebensraum (living space)
He believed a group of humans were superior, known as the Aryan race
In 1929, the Wall St. Crash caused huge problems all over the world. In Germany, unemployment rose from 1,000,000 in 1929 to 6,000,000 in 1932. This put huge pressure on the government and led to lots of people hating them.
All the time, Hitler's Nazi party were growing and by 1933 were the biggest party in Germany. Eventually, in 1933, Hitler became Chancellor of Germany. This was the equvilant of being Prime Minister.
He could now go about implementing his policies in Germany:
Break up the Treaty of Versailles
Cleanse the nation of inferior people like the Jewish
Improve the economy
Hitler also began to use propaganda to make people believe his ideas.
Not too much his early life really
|29-05-2010, 20:03
Registered User
W.b Yeats When you are old
When You Are Old
By W.B YeatsThemes:
1. Unrequited Love - Yeats was passionately in love with Maud Gonne, for her beauty and her inner qualities.
"one man loved the pilgrim soul in you"But she rejected him many times. In this poem, Yeats imagines Maud as an old woman, reflecting back on her life and loves. He hopes that she will realise how much he loved her, he loved her the most - "Sorrow" of her "changing face"
Yeats points out that many men only loved her for her beauty - "false love".
2. Old Age -Yeats highlights the theme of old age by imagining what Maud will look like
"old", "grey", "nodding by the fire"He imagines that she will be a lonely old woman if she doesn't accept his love NOW.
"Murmur, a little sadly, how love fled and paced upon the mountains overhead"Tone/Mood:
There is a very personal intimate tone in this poem. Yeats adresses Maud as 'you' - he is speaking directly to her.
Loving tone in the poem where Yeats expresses his love for her - "loved the pilgrim soul"
Tone of sadness and loneliness as the old woman reflects on her beauty and youth that has passed.
"Soft look your eyes had once"Final stanza, the tone is very sad, lonely as the woman realises that love has gone forever, it is now hidden in the mountains & stars. She can see it but never touch it.
The use of alliteration, adds to the pace and mood of the poem, making it memorable.
sleep, soft (Stanza 1)
glad, grace (Stanza 2)
bending, beside, bars (Stanza 3)
End of Line Rhyme:
1st & 4th line and 2nd and 3rd line rhyme in every stanza.
Images of - Old Age - Old Maud
- Beauty - Young Maud
- Fire - Passion
Love is seen as a living person, a man who "hid his face"
|29-05-2010, 20:04
Registered User
Across the barricades summary
Across The BarricadesThe novel has an interesting opening. Sadie meets up with Kevin after 3 years. They go for coffee and catch up on the latest news. However, it is not simply a case of 2 old friends meeting up for a chat. Sadie and Kevin live in war torn Belfast and are from opposite ends of the religious divide. Prtestant and Catholic.
Hints of the conflict are given in the first chapter, description of "burnt cars, buses and armoured vehicles". Tension on the streets. Our curiosity is arisen because we the readers want to see, if it will get any worse, or if it will affect the lives of Sadie and Kevin.
Also, in the opening chapter, Kevin and Sadie decide to renew their friendship, there is even a hint of romance. The reader is in SUSPENCE, it is a dangerous relationship, because of their different backgrounds.
"They were embarking on something dangerous" The reader wants to go on, and find out what happens next, and how the relationship will work out.
Novel Ending:
After all the trouble, conflicts, Kevin decides to leave Belfast.
"I've got to go away, I can't stay here any longer, I'm sick of bombs"The reader welcomes his decision, because we feel sorry for him, after all that has happened.
The ending of the novel is emotional/upsetting in one way, as we see him 'say farewell' to all of his family. We wonder will we see them again.
Brede meets him, and again it is sad to see her saying goodbye to him.
"Well, Kevin, I'll miss you"
The ending works well also, because the final strands of the plot are tied up. Kate Kelly turns up and tells Kevin that "she was sorry". She admits that she "made a mistake about the box" (of ammunition). Kate reveals that it was Brian Rafferty; who forced her to lie about the box.
"I wouldn't have told the lie otherwise"Once more, we the readers, see how horrible Rafferty was and we are happy that Kevin is getting away from him at last.
"It was all of it behind him now, Kate and Brian Rafferty and the beatings up and the bombs"
The reader is happily surprised again, on the final page of the novel, when Sadie turns up at the docks. It's very exciting when she reveals that she is going with Kevin. He isa pleasantly surprised aswell.
"That's the best news I had in months"Although the novel contained much suffering, pain and conflict, it has a happy ending. Kevin and Sadie walk hand in hand, to the "while waiting ship". We feel that they have the chance of a new, trouble-free life, in England.
|29-05-2010, 20:05
Registered User
English Poetry
Base Details
By Siegfreid SassoonTheme:
Anti-war poem. The poet is angry at the officers, (majors, generals, colonels) the higher reanks in the army who had privileged lives,
"guzzling and gulping in the best hotels"While the young soldiers fought at the front line and lost their lives, in World War 1.
"Reading the roll of honour; poor young chap"Thousands of young men lost their lives, while the officers,
"Toddle safely home and die - in bed"Tone/Mood:
Sassoon is bitter and angry at the officers. He mocks them, their appearance.
"fat", "bald", "short of breath", "puffy petulant faces"The tone is extremely ironic. He speaks in the tone of an army major, or pretending he wants to be one. This allows him to show us what the army majors are like.
"speed glum heroes up the line to death"
'Base' Details. There is a pun on the word, 'Base'. Base can mean 'army base', 'headquarters' or base also refers to something that is inferior, unworthy, low standard. Sassoon is suggesting that the army majors are base, base in character, unworthy people.
Regular end of line rhyme pattern. Every second line rhymes - breath/death, base/face, dead/bed, chap/scrap.
Rhyme adds to the meaning of the poem.
Reading/Roll/ - rolling sound - indicates all who died in the war.
"guzzling", "gulping" indicates that the officers are only interested in drinking, only having a good time.
Unattractive visual images of the majors.
"scarlet majors", "puffy petulant face"
|29-05-2010, 20:08
Registered User
This is info on cloths of heaven by w.b yeats followed by a compare and contrast between cloths of heaven and when u are old both by w.b yeats
The Cloths Of Heaven
By W.B Yeats
In this short sweet lyric poem, the poet W.B Yeats expresses his deep love for Maud Gonne. Yeats fell madly in love with Maud Gonne, and he was in love with her, all his life. However, it was not a happy love story for Yeats.
In this beautiful poem, Yeats points out that if he had all the riches (money) in the world
"Had I the heaven's embroidered cloths"He would give them to her, because he loves her so much.
"I would spread the cloths under your feet"However, Yeats points out to his beloved that he is just a poor poet, who does not have any material wealth.
"But I being poor"Because he is not rich, he offers to give her, his dreams instead.
"Have only my dreams"In many ways, giving her his dreams,
"I have spread my dreams under your feet"Is far more significant, more important than giving her material wealth, or gifts. In giving her his dreams, he is giving her a very IMPORTANT PART OF HIMSELF. Therefore, he is showing how much in love she is.
"I have spread my dreams under your feet"I think it is more important that Yeats is prepared to give his most important wishes, hopes(dreams) to Maud Gonne.
It is worth noting that W.B Yeats is also afraid that Maud Gonne may hurt him, or reject his offer.
"Tread softly because you tread on my dreams"He warns her to treat him, and his dreams with care, because he realises she has the power to hurt him.
This is interesting because we know that Maud Gonne did not return Yeats' love. She did not feel the same way about him.
This is called UNREQUITED LOVE (one person doesn't return the love). Perhaps Yeats was aware of this, when he wrote this love poem.
In the last line of the poem, he is not very confident about this love.
The poem is very emotional and Yeats expresses his love.
At the opening of this short lyric, Yeats is in a wishful mood. He wishes (hopes) that he had the 'heaven's embroidered' cloth.
His tone changes to one of acceptance, when he realises that he is "only poor" and could never afford to give her anything expensive.
"But I being poor"The poet is in a very loving/romantic mood when he offers to
"Spread my dreams under your feet"His tone dramatically changes again in the final line, when he becomes afraid, insecure, and warns her, not to treat him badly.
"Tread softly because you tread on my dreams"He accepts that he is very much in love but that she can hurt him.
The title of this poem, and indeed the image of "heaven's embroidered cloths" is a metaphor for the wealth, material riches of this world, money, gifts.
Extended Metaphor:
The metaphor of the cloths is spread throughout the poem.
Line 1 - "cloths"
Line 3 - "dark cloths"
Line 5 - "spread the cloths"
Line 7 - "spread my dreams"
Visual Imagery:
The poem is rich in vibrant visual imagery. The poet creates a beautiful vivid picture of the "embroidered cloths"
He uses colour, light and shade to suggest its brilliance. He refers to;
"golden and silver light"End Of Line Rhyme:
"blue, dim, dark cloths"
"night, light, half-light"
The poet creates a very effective and striking end of line rhyme with repetition of the SAME WORDS at the end of the lines
Line 1 & 3 - "cloths"
Line 2 & 4 - "lights"
Line 5 & 7 - "feet"
Line 6 & 8 - "dreams"
Internal Rhyme:
The poet uses internal rhyme and assonance (vowel rhyme) very strikingly in the line,
"Of night, light, and the half light"
Run On Lines:
Line 3 runs very effectively into line 4.
"dim" "dark" (D sound)
"softly" "dreams" (S sound)
There is a dominant use of a broad 'o' sound throughout the poem.
"cloths" "of" "poor" "only" "softly"
This slows down the rhythm of the poem.
Also 'I' sounds - "night" "light" "I"
He Wishes For The Cloths Of Heaven
Compare and Contrast
When You Are OldThe Cloths Of Heaven:
In this poem W.B Yeats is expressing his love for Maud Gonne.
He wishes he had all the riches in the world.
"Had I the heavens embroidered cloths"To share with her, so that he could show her how much he loved her. He basically wishes for a piece of heaven, something that no one else could ever give her, to make her realise he would do anything to make her love him He wanted to give her something unique and impossible.
"Had I the heavens embroidered cloths"However, Yeats is only poor and doesn't have much to offer.
"I would spread the cloths under your feet"
"But I being poor"What he is offering is his dreams, which may not be all the riches or "heaven's embroidered cloths" but they are special to him and it is a very personal and hard thing to do, offering someone your dreams.
"I have only my dreams. I have spread my dreams under your feet, Tread softly, because you tread on my dreams"
When You Are Old:
In 'The Cloths Of Heaven' the theme is offering her all he has, and showing his love for her.
In 'When You Are Old' the theme is different. Yeats seems a lot more bitter towards Maud. In my opinion, 'The Cloths Of Heaven' shows Yeats offering himself to Maud, in a hope that she will accept him. He warns her not to hurt him "Tread softly" in 'When You Are Old' Yeats has no more hope of Maud accepting him, he is not offering himself anymore now. He is now trying to make her realise that what she has done is a big mistake and he warns that she will regret rejecting him.
"Murmur, a little sadly, how love fledHe is saying because she has rejected him, when she is old, by the time she regrets it, Love will have already passed and it will be unreachable.
And paced upon the mountains overhead
And hid his face, amid a crowd of stars"
"And hid his face amid a crowd of stars"The stars are unreachable.
In 'Cloths Of Heaven' the main theme is Love, but in 'When You Are Old' the main theme is Unrequited Love.
|29-05-2010, 23:17
Registered User
Meine Schule
Meine Schule
Meine schule heist _____ ==>My school is called ______
Es ist eine Gesamtschule ==>It is a comprehensive school
Es ist eine gemischte Schule mit ungefahr (X) Schülern und (Y) Lehrerin ==> It is a mixed school with about (X number of) pupils and (Y number of) teachers.
Die Schule beginnt um funf vor neun täglich ==> The school begins at around 5 to 9 daily
Die erste Stunde beginnt um neun Uhr ==>The first period begins at 9 o'clock
Eine Stunde dauert vierzig minuten ==> A class lasts 40 minutes
Ich become immer schlecht/gute Noten ==> I get terrible/good grades (test scores)
Mein Lieblingsfach ist ____ ==> My favourite subject is _____
Ich finde die Uniform furchtbar ==> I find the uniform horrible
Es ist unbequem und altmodisch ==> It is uncomfortable and old-fashioned
Wir tragen ein Uniform ==> We wear a uniform
Wir haben zwei Pauzen täglich ==> We have two breaks every day
Die erste Pauze dauert 15 Minuten und die zweite Pauze dauert 30 Minuten ==> The first break lasts 15 minutes and the second break lasts 30 minutes.
Fächer (Subjects)
Irisch ==> Irish
Englisch ==> English
Geschichte ==> History
Erdkunde ==> Geography
Mathematik ==> Maths
Naturnwischenschaften ==> Science (All three sciences)
Deutsch ==> German
Technikal Graphik ==> Technical Graphics
|30-05-2010, 11:43
Registered User
Okay here is some geography notes on population
Demography is the sudy of population.
1 Population density
this is the number of people per square kilometer. It is an average figure.
2 Population distribution
This is the way that population is spread out accross the land. It can be evenly or unevenly spread. e.g the population in Ireland is uneven, the west have few people and dublin has a very high population.
3 Population Patterns
The are the order or shape the population makes. There are three basic patterns.
(a) nucleated or clustered.
This is where people live in one area e.g towns are a nucleated settlement.
(b) Linear or ribboned
This is where people live in a line along the side of a road or a river e.g. the river Rhine has lead a linear pattern of cities along its banks.
(c) Dispersed
This is tipical of rural farming areas where people are spread over a wide area e.g. Rural Leitrim
How does the population grow?
More babies born than people dieing causes the population to grow it is called natural change.
what effects the total population in an area?
This changes the distribution of world population. Mirgration causes an increase of population in countries where people go to. e.g Ireland. However Migration does not effect world population
What is birth rate?
This is when we count live births per thousand per year. So if there were 20 births per thousand people it would be 2% (20/1000 = 2/100 = 2%)
What is death rate?
It is counting the number of deaths per thousand per year. e.g 10 deaths per thousand (10/1000 = 1/100 = 1%)
How do I get natural change?
I subtract the deaths from the births. If there are more births we have a natural increase but if there are more deaths we have a natural decrease.
Population growth
Population Growth is not the same throughout the world. First world countries like Germany and France have negative growth were as third world countries like India and Brazil have a Population explosion.
Why are there large pupulation in the worlds poorest counties?
Modern Medicine like vaccinations have helped lower the death rate
Clean Water By sinking a well in a village which provides clean water can have a dramatic effect on the death rate. The biggest killer of babies in the third world today is dehydration from diarrhoea.
What are the stages of Population growth?
This is the predictable changes that the population of a country will go through:
1 High stationary stage
Birth and death rates are high little change in population. Third world.
2 Early expanding stage
Birth rate remains high and the death rate falls rapidly. Developing world.Population explosion occurs here.
3 Late expanding stage
The death rate remains low. Birth rate falls rapidly, population growth begins to slow down.
4 Low stationary stage
The birth rate remains low, death rate is still very low, low population growth.
5 Senile stage
Birth rate falls below death rate. Population decrease. e.g. Germany
(sorry couldn't find graph with senile stage)
I have some more notes to do with why some areas have high or low population that i can get for you but that is most of my population growth.
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|30-05-2010, 14:31
Registered User
Just a few notes our teacher gave us for unseen poetry and prose. She said we can have answers actually prepared before we go in, even if we can't understand the poem. For example, if a question says "Do you like this poem? Why/why not?" You can have an answer prepared saying you like the poets style/use of personification/metaphors etc.
Irish Prose and Poetry notes:
ENGLISHIs é mo thuairim
In my opinionFeictear dom
It seems to meI dtús báire
I agree withCeapaim
I thinkIs cosúil go bhfuil an dán seo
It seems that the poem isAr an taobh eile
On the other handAr chuma ar bith
AnywayAr ndóigh
Of courseGo háirthe
EspeciallyGo bhfios dom
As far as I knowIs bocht an scéal é
It's a sad storyIs beag é mo mheas air
I don't think much of itTá a fhios ag an saol
Everybody knowsAr deireadh thiar
FinallyDar leis an ___
According to the ___Ní bhíonn in aon rud ach seal
Nothing lasts foreverSa chéad/dara/triú alt
In the first/second/third paragraphLéiríonn an t-údar dúinn
The author shows usCreideann sé/sí
He/she believes thatLuann an scríbhneoir
The writer mentionsDéanann an t-údar cur síos ar
The author describesTá go leor fianaise sa sliocht
There is plenty of evidence in the passageMar gheall ar
AboutIs féidir leat ionannú leis an pearsa
You can identify with the characterTréithe na phearsanna
Traits of the charactersAmadán
Sly personMeatachán
CowardTeideal an dáin
Title of the poemTéama an dáin
Theme of the poemSa chéad/dara/tríú véarsa
In the 1st/2nd/3rd verseStíl an fhile
Style of the poetCasta
Old fashionedLúcháir
PityIs breá liom an cur síos ar …
I love the description of...Tá an file ag caint faoi
The poet is talking aboutLuann an file
The poet mentionsThaitin an dán seo go mór liom
I really liked the poemÁibhéil
personificationBlas an dáin
tone of the poem
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Auditory Immanence and Affective Intensity
July 12, 2011
1. Affective Immanence and the Listening Subject
Affect and immanence are frequently confused (in a productive rather than a negative sense) towards a kind of sonorous, vital affirmation. This productive confusion is frequently expressed as testament to sound's enveloping and visceral corporeality, which is then normally immediately contrasted to the critical distance and linearity of vision. As an example we can take Douglas Kahn's description of auditory experience:
Terrestrially, sound is not only experienced as occurring in between but as surrounding the listener, and the source of the sound is itself surrounded by its own sound. This mutual envelopment of aurality predisposes an exchange among presences […] Moreover, sounds can be heard coming from outside and behind the range of peripheral vision, and a sound of adequate intensity can be felt on and within the body as a whole, thereby dislocating the frontal and conceptual associations of vision with an all-around corporeality and spatiality (Douglas Kahn, Noise, Water, Meat, 27).
From this I'd like to draw only what are common statements regarding auditory experience, namely it's `all-round corporeality and spatiality'. It's worth pointing out at this point what is another common trope in the discussion of auditory experience—as Kahn gives a particularly clear example—namely the aforementioned contrast between the enveloping nature of sound and the frontal linearity of vision. This contrast is normally made by scholars within the diverse field of sound studies wishing to affirm and champion particular qualities, as well as the social and political significance, of the sonorous which are considered to have been historically undervalued. This comparison only serves this purpose, however, insofar as it remains imbalanced, comparing the medium of sound with the sense of sight; this imbalance allowing for an affirmation of sound's affective, corporeal affirmation against sight's somehow immaterial and transparent criticality. As I've said before—and as Jonathan Sterne has pointed out in detail through his criticisms of the `audiovisual litany'—this argument falls flat where the comparison is balanced and sound is compared to the equally enveloping and sensual medium of light, and sight is compared to an equally critical capacity for listening—or what Sterne refers to as audile technique. Kahn also addresses another binary distinction contributing to the `audiovisual litany' or the ideology of immanence, namely the conceptual nature of vision and the sensual corporeality or `affectivity' of audition. It is the latter part of what is largely an indefensible binarism—as much has been written on the sensuality of the vision and affective sight, Hannah Higgins and Mark Hansen spring to mind—that contributes to the confusion of affect and immanence towards a vitally affirmative conceptualisation of auditory experience; the sensuality of sound is, in this schema or tradition of thinking sonority, thought inseparable from its enveloping immanence—the specificity of which is (poorly) affirmed in contrast to the conceptual remove of vision. Yet, I would argue, the vitalistic nature of this confusion—linking affect and immanence—fails to adequately think either terms, but particularly immanence, reducing the latter to a particularly conservative notion.
The vitalistic conception of sonic and sensual immanence is thought in order to affirm the corporeality of auditory experience, the affective affirmation of somatic consistency lending to the constitution and unification of the embodied listening subject, to thinking the listening subject as one. Yet this affective affirmation requires a decisive distinction in order that one can be thought, that the sensual corporeality of the listening subject can be discerned as such through being set apart from others. It is this decisive distinction that violates any radical thinking of immanence as it requires that the self set itself apart in subtractive constitution for it to be. Immanence remains a conservative notion insofar as it is only for us or for an individual, as immanence must be immanent to something else that nonetheless sets itself apart. The consequent idea—following the conservative thinking of immanence as vital affirmation—of a kind of `immanent transcendence' is perhaps better replaced by a kind of extimacy as immanence in the latter sense only serves as a conceptual vehicle or `trojan horse' for thinking a kind of interior exteriority—that which is in me yet more than me or not only me but also other, the nesting of exteriorities—and itself remains poorly and conservatively thought. In place of this limited conservative conception, immanence should be thought radically or as a `pure immanence' yet an immanence that cannot be lived insofar as life effects an aberrant bifurcation from the `cosmic truth of extinction' or the more proximal, strangely familiar and `immanent' exteriority or extimate alterity. Immanence, thought as a pure and absolutely unifying principle eschews both alterity, identity and life, and so there can be no ethics of immanence insofar as it makes room for neither exteriority nor decision.
2. Affective Intensity and Transcendental Empiricism
Sonic experience is often thought in the sense of a kind of Deleuzian intensity by virtue of its manifest ephemerality and transience, its `durational becoming', yet quality remains the identifiable exterior and congealed exhaustion of intensity insofar as this exteriority or extension is what becomes identifiable and knowable of a sound, a sound which nonetheless persists in objective excess. The experience of or qualitative rendering of sound is always and necessarily for another and therefore—contrary to the conservative nature of the ideology of immanence—external to intensive becoming, covering over and even cancelling it. Affect is, in this line of thinking, closely related to intensity insofar as both are thought as a kind of energetic becoming or force, with affective intensity thought as a kind of pseudo-objective (I use this in a positive sense) rupture of the real or contact with a kind of durational—as opposed to spatial—becoming. Intensity is, however, not so easily aligned with an interiority `for us' insofar as it accounts for a kind of excessive process of becoming over what appears. This appears contrary to the ideology of immanence according to which one is always on the inside of sonority, insofar as it effects an enveloping field of vibrations which includes the listening subject within it. Yet the `inside' of sonority remains inaudible, as that which we call sound is necessarily manifest as qualitative extension `for us'. As Kahn describes in the above quote, sound surrounds both the objective source of the sound and the listening subject yet, I would add, without being reducible to either and therefore exterior to both, leaving an unknown and inaudible remainder that persists in between source and subject without being heard by either or by itself. This remainder presents a peculiar kind of non-phenomenal, and therefore non-Schaeferrian, sound object that persists in inaudibility: the inaudible interior of sound-itself which remains in excessive exteriority with regard to both objective source and subject (both of which are nonetheless surrounded by this sound, to a varying degrees, hearing it and thereby forming a kind of Truaxian `object orientated' acoustic community). It is this sense of a persistent and excessive, i.e. inaudible, sonority that we need if we are to think affects beyond their conservative limitation to anthropic experience and in the properly Deleuzian sense of an autonomy of affects. It is in this sense that affects are neither thought nor known in a sense but are, rather, primarily functional and informative, the agents of qualitative, sensory appearances that remain irreducible to them.
Developing Deleuze's more general notes on sensory distortion, taken from Difference and Repetition, to the present argument regarding sound, intensity is that which is only revealed wherein what a sound `is' or, rather, `is of'—what it represents, even where that is the image of its objective source rather than some more abstract subjective or cultural meaning—is stripped away:
The point of sensory distortion is often to grasp intensity independently of extensity or prior to the qualities in which it is developed. A pedagogy of the senses, which forms an integral part of `transcendentalism', is directed towards this aim. Pharmacodynamic experiences or physical experiences such as vertigo approach the same result: they reveal to us that difference in itself, that depth in itself or that intensity in itself at the original moment at which it is neither qualified nor extended. At this point, the harrowing character of intensity, however weak, restores its true meaning: not the anticipation of perception but the proper limit of sensibility from the point of view of a transcendent exercise (Gilles Deleuze, Difference and Repetition, 237).
What is immediately of importance in this dense excerpt—which I quote at length as many of the points therein will be developed throughout the remainder of this post—is the sense of the qualified or extended, as it is this which defines or rather affords the referentiality and identity of a phenomenal experience, which must necessarily entail—without being reducible to—its sensory rendering, which is extensive to what it is in and for itself (which where sound is concerned, I argue, remains inaudible). The qualitative extension of intensity itself is its perception as a fixed or rather identifiable appearance, what it is for us rather than that which it is in-itself. We are well adept as listeners at binding the vast body or quantity of sonority by means of a critical audile technique, wherein sounds becomes signs, and of localising or locating sound objects within alteritous spatiality (here the term space is used in the narrow Bergsonian sense of the term). It is, however, at the extremities audition that the audile system is problematised: at the lower end, where wavelengths extend beyond that of the diameter of the head, it becomes increasingly difficult to locate sounds in space due the absence of significant inter-aural time differences: sound is heard as non-localised exteriority or, with sufficient amplitude, extimacy. At the higher frequencies where wavelengths find a resonance within the ear canal, localisation is equally difficult and sound is heard as a quite literally piercing, non-localised extimate event: appearing within yet coming from without (perhaps the most refined example of this latter case can be heard in Jacob Kirkegaard's Labyrinthitis). What is important is that in both cases a sound cannot be easily located in space, pinned to an original point to which the sound itself is heard to refer. The non-localisable extremities of sound contribute to its becoming unknown in a sense and therefore permit something of its intensity to be felt, to emerge from the strictures of its qualitative, phenomenological extension.
Due to the sustained attention given to music and sonority by Deleuze, but most notably that carried out in collaboration with Guattari, in A Thousand Plateaus an important question is raised: "why this privileging of the ear?". Sound is granted a series of peculiar privileges, the most striking of which is perhaps—fascinating and seductive for the sound artist—that it acts as as the `cutting edge of deterritorializations', thereby being recognised as an active force within processual determinations or individuation. In revisiting this question we should also address the `antithetical' medium with which a contrast would be made in bolstering the audiovisual litany as a somewhat tepid tirade against `ocular tyranny'. There is, of course, an informative intensity to light implicated within processual individuation by way of sight, occurring by means of non-classical or "non-image forming photoreceptive pathways" which would be comparable—if not in a physiological sense—to the synthetic receptivity of hearing that Sterne contrasts to the analytical selectivity of listening (for more on this see Vandewalle et. al., 'Spectral Quality of Light Modulates Emotional Brain Responses in Humans' (pdf)). These affective capacities of light are exemplified in the work of James Turrell and more explicitly in Philippe Rahm's use of UV light within the Hormonorium, directly exploiting its metabolic affectivity—yet it is perhaps due to the difficulty with which the `internal' temporality or duration of light is perceived within given or common sense that it is not the recipient of the particular privilege Deleuze and Guattari place upon sonorous affectivity, insofar as it operates at a speed inhibiting its perception as other than a static constant. In this sense, Deleuze and Guattari might be seen to make a similar move to that carried out by McLuhan in his—metaphorical—definition of `acoustic space', making use of a commonly perceived if oversimplified experience of sound—its enveloping, immersive, etc., qualities—in order to make a more general comment about the nature of mediums. The danger of this tactic, however, is that it brings one's argument into proximity with a certain transhistorical idealisation of mediums and senses, as Sterne has shown in his exposition of an `audiovisual litany'. This danger aside, the privilege accorded to sound would then be thought as depending upon it's constitutive bandwidth and the specificity of its medium or material contingencies—which Deleuze and Guattari make reference to in a non-metaphorical and specific sense—while acting conceptually as a vehicle for a more general statement regarding the `transcendental' or excessive informative capacity of a medium. This privilege might then be thought to receive further grounding in the confusion of the sonorous and the haptic, most clearly and commonly felt at the thresholds of audibility wherein its durational determination and temporal fluctuation is most pronounced to the senses. We find a similar argument put forward by Christoph Cox in his discussion of Max Neuhaus, Bergson and drones; where the latter, through frequency, constancy and repetition—the constitutive invariance of the drone in a kind of musical, extensive or identifiable sense—presents a kind of abstract duration apart from qualitative extension. In citing the drone as approaching something resembling the Bergsonian notion of duration, Cox quotes the following from Bergson's Duration and Simultaneity:
A melody to which we listen with our eyes closed, heeding it alone, comes close to coinciding with this time which is the very fluidity of inner life; but it still has too many qualities, too much definition, and we must efface the difference among the sounds, then do away with the distinctive features of sound itself, retaining of it only the continuation of what precedes into what follows and the uninterrupted transition, multiplicity without divisibility and succession without separation, in order to finally rediscover basic time. Such is immediately perceived duration, without which we would have no idea of time (Bergson, `Duration and Simultaneity', in Key Writings, 205).
This procedural stripping away of the distinctive and perhaps specifically timbral qualities of sound that allow for its identification as the sound of a thing, i.e. it's referential operation, is thought to uncover what we might think of in a technical sense as its spectral composition of frequency components, those simple waveforms whose sum is rendered qualitatively distinct in audition yet the internal composition of which persists in a kind of obscured `pure duration' and `unspoilt' frequency. This practice of stripping away the specific towards exposing an underlying or otherwise occluded durational intensity is a practice championed by Deleuze and Guattari, who site La Monte Young as an exemplary case employing a `prodigious simplification' towards the deterritorialization of sound. Deterritorialization can be thought as a certain mobility or movement between territories, a mobility attained by sound, according to Deleuze and Guattari, through its refinement or simplification, a certain shedding of overtones and spectral complexity: 'what is necessary to make sound travel, to travel around sound, is very pure and simple sound, an emission or wave without harmonics (La Monte Young has been successful at this) […] a material that is not meager but prodigiously simplified, creatively limited, selected' (A Thousand Plateaus, 383). Sonic intensity, then, is known, thought or felt only in the sense of a pure sound, whether this be understood in the sense of pure and simple tones—as in A Thousand Plateaus—due to their approximation of a kind of Bergsonian duration, or in the sense of a kind of white noise, understood as the 'Idea of sound', as in Difference and Repetition:
the Idea of colour, for example, is like white light which perplicates in itself the genetic elements and relations of all colours, but is actualized in the diverse colours with their respective spaces; or the Idea of sound, which is also like white noise (Difference and Repetition, 258)
In both senses, sonic intensity cannot be thought apart from or without the concept of `transcendental empiricism', wherein `purity' is not of a thing—i.e. referential—but must remain highly abstract (if not `in-itself' due to it's being felt and therefore `for us') in order to limit or shed extension. This peculiar empiricism is transcendental not in an ideal sense but, rather, in a real and a-referential sense insofar as such sounds are not known to be the sounds of anything other than a-referential intensity, if not strictly themselves (resembling a kind of hyper-Schaefferianism through the shedding of timbral qualities as yet another layer of extension occluding the intensity of the in-itself). This version of empiricism is transcendental in the sense that the qualities with which it concerns itself are not of or reducible to an `objective' other as recognisable or known thing, but rather remain in excess of the localised objective identities that such a knowing would constitute, pertaining more to a transcendental materialism, substrate or excess of the objective beyond the ideal.
This peculiar empiricism is also thought as transcendental with regard to the specificity of the faculties and senses, marking the point at which they break down. The `transcendent exercise' of the senses would entail a kind of critical empiricism drawing upon the point at which the limits of the senses are felt and ungrounded-in-a-sense. This is, again, thought as transcendental not in an ideal but real sense, identifying an excess of the objective beyond the phenomenal. Transcendental empiricism, in this sense, draws to the fore the subtractive nature of sensation, or its operation according to a kind of subtractive synthesis , i.e., that there is more to the event (in this case a sound) than what is perceived or rendered sensible in any one extensive instance. The revelation of the subtractive nature of sensation and perception reveals the transcendent nature of that which is sensed, specifically a quantity of its transcendental excess. This excess may bring to the fore the `transcendent exercise' of the senses where the subtractive nature of one is insufficient in rendering the the excessive object sensible and defaults to the capacities of another. Again, an example of this can be taken from the extremes of audition, and specifically the `grey area' of infrasonics. Marking the lower passage of the audible's slip into inaudibility, the point at which audibility begins to falter and default upon hapticity in order to bind or render sensible the objective excess of a waveform, the point at which sounds are no longer heard but felt. The transcendent exercise of the subtractive discretion of the senses by an excessive objective stimulus performs a critical function in bringing to the fore—or to thought—the subtractive nature of the senses, but also in the manner with which this excess reveals the nature of the medium which itself persists in excess of its sensory or sensual subtraction. An example of this can be taken from the lower end or `depths' or infrasonics where `sound' is not heard as sound but felt as a kind of wind beating against or buffeting the flesh, revealing the medium of sound itself which is `cancelled' or obscured in its qualitative rendering in audibility. To guard against this `intensive revelation' being thought as a privilege of sound, a comparable example can be found in the lower registers of electromagnetic vibration where light becomes felt as heat. Transcendental empiricism points thought to an objective excess of the real by focusing upon the way in which the medium of sound-itself—air—persists in excess of the subtractive discretion of the senses, bridging—without completing or conjoining towards a common sense—the gap between them and their respective inadequacies. To put it another way, transcendental empiricism reveals something, a quantity, of the intensity of the in-itself by exercising the inadequacies of the subtractive limitations placed upon what appears to be or is sensibly rendered `for us'.
It is worth pointing out at this stage in order to make it clear that intensity is not herein idealised as some kind of pure state of perception to be lived and attained through a kind of `deep listening', but rather that intensity is never absolutely revealed, but appears with bits, fragments of what-it-is-the-sound-of stuck to it like pieces hard and brittle shell stuck to the otherwise smooth and flowing interior of a snail that has recently been stood on. Intensity—insofar as it appears—appears encrusted with qualities (timbre), although never absolutely or totally covered.
Addendum: A recent and related post on Larval Subjects Deleuzes Transcendental Aesthetics and Empiricism

subset: commoncrawl


text:
- Filed Under
Hunterdon County has a new tool to help find missing children and older people with dementia. But the program won't work as planned unless people on cell phones join the program.
Local police departments, county officials and the State Police have partnered with the nonprofit Fort Lauderdale-based A Child is Missing, or ACIM, which uses telephone neighborhood alerts helps law enforcement find missing people.
County officials coincidentally announced the participation in ACIM on the same day that the federal government restored the website for a similar program, the Amber Alert, which ...


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Wynford's Ellie Richmond finishes third in the girls Divsion III district cross country race Saturday at Amanns Reservior Park in Galion.
- Filed Under
How did Clay Martin prepare for Saturday's district cross country meet knowing it was going to be contested in brutal conditions?
"I spent all night praying for a sunny day. Looks like God didn't answer my prayers there," the mud-caked Colonel Crawford junior joked.
But another prayer was answered. Martin finished sixth in the boys Division III race at Galion's Amanns Reservoir Park to earn an automatic bid into next week's regional meet at Youngstown Boardman High School. A final prayer means he won't be making the long trip alone as the Eagles finished in the top four to gain at team ...


text:
Based on 37 guest reviews
Property Location
Located in Astoria, Franklin Street Station B&B is minutes from Flavel House Museum and Oregon Film Museum. This bed & breakfast is within close proximity of Heritage Museum and Columbia River Maritime Museum.
Make yourself at home in one of the 6 individually decorated guestrooms.
Take advantage of the bed & breakfast's room service (during limited hours).


text:
Using the iPhone app to manage your Online Store
Here are some of the great features that the app offers:
- A dashboard listing your sales and last orders
- View all your sales placed in your store even if you're offline
- View all the necessary order details: ordered products, product options, customers' billing and shipping addresses, etc.
- Change order statuses and assign tracking numbers.
- Call or email customers right from the order details page.
- Search for specific orders by date, payment and fulfilment statuses
- View unfinished sales and complete them manually right from the app.
- Enhanced security: protect your customer's sensitive info using a passcode lock.
- The iPhone app (download it here: https://itunes.apple.com/bm/app/ecwid/id626731456?mt=8).
- Your Online Store ID.
- Your Order API Key.
- Log into My Yola and open the site where you have added the Online Store.
- Open the page where you have dropped the Online Store widget.
- Click Edit on the upper left corner of the widget.
- Copy the Store ID from the lower left corner.
To find your Order API Key:
- Open your Online Store by clicking Menu in the Sitebuilder.
- Click Store.
- Go to Settings > API. Copy the bolded unique code located in the Order API section.
Once you have these items, you can add them into the Settings of your iPhone app and start managing your Online Store through your iPhone.


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Students explore sets of up to 10 items and practice writing the numbers 0 through 10. Students count back from 10, identify sets of up to 10 objects, and record 10 on a chart. They also construct and decompose sets of up to 10 items.
Numeral Cards
Give each student a blank piece of paper. Display a numeral using the numeral cards
that are provided. Ask the students to draw the number of objects (such
as circles, rectangles, squares, etc.) that matches the displayed
numeral and to silently count the number of objects by writing a number
on each one. This exercise provides information about the students'
number recognition, ability to record the number displayed, and use of
one-to-one correspondence to develop rational counting strategies. Use
the information gained from this activity to adjust the pace of this
lesson and plan experiences that support and challenge learners. Refer
to the students' work to measure growth, strengths, and needs.
Display the numeral card for 0 and ask students to make a 0 in the air. Give them a 10-Frame activity sheet and connecting cubes in two colors.
Ask them to fill in each section of the "10" Frame with a single cube, counting aloud in unison as they do so.
Now have the students color the sections of the "10" Frame to
match the cubes they placed in them. Ask a student to share with the
class the way he or she showed 10. [For example, "I used seven green
and three blue cubes."] Repeat with several children. Then tell the
students to take these sheets home to share with their family.
Go to the Spinner Applet.
an 11-part spinner by entering the numbers 0 through 10, starting in
the left column. As you enter each number, call on a volunteer to
choose a color for that section of the spinner. After entering the 11
numbers, activate the spinner. After each spin, ask the students to say
the number aloud and make a train with that many connecting cubes,
using two colors. Call on a volunteer to tell how many of each color he
or she used to make the train. [In the example below, the student might
say, "I used four orange and six green cubes to make my train of 10."]
Repeat several times, choosing different children to activate the
spinner each time.
Next use the "Back" button on the Web site to return to the Number & Operations, preK-2
directory on the National Library of Virtual Manipulatives Web site,
and select "Bar Charts." Set the number of columns to 11 and the number
of rows to 11. Label the columns with the numbers 0 through 10 on the
bottom of each column. Delete the term "label" and enter the values 0
through 10, one number in each column. Then click on one box over "1,"
seven boxes over "7," and so forth, starting at the bottom of each
column and moving up one box at the time until the appropriate number
of boxes are highlighted for that column. Remember that the column
labeled "0" will have no boxes. Repeat this activity several times,
choosing different students to count and click on the boxes.
Now distribute the students' Steps to 10
sheets and ask them to color in the column for "10." Ask the students
which numbers they have now shown on the chart [1 through 10]. Ask what
they would need to do to complete the "0" column. [Nothing] Then ask
them to compare the online bar chart with the paper chart they have
End the lesson by showing a numeral and asking the students to
perform a given action [e. g., stamping a foot, snapping their fingers,
turning around] that number of times. Repeat this activity using
several different numbers.
1. Use the teacher resource sheet, Class Notes, to document your observations about the students' abilities to do the following:
Questions for Students
1. Look at the connecting cubes in my hand. (Show 10 connecting cubes.) Take eight connecting cubes from my hand. How many connecting cubes are left in my hand?
[There are two connecting cubes.]
2. (Repeat, asking the students to take away other amounts from 10.)
3. When your hand is empty, how many connecting cubes are you holding?
4. Do you know a word that means "zero"?
5. Can you count to 10? Can you show me a group of 10?
6. Can you show a way to split the group of 10 into two groups? Can you do it a different way?
7. Make a group of eight and a group of 10. Which group has more? How many more? Which group has less? How many less?
[The group of 10 has two more. The group of 8 has two less.]
8. How can you change a train of nine to a train of 10? How can you change a train of 10 to a train of five?
[I can add five more blocks to make 10 blocks.]
9. ( Repeat using other numbers.)
Teacher Reflection
Students will:
-Kindergarten, Counting & Cardinality
If you would like to rate this lesson, then please register. Riuscipisci bla feummod
olenim dignit irit luptatum zzriliquamet la commodigna facilit prat.


text:
Meet Chengstein
Travelfish contributions by Chengstein
The first number represents the total number of published reviews by Chengstein. The bracketed figure is submitted reviews -- reviews may not be published for editorial reasons or may be removed because the property concerned has been delisted from Travelfish or has closed.
Life according to Chengstein
Past travels
Future travels
The lowdown
Age: In the region of 19-29
Currently hanging out in: Canada
Boy or girl: Male
Webpage: -
Travelfisher since: 21st September, 2012
Travelfish member #: 73,491


text:
More businesses might consider settling in Michigan, but unions probably will become more militant and the 2014 election will be a major battle over the state's right-towork law, says a legal expert.
Protests over Michigan's passage of right-to-work legislation might have dwindled, but the fallout continues although the law does not become effective until March 28, explained C. Philip Baither III, an attorney and specialist in labor law with Robison, Curphey & O'Connell.
Mr. Baither discussed the potential impacts of the right-to-work law during a Monroe County Chamber of Commerce breakfast last week.
Under the new law, so-called "union security clauses" would be prohibited in employee contracts. Mr. Baither said such clauses require employees in a unionized work force to become a member of the union and pay union dues.
"It's pretty simple, it really is," Mr. Baither said. " Right- to- work is not that complicated at a statutory level."
It means after March 28, no employee can be made to become a member of a union or pay dues. The only exclusions are police and firefighters and some other public safety workers, but it covers virtually all other unionized private sector employees. And it applies only to contracts formed or modified after March 28.
"If a company has a union contract that it entered into in 2010 for five years — even after the effective date of the right-to-work law — its employees can still be required to join the union or pay dues," he said.
It means some unions are looking to extend existing contracts or conclude bargaining for a new contract before March 28. Some of the proposed new contracts have long terms – as long as 10 to 12 years.
Michigan became the 24th state to enact some form of right-to-work law and is said to be the fifth most unionized state in the U.S.
But outside of changing the requirement to pay union dues for workers, the new law will not change much for union or non- union employers, Mr. Baither said. For unions, it means they still are legally obligated to represent workers under contract regardless of whether they pay dues to the union. It remains unclear whether unions are obligated to pursue grievances against employers brought by members who do not pay dues, Mr. Baither added. However, it seems clear that those who do not pay dues could have no vote in union affairs, including contract ratification votes.
Those in the bargaining unit also no longer will be disciplined if they cross picket lines in the case of a strike. That previously often was part of contract language, Mr. Baither said. But he added, "A lot of what exists in the union setting has not changed."
He also suggested that there will be direct and indirect impacts of the law in Michigan. He said in states with right- to- work laws, there usually are less union organizing drives only because the laws mean less money for the union to finance such efforts.
But it also means that an employer targeted by an organizing drive no longer can argue to employees that if they unionize they will be forced to pay union dues from their paychecks.
"Are unions done? No, unions are not done," Mr. Baither said. It's estimated that, at most, a third of workers in any union might refuse to pay dues, based on trends in other right-towork states. Mr. Baither also predicted that in the wake of the law, unions will become more militant, making greater demands on unionized employers and filing more grievances as a way to demonstrate their worth to the workers they represent.
It also will probably mean that non-union companies will be less likely to be the target of an organizing drive.
"I also think we may see unions organizing smaller groups of employees," he said. It means certain specific groups of employees within a larger work force might choose to have a union represent them.
But Mark C. Abramson, an employment law specialist with Robison, saw things a bit differently. "In business, if we lose a major source of revenue, we go out and market ourselves," he said. "I believe unions will regroup and expand their organizing efforts."
Regardless, Mr. Baither said it's important that employers with a union work force not get involved in any employee disputes about the union or efforts to decertify the union. He said they should refer employees with questions to the National Labor Relations Board. Mr. Baither also said it will be interesting to see how the right- to- work law might change the dynamics of the "mature relationship" that the UAW has with automakers, considering many of those contracts have a two-tier wage scale with newer workers being paid less than those with more seniority.
Mr. Baither said he was convinced that the law will make Michigan more attractive to some employers. " Having a right- to- work state is a plus for Michigan if you are trying to attract employers," he said. "I don't know of any employer — if they had a choice — who would elect to be in a union relationship rather than a non-union relationship," he said. But even before the law became a topic, labor leaders, some corporate officials and President Barack Obama said right- to- work should not become an issue in Michigan.
L. Wm. Conner, president of the Monroe- Lenawee County AFL Central Labor Council, has noted that six of the 10 states with the highest unemployment rates had right- to- work laws and studies have shown jobs don't always grow, but average wages and benefits slide for both union and non- union workers in such states.
President Obama has called it the "right-to-work for less" law.
Mr. Baither noted that there are several challenges to the law, including a contention that the legislation was passed in violation of the state's Opening Meetings Act because Michigan State Police barred admittance to the legislative chambers to some members of the public during protests before the rightto- work law was passed.
He also suggested that regardless of any legal challenges to the law, the real test of right-to-work in Michigan will be the 2014 election in races for governor and the Legislature. "I think it will be a real wingding," he said. " We are going to have a lot of outside money and influence on both sides of this issue."
"I think that will be the make- or- break battle for right- to- work in Michigan – the 2014 election," he said.


text:
English Literary Culture to 1600:
Selected Reference Sources for Library Research
The following materials are located in the Suzzallo reference stacks unless otherwise noted.
Research Guides
Medieval Studies: An Introduction, Suzzallo General Stacks D 116 .M4 1992
A Reference Guide for English Studies, PR 56 .M37 1990
Backgrounds to Medieval English Literature, Suzzallo General Stacks PR 225 .A3
Chaucer and the 15th Century. Vol. 2 of Oxford History of English Literature Series, PR 83 .O93
Dictionary of the Middle Ages, D 114 .D5 1982
The Discarded Image: An Introduction to Medieval and Renaissance Literature, Suzzallo General Stacks PN 671 .L4
The Medieval Literature of Western Europe: A Review of Research, Mainly 1930-1960, PN 671 .F5
New Catholic Encyclopedia. BX 841 .N45 1967 (1913
edition is online - Catholic Encyclopedia
Arthurian Handbook, PR 685 .L3 1997 (Earlier edition in Suzzallo General Stacks and Odegaard Undergraduate Library Stacks)
A Chaucer Name Dictionary: Guide to Astrological, Literary, and Mythological Names in the Works of Geoffrey Chaucer, PR 1903 .D4 1987
A Chaucer Gazetteer, PR 1941 .M3
Chaucer's Pilgrims: An Historical Guide, PR 1875 .O26 C48 1996 (Located in Suzzallo General Stacks and Odegaard Undergraduate Library Stacks)
Christine de Pizan: A Bibliography, Z 8693.7 .Y45 1989
A Complete Concordance to the Works of Geoffrey Chaucer. 12 vols. to date, PR 1941 .C66
Dictionary of Literary Biography, Shelved in Reference Stacks. Use the cumulative index in the back of any of the latest volumes to locate the correct volume you need, or use the online Literary Index instead.
Sir Gawain and the Green Knight : An Annotated Bibliography, 1978-1989, Z 6521 .G38 S73 1992
Middle English dictionaries: PE 679 call number range
Old English dictionaries: PE 279 call number range
Available on the Web:
IMB International Medieval Bibliography , 1967- . Print version shelved in Suzzallo Reference; electronic version covers 1984-2000 and is accessible via the Libraries Information Gateway. (UW restricted)
MLA Modern Language Association Bibliography, 1921- . Print version located in Suzzallo Reference; electronic version covers 1963 to the present and is available via the Libraries Information Gateway. (UW Restricted)
Literary Index This online index covers the Dictionary of Literary Biography and Literature Criticism sets found in the Suzzallo Reference Index/Abstracts Area.
These are some general sites to get you started. For more specific sites, go to the "webliography" for Medieval and Rennaissance sites.
Labyrinth: A World Wide Web Server for Medieval Studies
Literary Resources: Medieval
Voice of the Shuttle: Anglo-Saxon and Medieval Page
Use the appropriate MLA format when citing Web sites, online databases, or other electronic resources.Print guides to citing online sources (not as contradictory as it may sound) are located at the Reference Desks in both Suzzallo and Odegaard. Some titles include:
Have questions or need more information? Ask at a Reference Desk, or contact me:Dottie Smith
Back to Medieval and Renaissance Literature main page


text:
All I Want for Christmas is Ambassador Shannon in Brazil
December 10, 2009
Arturo Valenzuela is finally settling in as assistant secretary for the western hemisphere on the 6th floor of the State Department. But, the distinguished diplomat who most recently served in that job—Tom Shannon—is still waiting for his next post due to another hold on his nomination to be ambassador to Brazil.
Back in early November, when Senator Jim DeMint (R-SC) lifted his holds on Arturo Valenzuela as assistant secretary of state for Western Hemisphere and Tom Shannon as ambassador to Brazil, newcomer Senator George LeMieux (R-FL) slapped a hold on Shannon's nomination the very next day.
Senator DeMint's hold was ostensibly due to concerns of how the U.S. handled Honduras, Venezuela, Nicaragua, Bolivia, and Ecuador. Conspicuously absent was Cuba. Right then and there, that should have been a red flag of more complaints to come against Shannon, as Cuba is the ostensible focus for these new questions.
As soon as Sen. LeMieux lifts his hold, I'm told, Sen. David Vitter (R-LA) will take his place, and after Sen. Vitter lifts his hold, Sen. Robert Menendez (D-NJ) will step up with his own hold. Like whack-a-mole. As soon as one goes down, another will pop up.
Beware of Triumphalism in the Honduras Crisis
October 30, 2009
The news today from
This is important, because as I've noted many times, including in The Christian Science Monitor and other blog postings here, it is the elections that provide the surest, most appropriate escape valve for the crisis that has threatened to overwhelm
Some analysts suggest that the trip should have been taken and heads banged earlier to get an agreement even before today. But that would not have allowed the Arias process—which the United States conceptualized and mid-wifed—to run its course. How ironic it would then have been for the
U.S. at a Standstill; Brazil Moves On
October 21, 2009
This isn't another confirm Tom Shannon as Ambassador to Brazil or confirm Arturo Valenzuela as Assistant Secretary of State for Western Hemisphere Affairs essay—though I support both of those positions, and understand that things may be moving. This is an expression of wonder at the inability of the U.S. government to walk and chew gum at the same time when it comes to Latin America policy.
Let me be clear. I'm not one of those persistent whiners who always complain about the lack of attention paid to Latin America. The last administration of George W. Bush paid plenty of attention to the region, traveling there more frequently and receiving more Latin American heads of state in the White House than any past president, and launching a series of serious initiatives for the region: the free trade agreements with Peru, Panama and Colombia, the Merida Initiative with Mexico, and a series of genuinely exciting efforts with Brazil, Uruguay and Chile—starting with, but not limited to, trade.
Sad thing is, despite a time during the campaign when it seemed that all a potential President Obama needed to do was show up to be more effective, his administration is at real risk of losing the gains of the last eight years.
I never thought I'd say that.
At the DC Watering Hole: Senate Continues to Hold Tom Shannon's Nomination to be the U.S. Ambassador to Brazil
October 15, 2009
For months, the Senate has unnecessarily held up President Obama's appointments for the U.S. ambassador to Brazil and the assistant secretary of state for Western Hemisphere affairs. These actions have prevented the administration from assembling its Latin America team and have held hemispheric policy hostage to a few, lone voices.
We are stuck in gear. But if some conservative Republicans get their way, we risk being thrown into reverse, back to the Cold War. This time instead of communism, it's through the prism of Venezuelan President Hugo Chávez.
A more conspicuous and tangible evidence of the Cold War revival has been the recent campaign by some conservative Republicans against the nomination of Tom Shannon as ambassador to Brazil. This is the same Tom Shannon who was appointed and served as assistant secretary of state for Western Hemisphere Affairs under George W. Bush.
The closed-door briefings and talking points that circulated in Congress are narrow and hollow criticisms of the United States' Latin America policy over the last four years and are specifically tailored against Shannon.
Because the talking points are dangerous without context, I want to share them in full as they arrived to me. A major part of their context is this underlying partisan intent:
"In Honduras, Shannon remained silent as Manuel Zelaya attempted to subvert democratic institutions and the Honduran Constitution. But as the Congress and Supreme Court worked to remove Zelaya legally from office, the U.S. Embassy in Tegucigalpa and Shannon worked diligently to dissuade the Honduran Congress and protect Zelaya (3 July Washington Post, columnist Carlos Alberto Montaner)."
"In Venezuela, Mr. Shannon constantly promoted narcotics cooperation with Chávez despite evidence—and objections from other U.S. agencies—that the Venezuelan government itself was facilitating narcotics trafficking. Mr. Shannon also denied support to Venezuela's civil society and sat by as Chavez dismantled the country's democratic institutions. Today, the Mayor of Caracas still cannot get into his office to perform his duties. In all this, Mr. Shannon's rationale for shunning Venezuela's civil society has been that the U.S. and Venezuela have a strategic relationship based primarily on energy."
Washington's Systemic Lack of Strategic Vision for the Americas
September 21, 2009
Even in the best of times, under Democratic and Republican Administrations and Congresses alike, Washington's appetite for things Latin American is limited. On occasion, a crisis breaks through the public consciousness and attracts top-level attention for a period of time, but the ability to sustain a policy that does more than just lurch from crisis to crisis really doesn't exist. When such crisis does occur, however, Washington becomes fixated on the issue and almost completely neglects other issues in the hemisphere.
Such is the case right now. Since June 28, Washington's primary focus on the region has been on Honduras. Even the confirmation of the U.S. ambassador-designate for Brazil, Tom Shannon, has been held up by the Senate over dissatisfaction of U.S. policy actions to sanction the government of de facto Honduran President Roberto Micheletti. The Senate hold on Tom Shannon, a highly-regarded career diplomat who has served both Democratic and Republican administrations with distinction, was placed back in the summer, even before the September 3 State Department announcement that pre-emptively sought to delegitimize Honduras' scheduled November 29 elections. Since then, Washington has become even more polarized, so it's unclear why a hold that was placed before the September 3 announcement would be lifted after the announcement without some compromise on the issues. (Full disclosure: I've known Tom for over 15 years and worked with him in the White House, and I consider him to be a personal friend.)
But the practical implications of this stalemate mean that the United States has no ambassador in the largest Latin American country, and may not for some time—even though the issues surrounding Brazil's emergence on the global scene are compelling—all because we continue to wrap ourselves around the axle on Honduras. It's all so depressingly familiar, particularly for those who went through the 1980s. In fact, some of the Washington players are exactly the same ones who were involved in the 1980s disputes, from both sides. But 2009 is not 1982; and the shape of the hemisphere has changed dramatically. The longer we focus on Honduras, the longer we unilaterally decrease our footprint even further in the rest of Latin America, creating even more of a vacuum for others to fill.
Honduras Holds Up State Department Nominations, as the U.S. Signals Policy Shift
August 7, 2009
Summer is sticky but not so sweet here in the nation's capital, as Honduras is yet again butting into U.S. politics and policymaking.
Even as Congress readies to run out of town, it never came around to confirming what really are no-brainers: nominees Arturo Valenzuela as assistant secretary of state for Western Hemisphere and Tom Shannon as ambassador to Brazil! Sonia Sotomayor's confirmation as the newest Supreme Court Justice would ideally open the gates to more confirmations but the possibilities look bleak that these two positions will be filled anytime soon.
Instead, certain Republican Senators—led by Senator Jim DeMint (R-SC)—are determined to voice their dissatisfaction to the Obama administration over its Honduras policy. DeMint asked Senate Foreign Relations Chairman John Kerry to hold over the nominations of Valenzuela and Shannon, which he did. And when the committee approved their nominations and their nominations went to the floor in late July, DeMint's office told me their nominations would again be held over.
Why? To again express dissatisfaction with the administration's handling of Honduras.
New State Department Team Ready to Roll, as Republicans Challenge Obama Policy
July 9, 2009
Arturo Valenzuela, Tom Shannon, Carlos Pascual, and Kenneth Merten all went before the Senate Foreign Relations Committee this week for their "job interviews" for Latin America policy (aka, confirmation hearing).
As I've written here before, Valenzuela is up for assistant secretary of state for Western Hemisphere Affairs; Shannon, ambassador to Brazil; Pascual, ambassador to Mexico; and Merten, ambassador to Haiti.
The senators and nominees primarily focused on alternative energy, the Merida initiative, Venezuelan President Hugo Chávez, and, of course, Honduras. It's important to note that a frequent topic of the day—the presence and nefarious influence of Iran, Hezbollah, Hamas, and al-Qaeda in the hemisphere—didn't get so much time. Perhaps that comes up only when administration officials are stumping Congress for more funding on Latin America initiatives.
The headline out of this hearing, however, is not about the accomplishments, or policies, of these sharp and savvy diplomats. It was an opportunity for certain Republicans to raise legitimate complaints about the Obama administration's policies on Honduras and Cuba. At the same time, it was hardly contentious—fortunate for those going through the confirmation process!
Daily Focus: U.S. and Bolivia Attempt to Improve Relations
May 21, 2009
Thomas Shannon, the U.S. assistant secretary of state for Western Hemisphere affairs arrived in Bolivia yesterday to meet with President Evo Morales and his foreign minister, David Choquehuanca. This visit follows an agreement made at the Summit of the Americas between U.S. Secretary of State Hillary Clinton and Mr. Choquehuanca to reduce tensions and increase dialogue between the two nations.
The Bolivian foreign minister said that he hoped the visit would "correct the injustices of the past," and Shannon expressed the need to "improve our cooperation in a way that benefits both countries" and to "take a new direction in our bilateral relations." President Morales has said that he is optimistic that relations would improve under the new Obama administration.
Under the Bush administration, trade preferences to Bolivia were suspended, and the U.S. has frequently stated its concern over coca leaf production in Bolivia. Last year, amid escalating tensions, Bolivia expelled the U.S. diplomatic envoy and suspended its cooperation with U.S. drug enforcement agents.
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In a 1999 Eckerd Vision feature article about his life, founding academic dean John M. Bevan recalls some of the founding principles that guided the creation of the College's first academic curriculum. The concept of dialogue comes up repeatedly in his reflections in the article. That is, the notion that collegiate academics should be a two-way street, one where the curriculum and course of study is defined as a result of constant and dynamic interaction between professors and students. "If you have a curious student who wants to find something out," Bevan noted at the time, "you give him the tools."
Giving students the tools to personalize their own education—to "find things out" for themselves— has been a key feature of an Eckerd education since the very beginning, and one can trace this personal touch throughout the College's history.
For many Eckerd students, this personal value was encapsulated in Winter Term—a time set aside since 1961 for students to pursue something of particular interest to them on their own, with guidance from faculty mentors across disciplines. Winter Term continues to be a salient part of Eckerd academics, enhanced by a renowned International Education Program, it not only allows students to carve out an area of study that interests them, but also allows them to do this in international settings such as Africa, China, Japan, London, and even Antarctica.
The Personal at Eckerd has meant more than just students being able to shape the course of their own education. It has also spoken to a strong mentoring ethic on campus, with professors taking a direct and active role in shaping a student's course of study from Autumn Term onward. While the student-professor mentor relationship is crucial, the recognition that a student's education is something that they will ultimately carry into the real world led to the development of programs involving mentors with years of practical experience. One such program, the ASPEC Discussant Colleague Program, which was featured in the campus newspaper in 1985, continues to this day and utilizes the experience, academic and practical wisdom of members of the Academy for Senior Professionals at Eckerd College as an additional mentoring resource for students.
Allowing students access to various types of academic and practical experience has shaped the way that the College deals with famous visiting scholars and lecturers. Visits by Former President Jimmy Carter and Nobel Prize Winner Elie Wiesel had them both in the classroom, teaching students directly.


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Agenda2 is an application for building agendas for meetings. To design a meeting, simply create the sessions, add presentations, discussions, and breaks to the sessions. Configure each agenda item (name, duration, discussion time, theme, speaker, etc). Order them as you wish and then build the agenda. Agenda2 calculates the start and stop times of each agenda item based on the session start/stop times, the duration of the items and any constraints the user puts in place. Agenda2 makes simple work of rearranging items, moving talks to different sessions, reassigning speakers, and much more.
What's New
- Bug fixes and improvements to rendering. Preview now maintains scroll position when rendering the agenda.
- OS X 10.8 or later


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Baby Crying and Guilt Video
It can be really stressful for parents when their babies are crying. Parenting coach Dr. Carrie Contey explains the connection between baby crying and guilt.
Read the full transcript
Browse Most Popular Videos
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The ebay deals continue! Calling all stand-up paddleboarders. SUP bag/leash auction starts at $7.77.
Ultralight Sleeping Bag $7.7721 Apr
Looking for a killer deal on an ultra-light sleeping bag? Check out this Vaude bag we're auctioning off with no reserve in our Ebay store. Bidding starts at only $7.77. Last one left!
Nalgene Wide Mouth Bottle $7.7712 Apr
Nalgene wide-mouth bottles blowout sale! We're auctioning off a limited number of these Nalgene bottles for $7.77 starting bid with no reserve price. Get this deal in our ebay store.
Vaude Splock Backpack $9.777 Apr
Once again, we're auctioning off some amazing inventory closeout deals in our newly re-launched ebay store. Check out this Vaude Splock backpack auction currently priced at $9.77 with no reserve price! Find this deal and many more in our ebay store.
Makais Ebay Store Re-Opened – Shop Unique Sports + Outdoors Deals27 Mar
The Makais Ebay store has now re-opened for business! On Ebay you'll find us selling deals not found anywhere else! Check out all the unique finds today: Makais Ebay Store
Once in a while we sell or auction off slow moving inventory and open box deals. It's your chance to save some serous cash on quality gear!
Eureka Tents – Sleeping Bags, Lights, Pads, & More27 Feb
Eureka Tents – Tents, Sleeping Bags, Lights, Pads, & More. Check out some pics of Eureka brand products below, and shop Eureka at Makais.
About Eureka: "Around the globe and across the street, Eureka!® has been bringing families and friends together in the outdoors for more than 100 years. Our field-proven tents, shelters and sleeping bags are ready to take on everything from the rigors of an Everest expedition to the rowdiness of a backyard sleepover. With innovative features, our products are designed for a lifetime of use, providing the comfort that makes it easy for you to enjoy life outdoors."
LionSteel Knives From Italy26 Feb
LionSteel Knives (also known as Lion Steel) are very good quality brand out of Italy. Since 1969 LionSteel has produced some of the highest quality knives on the market today. Check out some many photos of LionSteel knives below, and be sure to check the Makais online store and see what current models of Lion Steel we carry.
Kizlyar Russian Knives25 Feb
Kizlyar produces a diverse selection of both fixed blade and folding knives. This is a unique brand of knives from Russia that are not particularly easy to find. Fortunately for you, we're starting to carry more Kizlyar knives at Makais. Shop Kizlyar Knives at Makais.
Kizer Knives – Folding Knives by Kizer Cutlery24 Feb
Kizer Cutlery (also known as Kizer Knives) makes some very attractive knives! Check out some of the many pictures we have of Kizer Cutlery knives below…and shop Kizer knives at Makais.
Browning Products – Knives, Lights, Shooting Accessories, Gifts, & More23 Feb
The Browning brand is now known for a lot more than just firearms. Check out some of the many Browning products in these 100's of Browning product pics! Like what you see? Shop for Browning at Makais.


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Why a lining (if the pattern doesn't call for it)?
Why facing?
Why do some prefer lining versus facing?
How do I know when to use a facing or a lining?
As you can tell, linings and facings confuse me a little.
Facings are one way to finish the edges of a garment. Besides finishing the edge it also stabilizes it and provides more structure to an area that may need it. Lining does all of that but also reinforces the remainder of the area in cases where the fabric is light. Furthermore it can keep you from being able to see through the fabric. It also makes for a much neater inside as the seams are all enclosed. Lastly it protects your body from an unpleasant texture if that is needed.
I've so far only lined two garments that were made of wool crepe. Also would think to line something (like a dress) that was made from a too thin/light or sheer fabric.
I hate facings. In my limited experience, they're often poorly drafted and don't rest well inside the garment. I did make a pattern recently (M6604) that had a perfect fitting back facing. I was REALLY surprised.
And of course, all the good stuff that tinflutterby said :)
Singer Stylist 7258 | Kenmore 1503 | Brother 1034D
My Big 4 Sizing: Medium | Tops 14/16 | Pants 18 | Skirts 16/18.
My Measurements: 36 HB | 39.5 FB | 34 W | 44 Hip
As tinflutterby said, both are ways to finish off the edges of garments (usually the neck, waist (of pants/skirts), button placket, or armhole (on sleeveless) - bottom edges usually have hems, but some can have facings.
Sometimes a lined garment will also have facings - so the lining doesn't go all the way to the edge. And usually also to provide extra structure (on a Chanel-style jacket for example).
Another way (that some of us do instead when faced with a facing) is to use bias tape/strips. There are a few good tutorials on how to make your own, and it can be used either hidden or showing (for a statement/trim). But you have to be OK with top stitching for it to work. linings and facings can (usually) get away with understitching which won't show.
I agree that facings can be annoying. I sometimes try to leave out the interfacing - and that can be even worse. The facings will try to escape to the outer part of the garment while you wear it! LOL
On other reason for lining is modesty. Not just for see-through fabrics, but also for clingy ones (I don't like to advertise my fat rolls, lol), or in hot climates. If you sweat the lining will stick to you, but not the fabric. Like wearing a slip - but it's part of your dress (or pants or blouse or skirt, etc.).
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There are innumerable brands of electronic cigarettes today. The manufacturers are springing up left and right almost daily and every now and then, we get a new manufacturer boasting that they are the ultimate e-cig brand and that their cigs are the best money can buy. Of course, this is simply not the case and if we are being totally honest, there are only a handful of brands that are really worth your time and money. Our goal is not to advertise anyone and that is why are not going to mention any names here. However, we will let you know how you can recognize a really great electronic cigarettes brand.
One of the first things that you will notice about a really great e-cigs brand is its reputation. The best brands are well-known and people are talking about them. What is perhaps the most important is that the stuff people say about them is positive. However, it is important that you realize that some brands decide to artificially generate buzz about their brand and that they commission people to write and talk about them. This is why you need to ensure that you are getting your information from as many sources as you can. For example, you should never trust a single review of an e-cig brand. You need to check out at least a few and it is always a good idea to visit a forum or a board where you will find regular people talking about various brands of electronic cigarettes.
Another way in which you will recognize a great brand of electronic cigarettes is by checking out their website and learning about the technology that they employ. You need to learn about their components such as batteries, cartridges and their liquids. You need to learn where they make their electronic cigarettes and what materials they use. You need to learn what they put in their electronic cigarettes liquid and how well their vapor is made and how much of it you can expect.
A great electronic cigs brand will also offer a lot of deals on their kits which also have to be varied. You should be able to get discounts on larger orders and you should be able to get the orders that will make sense to you. The choice is also a good indication of how good the brand is, as well as the ability to choose how much nicotine you are getting.
Of course, a great brand will also provide you with a money back guarantee which will allow you to ask for your money back in case you are not completely satisfied with their products and/or their customer service. Which brings us to another sign of a great electronic cigarettes brand – customer service. You need to be able to get in contact with them 24/7 and you need to be able to rely on their employees to answer any questions that you might have surrounding their products and their services.


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Building your Personal Brand: Dan Schawbel Interview
- Interview with: Dan Schawbel, Persoanl Branding Expert and Author
There are blog posts, articles, and even books dedicated to helping you create a personal brand, but personal branding expert Dan Schawbel warns against making a critical mistake that can decimate your brand overnight. I had the chance to interview Dan Schawbel about personal branding and his book, Me 2.0: 4 Steps for Richer Life. Go to Richer Life to listen to the full Dan Schawbel personal branding interview.
Robert: How specific should someone be when creating their personal brand? Let's say a few years ago my personal brand was "I'm the MySpace expert." And now all of the sudden MySpace is dead. So is there a fear with committing too much to a specific brand?
Dan: You don't want to commit to someone else's brand. By saying you're a LinkedIn Expert or a MySpace Expert, you're committing to someone else's brand, so you're placing a bet that their brand will grow and succeed and therefore your brand will grow and succeed, because there'll be more of a demand for your services. But it's a fool's bet. It's not something that I would ever recommend. I've seen some people be successful doing that, but it's too risky and it's building someone else's brand and not as much building your own. So I think it's really important and it's part of the reason why I did personal branding—because it's something that was written about 10 years before social media. It was getting talked about and social networks were being created. So therefore, my belief is that it's something that will survive even if social media becomes something else later.
Robert: That little nugget right there is huge, because I think for a lot of people they do tie their personal brand with maybe another company or with a product. Let's say I've got a book coming out and I want to tie my personal brand to that book. Now, if the book doesn't do well or if I have four or five more books that I have in my head, there could be a problem if I say that's my brand and I've tied it specifically to a particular product.
Dan: Absolutely. You'll be irrelevant if that company or that social media tool does not exist anymore. You'll be completely irrelevant, and then in order to position yourself back in the marketplace and something else it'll be really tough. It'll be really tough because you've become known as the LinkedIn Specialist, but if there's no LinkedIn what are you going to be known as? And to create new brand perception is a lot of work, and it's tough, and it's going to take years, so it's definitely not something that I would recommend. I think you just have to create your own job title, be unique, and be committed to what you're going to do, because it takes a lot of work and you have to build it over time. I didn't, you know, it took me six months and then I was fortunate enough to get written about in Fast Company which expedited my success. But what if that didn't happen? Maybe it would have taken a year, two years. That's why you really have to love what you do and you have to be. When you love what you do and you really enjoy it and you gain confidence in it, you gain a positive attitude and you're committed to it. So the chances that you'll be successful (even if you aren't Donald Trump) are very high, because people are more apt to do business with people who love what they do. If you have hate what you do (as you know 80% of people or companies hate what they do), it's going to be hard for somebody to really, really want to work with you.


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