text:
November 25, 2015
On August 13, 2011 the Dothan Police Department responded to a theft in progress at Lowe's (2671 Ross Clark Circle) which resulted in a felony arrest. Upon arrival, security members of Lowe's told police they confronted the suspect after observing him load a shopping cart and then throw the items over the fence at the rear of the garden section. When they approached him he fled on foot but was quickly apprehended by the security team who detained him until police arrival.
• Marvin Nation, white male, 45 years of age, of Daleville, Alabama was arrested and charged with Second Degree Theft with a $2,500 bond.
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text:
Computers secured after hack attack
- Details
- Created on Wednesday, 09 April 2014 17:30
- Hits: 9430
By BECKI CREWE
Staff Writer
Niagara College has taken precautionary steps to secure its computers from future attacks after some of its student-use systems were hacked since December.
Niagara Regional Police (NRP) charged Myles Proulx-Vanevery, 21, a Niagara College student, with 10 counts of unauthorized use of a computer. Four computer labs at the Welland campus were exposed to the malicious software. This malware, which Vanevery says he wrote and created, allowed him to record the keystrokes entered on any infected computer.
"It recorded the keystrokes every time they typed something, so I knew exactly what was happening as they were doing it," says Vanevery.
"I had it upload to my server their information, like their account name and whatever they typed. All I did was monitor it."
When asked if he was motivated by "revenge," Vanevery confirmed that.
"I have like a lot of documents, important files for school projects and work that I have saved and they [the college] ended up deleting it without any consent, no acknowledgement. They just randomly up and deleted it," says Vanevery.
He says he didn't have any back-up files of his deleted work and would not be able to recover it. Vanevery says he was told his account was "in a batch of accounts that were deleted" without any explanation.
"It really affected me and I was pretty upset with them and then there was no way of getting it back so like what do I do, I mean, I just vented."
Vanevery, who was enrolled in computer programming, admits he was under great stress and suffering from emotional problems. He says he was diagnosed with depression.
He says he installed the software in December 2013, although police say it was September.
He had it running silently in the background of the computer system until being discovered in mid-March.
This keystroke logging software ran for almost four months before Niagara College was able to identify it.
"I don't know why it took them so long in the first place. There's a list of all the running programs on the computer that you can see and mine was there. I wasn't trying to hide it. I knew it was there and they saw it," says Vanevery.
"I devised a way to hack into their system and steal administrative accounts so I could do the same to them and just to be like, 'How do you feel when someone does that to you?'"
"I wanted to really emphasize leaving a message to them saying at least give the students some kind of acknowledgement or some kind of notification that it's going to happen, not just do it."
College officials say Niagara College found a file on Vanevery's student account and quickly identified it as a key logger. The Information and Technology Services (ITS) area is responsible for the security of Niagara College's computer system and continues its work in providing measures to secure its computers from similar attacks.
Niagara College's Vice- President Academic Steve Hudson declined to comment and referred questions to the college's public relations department.
The college's ITS department also referred questions to the public relations office.
Dorita Pentesco, director of Marketing and Communications here, says, "The security of its computer systems and the protection of our students' information is very important to Niagara College and we will continue to put measures in place to provide the utmost protection for our students."
Constable Derek Watson, NRP media relations officer, says computer hacking is not a common occurrence at colleges or universities.
"This is the first time I've heard of anything like this happening," says Watson.
When asked how he installed the key-logging software, Vanevery says he used a flash drive and installed a USB portable version of Linux. Linux is a free open source software computer operating system.
After installing Linux, Vanevery plugged his flash drive into the computer and "booted into the operating system Linux and put the files on the school's computer hard drive." Vanevery says he went around to each computer individually and installed his software. He claims to have done this in order to ensure the permanency of the malware.
"I was doing basically everything that they taught us how to do in the computer programming courses," says Vanevery.
Pentesco says the ITS department is responsible for taking steps to secure computers from similar attacks and continues its work in this area.
Watson says, "My safety tips are going to be for the user. As a user, you certainly shouldn't be using public computers for personal things such as banking. You're going to want to make sure you log off."
Watson says to look for "shoulder surfers," people who are looking over your shoulder and trying to see your personal information. It's like standing at an ATM and making sure no one is looking at your pin code.
College officials say they have identified all of the infected computers and safely removed the malware. All students and staff in the affected labs have been contacted directly and provided with steps to take to prevent the misuse of personal information.
Vanevery will appear in a St. Catharines court on April 25.

subset: commoncrawl


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Noe Batista and Jorge Marroquin work around the water meter while digging in preparation for some pipes for a home lawn sprinkler system being installed in South Shreveport. Both men work for Fleming Landscape & Irrigation.
- Filed Under
With brown grass, dead shrubbery and dry soil, this summer's drought was exceptionally brutal, and lawn-care professionals know it.
The hardships of the drought on local lawns were evident and local landscapers had to adapt to keep working when it was almost impossible to keep grass and plants growing.
"It's the worst I've ever seen it, and I've been doing this for 28 years," said Bill Fleming, president of Fleming Landscape and Irrigation. "Our plants aren't acclimated to this Texas-style drought." ...


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Cumberland Run
2950 South Cobb Drive SE, Smyrna, GA
Are you the manager of this property?Click here to claim this listing Check Your Credit Now
About Cumberland Run
Cumberland Run is located on South Cobb Drive in beautiful Smyrna, Georgia just outside of Atlanta. We offer spacious one, two and three bedroom floor plans up to 1350 square feet. Cumberland Run?s amenities include washer and dryer connections in every apartment home and many have eat-in kitchens. The exterior amenity package is guaranteed to help you unwind. Enjoy our swimming pool or playground and outdoor dining area with grills. Cumberland Run is conveniently located near major employers, Emory Adventist Hospital, Wellstar Cobb Hospital or Ridgeview Center. You will also have easy access to I-285, I-20, I-75, Chattahoochee Valley Tech, The Medix School, Life University, Southern Poly Technical College, Cobb Galleria and Cumberland Mall. For extra convenience Cobb County Transit has a stop at the entrance of Cumberland Run! All this and surprisingly affordable rents for a community so close to major grocery stores, shopping, dinning and places you go! Give us a call today! We are waiting to show you your new home at Cumberland Run.
As you search for your perfect apartment, please keep in mind that rental rates (including specials and discounts) and availability are very fluid in the apartment industry. Based on many factors, the rental rates (including specials and discounts) and availability can actually change not just daily, but hourly, if not even more quickly. While our advertisers do take steps to keep their information current, the rental rates or availability you may find here now at ForRent.com may not be the same as when you contact the communities.
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text:
Sectoral Shifts and Cyclical Unemployment Reconsidered
This paper develops a new measure of reallocation shocks based on the variance of industry stock market excess returns to assess the contribution of sectoral reallocation to unemployment in the postwar U.S. economy. The Beveridge Curve relationship is used to establish that this series isolates reallocation shocks. Reallocati on shocks are found to explain only a moderate share of the fluctuation s in aggregate unemployment on average over the period. However, reallocation accounted for a substantial share of increases in unemployment in several episodes particularly the mid-l970s. Reallocation shocks also account for a larger share of fluctuations in unemployment of longer durations than of shorter durations. Copyright 1993, the President and Fellows of Harvard College and the Massachusetts Institute of Technology.
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Volume (Year): 108 (1993)
Issue (Month): 1 (February)
Pages: 219-43
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so she wants to cut.
as she has never trained before i think ill first put her on something basic to get used to stuff.
She sayd herself that she will lift twice a week. I was thinking like this with a full body twice a week
Leg Press (im not going to be there to show her a complicated lift like the squat, and she may **** up and get injured )
3 sets, 12 reps
Pullups 3 sets 8 reps (these would probably be assisted, but thas cool)
db bench press 3 sets 8 reps
Leg Extensions 2 sets 12 reps
Leg curls 2 sets 10 reps
db OH press 3 sets 8 reps
db curls 3 sets 8 reps
That look like anything decent?


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text:
Evangelical Channel
The Tea Started Brewing Under Bush
In one poll after another, Tea Party activists and sympathizers claim that they are primarily motivated by concern for the rapid expansion of government, for the mountains beyond mountains of debt accruing to our collective account, and for an economy that has been deeply damaged by such government mismanagement. In the liberal interpretation, however, what really motivates the Tea Party is the Black Man in the White House and the vanishing white hegemony.
If the Democrats had properly understood the Tea Party movement, and if they had seen the water coming to a low boil during the Bush administration, they might have avoided their present fate. There are two steps to their misunderstanding of the Tea Party. First, the Bush administration was wrongly viewed as thoroughly and quintessentially conservative. Second, the public's eventual rejection of the Bush administration was viewed as a repudiation of conservatism and a fundamental political realignment of the electorate (perhaps even the basis of a permanent Democratic majority in "America the liberal"). The important point is this: many who now comprise the Tea Party were not Bush die-hards, but disapproved or largely disapproved of the Bush administration's big-government tendencies. Of course small-government conservatives and independents, when Obama took those tendencies and magnified them threefold, went from frustration to outrage.
To take the first point, President Bush was alternately viewed as a scheming arch-conservative or else a congenial dunce manipulated by scheming arch-conservatives. In his famed "Case for Bush Hatred" in 2003, Jonathan Chait (in spite of the fact that Bush had increased government spending in his first three years at a rate unseen since Lyndon B. Johnson) wrote that "Bush would like to roll back the federal government's spending to something resembling its pre-New Deal state." James Traub concurred in the New York Times magazine, writing that "today's Republican party is arguably the most extreme -- the furthest from the center -- of any governing majority in the nation's history." Examples could be added, but anyone who remembers the Bush administration will surely recall that he was painted as conservatism's avatar.
The point is not exactly that President Bush was not a conservative, but that his administration precipitated a crisis of conservative identity within the Republican coalition. While Bush could identify with conservatives culturally from Kennebunk to Crawford, and while his judicial appointments and stances on ethical issues gave conservatives reason to support him, he took an activist view of government in the foreign sphere, leveraging the American military to transform the world order in pursuit of democracy, and in the domestic sphere, leveraging the American government to transform the social order in pursuit of conservative virtues.
Dr. Timothy Dalrymple is the Associate Director of Content at Patheos, and writes weekly on faith, politics, and culture for Patheos' Evangelical Portal. Follow him at his blog, Philosophical Fragments, on Facebook or on Twitter.
Dalrymple's column, "Life in the Marketplace of Ideas," is published every Monday on the Evangelical portal. Subscribe via email or RSS.


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A fresh coat of paint on the walls can spruce up a home or business. During the painting process, it is natural to wonder if you can also paint the cover plate of your concealed fire sprinklers. After all, what's the point of painting a white wall another color if the sprinkler's concealer is still bright white?
But before you prepare your roller and paint brush you must know: painting a cover plate voids your fire sprinkler's manufacturer warranty and endangers your life.
How a fire sprinkler cover plate should look in the ceiling.
Let me take a moment and provide some background information. A cover plate is a thin piece of decorative metal connected to a frame using temperature-responsive solder, similar to the image above. A fire sprinkler cover plate is designed to react to a very specific temperature. As ceiling temperatures rise at or above a cover plate's specifications, the solder melts releasing the plate and exposing the concealed sprinkler. More specifically, most common concealed fire sprinkler cover plates are designed to release at 135°F (57°C) freeing the sprinkler's glass bulb to activate at 155°F (68°C). Other temperatures are available but operate similarly.
Common paint, on the other hand, is not designed to respond to a specific temperature and dries like glue; both detrimental to a cover plate's temperature responsiveness. By painting a cover plate, you are putting a dangerous roadblock in the way of your sprinkler's normal operation.
In addition to life safety implications, painting a cover plate voids the warranty on your fire sprinklers. Victaulic's warranty, as an example, states, "This warranty shall not apply to any product which has been altered in any manner outside of Victaulic's factory."
Warning: DO NOT paint or in any other way modify your fire sprinklers or their cover plates!
However, that doesn't mean you are stuck with an unflattering cover plate color. Fire sprinkler manufacturers offer various cover plate color options. Most common are white and chrome, however black and custom colors are available.
To purchase custom color cover plates the first step is to determine the color needed. Go to your favorite hardware store where you purchased your paint and pick up the matching paint swatch. Then give QRFS or your local contractor a call. Using the color swatch we're able to contact the manufacturer and inquire into pricing and lead time. Each custom color requires a paint set-up fee and the actual cost of paint and production.
Fire hazard! Notice the bulb is completely covered in paint.
If you are painting your walls, make sure to carefully tape off the cover plates and fire sprinklers. If paint mistakenly gets on the sprinkler or cover plate, you should promptly call a local, licensed fire sprinkler contractor to replace.


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I am looking at Gentle Waves therapy to address 40+y/o female hormonal acne/cystic acne and fine lines. It's $50/session in the office. I was looking at the Quasar line but that would take a long time to do daily. The DPL System by MUAC is free standing and would take less than 20 minutes and would be worth the $350/ if it works. I'm on doxycycline, is that a problem? If so how long should I wait until I am off the doxy? I've been off Accutane 6 months (no results) can I try the LED txs now?
- Treatments
- Acne Treatment
- DPL System by MUAC (Make...
DPL System by MUAC (Make Up Artists Choice) vs. Gentle Waves. Is Doxycycline Okay?
- Tylie
- Minneapolis, MN
- 4 years ago
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text:
Women's Ice Hockey vs Neumann
$4 for adults, $2 for 5-17years, free for children under the age of 5, free for SUNY Oswego students with ID. Tickets may be purchased at tickets.oswego.edu. 3073
Location: Marano Campus Center Ice Arena
Friday, Dec 4, 3 p.m. - 5:30 p.m.
Men's Ice Hockey vs. Buffalo State
$8, free for SUNY Oswego students with ID. Tickets may be purchased at tickets.oswego.edu. 3073
Location: Marano Campus Center Ice Arena
Friday, Dec 4, 7 p.m. - 9:30 p.m.
Holiday Social in New York City
Save the date. http://alumni.oswego.edu/events
Location: New York City
Tuesday, Nov 24, 6:12 p.m. - 6:12 p.m.
GOLD Third Thursdays
Visit http://www.facebook.com/events/453070221388940 for the latest locations or suggest your own!
Location: Various Cities
Thursday, Dec 17, 6 p.m. - 8 p.m.
CSS 235 - INTRODUCTION TO CINEMA PRODUCTION Adams, Josh
This course presents the basic concepts, techniques, and processes of cinema production. Throughout the course the student will learn how to write, storyboard, shoot, and edit an electronic motion picture. Digital post production processes will be introduced. Narrative, documentary, and experimental theories will be discussed, and the students will participate in directing and producing a final short film for a public screening.
CSS 335 - INTERMEDIATE CINEMA PRODUCTION Dodd
CSS 335 is an intermediate production course focused on digital video/ film production. It is designed to lead you towards effectively telling an engaging narrative story in a small amount of time through visual, aural and emotional methods. You will learn how to successfully take a short screenplay and transform it into a moving picture using the Classical Narrative Paradigm. You will learn how to attract an audience, and affect them emotionally, using conflict, action, tension and release. The class will utilize the three-tier studio model of preproduction, production and post-production, along with a "green-light" process for their final project. You will learn the importance of story-boarding, writing, casting, scheduling and budgeting, pertaining to industry standards.
CSS 391 - FILM PRACTICUM Adams, Josh
Film Practicum is an intensive, cerebral and physical exercise in the various approaches to filmmaking and videography. This course takes both conventional and experimental paths to help students expand their creative horizons. Students should expect to be "in production" constantly during the semester.
CSS 395 - SPECIALIZED STUDIES: ECO CINEMA Deater
*This course will be a combination of Theory & Production and include field trips to local area parks.
Environmental films will be seen as texts to be understood from cultural, historical, and political perspectives. This course will use a rhetorical approach for understanding environmental films by analyzing audience, context, and purpose. It will challenge students to apply critical thinking skills as they construct arguments related to themes and topics presented in environmental films. Students will use their understanding of the artistic process that influences representations of environment in film to produce their own cinematic encounters with the environment. They will explore how the film medium constructs meaning around environmental issues.
CSS 395- SPECIAL TOPICS: CINEMATOGRAPHY Dodd
Students will research and engage in the art of cinematography through hands on workshops and collaborative seminars designed to enhance their creative use of light, shadow, movement, color, shot duration, and composition. The role of the director of photography will be explored in-depth beginning from collaboration with the director through camera selection to final execution and color correction. Emphasis will be placed on preparation for fictional narrative and documentary productions. The student will develop artistic strategies and crew managerial skills that shape motion picture aesthetics and utilize the full fidelity of motion picture imaging formats. All available cinema camera systems will be stressed including: Super 8mm, Ultra 16mm Arriflex SR, and DSLR HD Video. The creative options of the 16mm and DSLR prime lens packages will be fully highlighted in the course. Students will execute film emulsion tests, lens tests, lighting demonstrations, and complete dramatic scenes focused on building an argument for their chosen stylistic approach. The semester will conclude with each student completing a short film in which they are the sole director of photography on a peer production.
CSS 485 - EXPERIMENTAL FILMMAKING Shore
The purpose for this course is to examine experimental cinema and the avant garde as an alternative method of filmmaking. The student will experiment with non-narrative, impressionistic, and poetic filmmaking methods in order to engage the audience in thought-provoking manners.
Prerequisite: ENG 286
CRW 201 - SCREENWRITING: INTRODUCTORY Giglio
This introductory course explores the screenwriting genre as it applies to a visual medium. Students will engage in writing exercises to learn the elements of story, character development, structure, scene study and dialogue. Students will also analyze professional screenplays, learn to pitch and write their own short film script. No prerequisite.
CRW 201 - SCREENWRITING: INTRODUCTORY Folk
This introductory course explores the screenwriting genre as it applies to a visual medium. Students will engage in writing exercises to learn the elements of story, character development, structure, scene study and dialogue. Students will also analyze professional screenplays, learn to pitch and write their own short film script. No prerequisite.
CRW 205 - POETRY WRITING: INTRODUCTORY Donnelly
TR 9:35-10:55 or 11:10-12:30
Poet Naomi Shihab Nye writes, "Poetry is a conversation with the world; poetry is a conversation with the words on the page in which you allow those words to speak back to you; and poetry is a conversation with yourself." In CRW 205, students engage with this conversation while exploring the building blocks of poetry - image, metaphor, diction, voice, line, form, sound, and revision. Class includes some craft lecture, but focuses primarily on discussion of contemporary poets and student work. No previous experience with poetry is necessary.
CRW 205 - POETRY WRITING: INTRODUCTORY Itzin
CRW 205 is an introductory course in the fine art of reading and writing poetry, with an emphasis on the latter. Since reading and writing poetry are reciprocal activities, students will read a variety of poetry voices and styles with a critical eye on "how" and "how well" they are written and how this can be used in their own writing. The course will discuss ideas for generating poems, the vocabulary to discuss them in a workshop setting, and revision techniques.
CRW 205 - POETRY WRITING: INTRODUCTORY Pritchard
Mark Strand wrote, "There is no happiness like mine. I have been eating poetry." In creative writing, reading a lot and writing a lot are essential in order to produce good work. In this introductory writing course, we will do just that. We will analyze mostly contemporary poets who use a variety of different writing styles in their poems as well as writing our own poems, practicing techniques on paper and in a workshop setting.
CRW 206- FICTION WRITING: INTRODUCTORY Wilson
Toni Morrison wrote: "If there's a book you really want to read, but it hasn't been written yet, then you must write it." You can get started in this beginning fiction writing workshop. You'll be reading contemporary short stories and writing exercises using a variety of fiction techniques. In the latter half of the semester everyone will produce a full-length story, which will be discussed by the entire class. You'll be giving written critiques of everyone's stories and this will help you form a critical aesthetic in the genre.
CRW 206- FICTION WRITING: INTRODUCTORY Motto
In this fiction writing course, students will read and critique each other's work, as well as the work of established authors. Students should expect daily exercises, quizzes, class discussion, one story and one re-write. This introductory course is designed for students who are non-writing majors. This course is linked to Angel.
CRW 206-FICTION WRITING: INTRODUCTORY Alocco
This is a beginning workshop in fiction. Students will study the writing of established authors, develop a critical vocabulary, complete a number of writing exercises, and write at least one full-length short story. In the workshop, students will share their work with the entire class and provide constructive feedback on the work of their peers. Our main goals are to deepen our understanding of the craft of fiction, put that deepened understanding into practice, and make use of the workshop to hone our writing skills.
CRW 207 - PLAYWRITING: INTRODUCTORY Knight
MWF 9:10-10:05 or 10:20-11:15
We will read, write, watch, create, act, and produce in this interactive playwriting class! Together, we will examine short plays for their plot structure, dramatic action, conflict, character, dialogue, spectacle, and theme. Writing exercises are designed to spark the writing, to find a structure for stories, to deepen the dramatic principles listed above, and heighten theatricality. In class we will workshop each other's scripts, reading scenes in small groups and as a class and bringing the scenes to life. By the end of the class, all students will have completed a 15 min Play and be an integral part of all levels of production of The One-Min Play Festival.
CRW 208 - CREATIVE NONFICTION WRITING: INTRODUCTION Halferty
This course introduces students to various modes of nonfiction writing, helps them analyze and evaluate literature in the genre, and provides an environment in which they develop writing in nonfiction modes.
CRW 208 - CREATIVE NONFICTION WRITING: INTRODUCTION Steiner
MWF 12:40-1:35 or 1:50-2:45
This is a beginning workshop in creative nonfiction - the art of telling true stories. No experience is necessary; you need only love stories and believe that "real life" - yours and others' - is a rich source for writing material. We will read and discuss samples of the form by established writers, practice craft through short exercises, produce essays for workshop, and offer feedback on each other's work. Our goals are to hone writing skills, develop a critical vocabulary, learn workshop procedures and etiquette, and become familiar with forms of nonfiction.
CRW 208 - CREATIVE NONFICTION WRITING: INTRODUCTION Allocco
CRW 208 is an introductory workshop in nonfiction. Students will read and discuss the work of established writers and will become familiar with creative writing skills such as crafting scenes, using dialogue effectively, and building strong characters and themes. They will complete short exercises and write a full-length essay. Students will improve their writing skills, share constructive criticism in a workshop setting, begin to build a critical vocabulary and become familiar with the genre of nonfiction.
CRW 300 - LIVING WRITERS SERIES Giglio
This large-lecture course explores the creative process via a series of talks presented by writers across the genres and may include other members of the writing community (editors, librarians, publishers). Students develop their own values and aesthetics, and articulate them through exercises and assignments; participants become acquainted with the challenges, practices, and rewards of "the writing life." Open to all Oswego State students.
CRW 301 - SCREENWRITING: INTERMEDIATE Adams, Jamie
MWF 12:40-1:35 or 1:50-2:45
Intermediate screenwriting will allow students to analyze films, screenplays and lectures to continue the structural outcome of the feature-length screenplay, which they started in CRW 201, or an entirely new script of their choosing. Workshops in class with groups as well as those led by the instructor will help students navigate through the structure, format and style of a feature-length film script. Exercises, reading scripts as well as written and oral critical responses/ critiques of classmates' work will be required. Prerequisite: CRW 201 Screenwriting: Introductory
CRW 305 - POETRY WRITING: INTERMEDIATE Itzin
The core of CRW 305 is the writing workshop, featuring poems by each student. In addition to extensive writing, revising, and critiquing, students read and discuss several single-author collections of poetry and selected craft essays that encourage experimentation with a variety of poetic styles. We'll also continue to consider what it means to be a literary citizen, both within and beyond the classroom. A final portfolio of revised poetry will be required.
CRW 305 - POETRY WRITING: INTERMEDIATE Pritchard
In this intermediate level poetry workshop, students will write, revise, and critique a number of poems throughout the semester. Reading assignments will focus on several single-author poetry collections, and some analytical writing is also required. We will also experiment with digital form. A final portfolio, including new and revised poetry, will be submitted at the end of the semester. CRW 205 is a prerequisite for this course.
CRW 306 - FICTION WRITING: INTERMEDIATE O'Connor
TR 11:10-12:30 or 12:45-2:05
This course is an intensive workshop in fiction writing in which you will examine student stories as well as stories from The Best American Short Stories. Students will develop and discuss their aesthetic principles. Requirements: 3 stories or sections of a novel, story responses, self-assessment paper, and use of Angel. Prerequisite: CRW 206.
CRW 307 - PLAYWRITING: INTERMEDIATE Knight
Students will employ techniques from the beginning course while learning to take conscious risks in their writing. We will look at breaking open the form and actively investigate elements of playwriting with an eye toward distilling and manifesting each writer's intention. We will cover a range of new and classic plays to build the students' story-telling toolkits and strengthen performance analysis and critical response. In class we will workshop each other's scripts, reading scenes in small groups and as a class and bringing the scenes to life. By the end of the class, all students will have completed a One-Act Play (at least 30 pages of material).
CRW 308 - CREATIVE NONFICTION WRITING: INTERMEDIATE Loomis
CRW 308 is an intermediate nonfiction workshop. Students will read and discuss creative nonfiction by established writers, write their own essays, and critique the work of their peers. Students will conduct various forms of research to establish mastery over chosen subject matter. They will investigate technical and aesthetic aspects of the genre, and ponder ethical questions, such as "what is truth?" and "do I have a right to use other people's stories as my own?" One full-length essay as well as several short pieces will be required. CRW 208 is a prerequisite.
CRW 355 - Literary Citizenship Steiner
This course is designed for motivated students to pursue ways of enhancing their understanding of the writing life. It is not a course on how to get a job, and is neither a literature course nor a creative writing workshop, although you will read and write extensively and will likely increase your "marketability" as a creative writer. Students will work on several projects simultaneously for most of the semester, including group and individual presentations, community activities, and ongoing writing assignments. Emphasis will be placed on initiative, investigation, collaboration and professionalism. If you care about making the world a better place for readers and writers, Literary Citizenship is for you. PERMISSION OF INSTRUCTOR REQUIRED
CRW 401 - SCREENWRITING ADVANCED Giglio
Writers need deadlines. I personally know this to be true. This course will require that you write a complete feature screenplay. This process will be facilitated by lectures, in class assignments, and small and large group workshops. You will pitch ideas, break your story into a beat sheet, get immersed in character development and finally write a feature screenplay. In addition, we'll have discussions about working in the Hollywood "industry" and you will learn to write script coverage. Prerequisite: CRW 301
CRW 406- FICTION WRITING: ADVANCED O'Connor
It takes skill to compress the universe of a story or tale into less than a thousand words. Flash fiction must deliver an impact and ramify in subtext while paying attention to economies of scale. In this class we'll be writing almost a dozen different flash fictions, and we'll be reading widely in contemporary flash fiction. The course will require you to write a flash every week. You will be expected to make group presentations and organize a final portfolio of your best work. CRW 306 is a preprequisite.
ENG 101 - COMPOSITION I All Sections
Review of fundamentals of writing for students with problems in writing skills so that they may continue successfully in ENG 102.
ENG 102 - COMPOSITION II All Sections
Practice in college level writing, includes preparation of a research paper.
ENG 103 - ADVANCED LISTENING COMPREHENSION Skolnik
This course is designed for students with limited English proficiency to better understand extended academic discourse, including authentic lectures, and to refine note- taking skills in order for them to perform their academic tasks competently and successfully.
ENG 104 - ADVANCED READING Skolnik
This course is designed to improve and develop the reading ability of students with limited English proficiency as it relates to critically analyzing academic texts.
ENG 105 - ADVANCED SPOKEN ENGLISH Davis
This course is designed to improve and develop the speaking ability of students with limited English proficiency as it relates to interpersonal and small group communication.
ENG 204 - WRITING ABOUT LITERATURE All Sections
Exploration of our own language use through the lens of literature, and exploration of literary language from the perspective we create with our own uses of language. We will study narrative, verse, and drama and one or two additional novels and plays. Approximately six essays.
ENG 204 HONORS - WRITING ABOUT LITERATURE Bishop
Student-critics will practice scholarly literary criticism by applying insights learned from several key critical texts to our analysis of language from three different literary texts: first we'll critique a longer poem (from the 1700s or 1800s), then a play (from the 1800s or 1900s), and finally a novel (from current times). Student literary critics will create individualized critical strategies that draw upon their own political concerns, while incorporating material from the three major branches of critical theory commonly practiced in the field of literary studies:
· Theories of form, which look at the text as an object that's been put together in a certain way. From a formal approach, we consider aspects such as genre, narrative structure and language.
· Theories of mind, which look at the way human thought and feeling are represented in the text, as well as how we with our own minds react to and relate to the texts we read. In this mode, we can consider psychoanalysis (sexual and emotional desire, the behavior of the unconscious), epistemology and cognition (the study of the processes whereby knowledge is attained, theories of how and why we know things).
· Theories of culture, which attend to the material conditions and social structures that influenced the creation of a literary work, and which are also represented by that literary work. Cultural theories examine how politics and power, gender, economics, religion, the natural environment, race and ethnicity, history, art and cultural forms affect human lives and relationships.
Course work consists of one short early paper, homework assignments that apply key concepts from a particular critical text to a close reading of language from the literary text, and a final research paper.
ENG 204 HONORS - WRITING ABOUT LITERATURE Coll
Student-critics will practice scholarly literary criticism by applying insights learned from several key critical texts to our analysis of language from three different literary texts: first we'll critique a longer poem (from the 1700s or 1800s), then a play (from the 1800s or 1900s), and finally a novel (from current times). Student literary critics will create individualized critical strategies that draw upon their own political concerns, while incorporating material from the three major branches of critical theory commonly practiced in the field of literary studies:
· Theories of form, which look at the text as an object that's been put together in a certain way. From a formal approach, we consider aspects such as genre, narrative structure and language.
· Theories of mind, which look at the way human thought and feeling are represented in the text, as well as how we with our own minds react to and relate to the texts we read. In this mode, we can consider psychoanalysis (sexual and emotional desire, the behavior of the unconscious), epistemology and cognition (the study of the processes whereby knowledge is attained, theories of how and why we know things).
· Theories of culture, which attend to the material conditions and social structures that influenced the creation of a literary work, and which are also represented by that literary work. Cultural theories examine how politics and power, gender, economics, religion, the natural environment, race and ethnicity, history, art and cultural forms affect human lives and relationships.
Course work consists of one short early paper, homework assignments that apply key concepts from a particular critical text to a close reading of language from the literary text, and a final research paper.
ENG 220 - MODERN CULTURE AND MEDIA Halferty
Relying upon each student's familiarity with cultural forms (for example, in film, television, popular music and music videos, comic books, cartoons, advertisements, magazines, detective fiction, and romances), this course introduces students to the methods and interpretive strategies of literary studies.
ENG 220 - MODERN CULTURE AND MEDIA Coll
"Humanism and Posthumanism." In this section of ENG 220, we will analyze a variety of cultural forms that share an interest in examining what it means to be human. Using Bram Stoker's Dracula (1897), Karel Čapek's R.U.R. (1920), Kazuo Ishiguro's Never Let Me Go (2005), and Daryl Gregory's Raising Stony Mayhall (2011) as anchor texts, we will explore how humanist notions of embodiment, affect, and political subjectivity are questioned and complicated in stories about almost-humans. We will also read theoretical works that challenge humanist ideas from a group of perspectives that have come to be called posthumanist. Your work in this class will include discussion, staying current with your reading assignments, completing several short writing assignments and tests, and producing a research-based analytical paper.
ENG 220 - MODERN CULTURE AND MEDIA Folk
Using examples from popular culture, social media, film, television, novels and popular trends as the "text", this course examines what effect our culture has on modern media and vice versa. Students will take a deeper look at what it means to be human and interact with the world, as it exists today. Specific topics will be examined using zombie lore, fairytales in popular culture and much more!
ENG 235- AMERICAN LITERATURE/CIVIL WAR Guerra
"American Hauntings/Haunted Americans." This course considers the formation of U.S. literature and culture by following a variety of major themes in the literary history of America, from its beginnings through the Civil War. These themes include both religious and secular attempts to represent a unique American mission and identity, a focus on individual reform and personal transcendence, and the issues that accompanied longstanding debates over the social role of women and non-whites in the era before the Civil War. Our journey through early American literature will be guided in part by images of haunting and the supernatural, as we look at a number of texts that use these figures to comment on forces within society that fall off of the grid of the supposedly "natural" order of things-the remainders of historical violence, bodies marginalized by their gender or race, and stories too dangerous to be told in the light of day.
In addition to exploring these themes, this course will also strengthen students' skills in close reading, argumentative writing, and analytical discussion-while also providing a richer perspective on the history that informs the contemporary United States.
ENG 237 - ETHNICITY & CULTURE DIFFERENCES IN LITERATURE Zeller
That America is a land of immigrants is hardly news. Until recently, we didn't study the literary response of those immigrants to their experiences in becoming Americans or even what it meant to be an American. In this class we examine how culture and difference expresses itself in literature since 1945. Specifically we look at the poetry and stories of Asian and Hispanic immigrants, Native Americans, African Americans, women and gay writers. We will read one comic and the experimental novel The Buddha in the Attic by Juile Otsuka.
ENG 265 - SOPHOMORE SEMINAR IN GENRE Bishop
This class exists to give English majors a strong introduction to a specific genre of literature. This class will focus on the poetry of British Romanticism. British romantic writers operated from 1780-1830 and concerned themselves with themes of imagination, women's rights, abolition, nature and other subjects. We will encounter these themes by working through the different verse forms these poets chose to pour their work into. These include: narrative, lyric, ballad, ode, and elegy among others. By analyzing these genres we will see how different writers preserve and deviate from the conventions of the genres in order to attend to the needs of each text. While all the poets under discussion are "Romantic" they also draw on the dynamic and diverse influences of their time: revolution, philosophy, science and more. All of these interests create a network of signifiers around the text, which work as a cipher for us to discover.
ENG 265 - SOPHOMORE SEMINAR IN GENRE Cooper
Prose Genres and the Origins of the English Novel. We'll read two works of fiction from the early 1700s with a goal of understanding how the early English novel commented on, and sometimes parodied, earlier genres of prose writing, including the romance, the saint's life and the spiritual autobiography. Mostly, the early novels satirized romance, gender roles and the institution of marriage. Critical readings will discuss the predominant themes of social rank, wealth, violence, virtue, truth and the sexual double standard that permitted a man to have sex outside of marriage, while casting the woman out of society if she was caught doing the same thing. The focus will be on understanding how the form of the novel evolved as the aesthetical fulfillment of the ethical and intellectual needs of society. Coursework: close reading of passages from the novels, one short early paper, a presentation, homework assignments about the critical readings and a final research paper.
ENG 265 - SOPHOMORE SEMINAR IN GENRE Lears
An intensive introduction to the study of some of the conventions of literary genre, including genre theory. The course will undertake a comparative analysis of two specific genres, or kinds, of literary production's for example, lyric and ballad, pastoral and allegory, encomium (formalized poems of praise) and satire. The study will place examples within their historical contexts and within the history of the conventional genre. PREREQ: ENG 204 or instructor permission.
ENG 271 - PRACTICAL ENGLISH GRAMMAR Murphy, M.
Designed for students intending to teach, this course focuses on teaching grammar in the context of writing. A broad review of parts of speech, the syntax of complex sentences, and the conventions of standard usage will be supplemented by attention to the relation between standard and non-standard dialects, as well as to dealing with dialect difference in the classroom and in written work. Graded work includes exams, tutoring, teaching a mini-lesson, and the maintenance of a journal of observed usages.
ENG 286 - INTRODUCTION TO CINEMA STUDIES Shore
TR 9:35-10:55 or 2:20-3:40
The purpose of this course is to provide a critical introduction to the study of cinema and screen studies. The course is comprised of two sections: 1) film and formal analysis; 2) film and historical analysis. This course satisfies the Knowledge Foundations in the Humanities requirement of General Education, the Contexts category in the English Major and is the introductory course for the major in Cinema and Screen Studies.
ENG 304 - LITERARY CRITICISM Schaber
This semester we will engage with a series of texts, some quite old, others quite recent, which will help us become increasingly attentive to the elements and practices constitutive of literature as such and to sketch some of the possible horizons for the understanding of works of literary art. In short, these texts-by philosophers, linguists, psychoanalysts, anthropologists, poets, scientists-will help us situate ourselves in relation to literature and criticism, both of which imply creative acts. Bi-weekly papers and a final project. Required text: Leitch et al., eds. The Norton Anthology of Theory and Criticism.
ENG 304 - LITERARY CRITICISM Murphy, P.
How do literary critics do what they do? What is the secret behind writing a critical interpretation of a literary work of art that others will find insightful and compelling? What is at stake when literary critics begin to argue over how works of literary art should be read or taught? This course will answer some of these questions, while it attempts to answer the toughest questions of them all: What can one do with an English major? We will pursue these and similar questions by focusing upon some interpretive strategies in formalism, structuralism, hermeneutics, psychoanalysis, deconstruction and cultural materialism. We will examine some developments within feminism, gay and lesbian studies, and perhaps some cultural anthropology and ethnography, while situating these developments within the larger traditions of literary criticism and theory that begin with Plato and Aristotle. By reading both theory and criticism along with several specific literary texts, we will examine how literary criticism is fashioned, what is at stake in its arguments, and how literary criticism provides its own unique kinds of political, philosophical, historical, and poetic knowledge.
ENG 304 - LITERARY CRITICISM Curtin
We will examine literary "theory" that spans from the Enlightenment to the contemporary period, and we will consider debates about the role of the poet or writer in history. Our initial discussions will focus on John Dos Passos' novel, The 42nd Parallel (1930), and the first essay will provide an opportunity to develop literary analysis guided by whatever questions most resonate with you. Though we will move on to examine literary theory primarily, we will reflect on various theoretical approaches by re-visiting The 42nd Parallel throughout the semester.
Teams of students will work together to facilitate class discussion of theoretical texts: identifying, contextualizing, and paraphrasing the central thesis of each project; exploring the premises and implications of each new essay; juxtaposing new inquiries with more familiar with ones; and demonstrating how the theoretical text illuminates The 42nd Parallel. This kind of engagement will constitute the basis of the second essay. In the final essay project, students will choose a literary text from an extensive list, develop their own theoretically informed analysis and argument, and integrate relevant critical scholarship. This project will be undertaken in stages, including a proposal, an exam, a draft, a conference, and a revision.
ENG 319 - SHAKESPEARE-AN INTRODUCTION Murphy, P.
This course studies Shakespeare's development as a writer who explores new possibilities for his poetry and his plays while altering, amplifying, or discarding old strategies. We examine the full range of Shakespeare's writing: (1) from his somewhat early work in the sonnets and narrative poems along with his early experimentations in comedy to his more mature developments in the history play and festive comedy, (2) from his first attempts at tragedy to the breakdown of comic form in the problem plays, and (3) from his exclusive attention upon tragedy to his almost exclusive work in the later romances. Our readings will be selected from each of these phases and genres. There will be two or three examinations and two essays.
ENG 322 - 19th CENTURY ENGLISH NOVEL Coll
The nineteenth century has often been described as the "golden age" of fiction, a time in which the novel form took on a shape and function that we now consider conventional. In this class, we will explore how the emergence of the novel in Britain in the nineteenth century both reflected and constructed ways of thinking about a world that was in the midst of enormous cultural, political, and material change. Through our reading of six representative nineteenth-century novels, we will analyze narrative techniques, approaches to characterization and emplotment, the concept of the novel as a site for ethical engagement, and the changing aims of authors and readers across the century. Your work in this class will include active discussion and participation, staying current with your reading assignments, completing several short writing assignments and tests, and producing a research-based analytical paper.
ENG 323 - 20TH CENTURY BRITISH FICTION Jayawardane
When you imagine a picture of what's British, don't you immediately think Downtown Abby, the Queen, jam, tea, and scones? Similarly, when we think of British literature, we immediately think of Shakespeare and Jane Austen. However, in the twentieth century, what constitutes Britain and British literature has changed as much as America and American literature...it is only our fantasy of Britain that hasn't changed. In this class, we will examine the ways in which Diasporic people, such as Caribbean and Indian immigrants who arrived in Britain after WWI and WWII questioned, challenged, and remade what we think of as British identity. The authors we will read are the embodiment of the "global transnational": they are at home in Britain - and at times, deeply embedded in "English" culture - but they are also able to see through the false constructions behind Englishness, precisely because of their outsider/Other status in the island. Through their writing, we will look at how literature and storytelling has become an intrinsic part of refashioning what is "British". In order to better understand the literature, we will also tackle a number of themes and issues including: patterns of migration, representations of identity and difference, "ethnic" cultural production, diasporic youth cultures, gendered dimensions of race-relations, relationship between class and race, and state policies in twentieth century Britain.
ENG 337 - LITERATURE OF THE HARLEM RENAISSANCE Clark
In this course, we will read selected writers of the Harlem Renaissance and explore, among other issues, the concerns of the "talented tenth," the particular construction (by some of the writers) of a hierarchy within the black community that separated the intelligentsia and the "common folk". Additionally, we will consider the political and social effects of an aesthetic movement like the Renaissance as these intersect with questions of gender, color privilege, and social status. We will also question the invocation of Harlem as a geographic site for the movement. The writers we might read include Langston Hughes, Zora Neale Hurston, Wallace Thurman, Alain Locke, Nella Larsen, Jessie Fauset, Bruce Nugent, and George Schuyler. Course requirements include essay assignments and mid-term and final examinations.
ENG 343 - 20TH CENTURY AMERICAN NOVEL LaLonde
Just for grins, we'll spend the semester reading, thinking about, and discussing texts that ask us to think about the novel genre. We'll explore novels within novels, novels that refuse to stay within the bounds of fiction, novels that comment on themselves, novels that seem to defy comment. There will be the usual subjects, texts from Faulkner and Nabokov spring to mind immediately, along with texts from African-American, Chicana, and Native American writers. Who knows, perhaps a graphic novel will strike our fancy. Students can look forward to tests and essays.
ENG 350- MODERN DRAMA Bertonneau
This course surveys modern drama from Ibsen and Strindberg to contemporary dramatists such as Pinter, Stoppard, and Fugard, considering how each playwright uses the dramatic form and what their plays reveal about the worlds in which they move. As these texts were meant to be viewed in performance, whenever possible we'll make use of filmed productions as well as reading the printed text. Our primary objective will be to read, think about and discuss, and write about this selection of modern plays, written beyond America's borders.
COURSE TEXTS: (1) Ghosts, Ibsen; (2) Miss Julie, Strindberg; (3) Major Barbara, Shaw; (4) The Importance of Being Earnest, Wilde; (5) Galileo, Brecht; (6) Rhinoceros, Ionesco; (7) Waiting for Godot, Beckett; (8) Rosencrantz and Guildenstern Are Dead, Stoppard; (9) Betrayal, Pinter; (10) Master Harold . . . and the Boys, Fugard; (11) The History Boys, Bennett.
COURSE REQUIREMENTS: (1) in-class reaction/response writing; (2) short essay analyzing a scene, minor character, or staging choice; (3) longer interpretive essay; (4) group panel presentation; (5) take-home midterm and final exams; (6) class participation.
ENG 351- AMERICAN POETRY SINCE 1945 Donnelly
American Poetry Since 1945 will study the poets and movements that have shaped contemporary poetry.
ENG 360 - LITERATURE IN GLOBAL CONTEXT Hurtado
Futurism. Feminism. Colonialism. In the past 100 years the world has changed radically. In this course we will look at a few writers influenced, recorded, and responded to the 'isms' of the modern world and their effects of course of the past century. Of necessity, we can only touch the surface of that writing. We read around the world, mostly exempting European writers who might be covered in other courses
ENG 361 - TRAVEL, MIGRATION, DIASPORA Jayawardane
Did you know that East Africans from Ethiopia and the Swahili Coast were generals and aides to kings in India, long before the arrival of Europeans? And that Bengali Indians arrived in Harlem in the late 1800s, integrating with the Hispanic population? This class explores how literature-and storytelling-is an intrinsic part of migration. This course focuses on how literature-and storytelling-is an intrinsic part of Diaspora: the transnational flows of people, goods, intellectual ideas, and spiritual beliefs across oceanic pathways and cross-continental roads. We will focus on novels and memoirs by authors who are the embodiment of the "global transnational" - sometimes deeply embedded in a "home" culture, but often loyal to neither nation nor ethnicity. Through reading literature connected to immigration, including (possibly) Jhumpa Lahiri's Unaccustomed Earth, and Chimamanda Ngozi Adiche's Americanah, and Diaspora theory, we will explore changing dynamics of identity and national affiliation in an era of increasing global connectivity. Drawing from various scholarly traditions, we will examine how literature captures the production, circulation, and consumption of ideas, serving as key sites for negotiating race relations and shaping constructions of socio-cultural and political identities. Exploring flows of literature and new media within and between North America, Europe, South Asia, Africa and other contexts, we will tackle a number of themes and issues including: patterns of migration, representations of identity and difference, "ethnic" cultural production, Diasporic youth cultures, gendered dimensions of race-relations, relationship between class and race, and state policies.
ENG 365 - JUNIOR SEMINAR Jayawardane
On the day that two airliners blasted into the high floors of the Twin Towers of the World Trade Centre, I was getting ready for my first day of teaching for the fall quarter at the University of Denver, where I was doing my doctoral work. I was to pick up my then-partner, who was flying back to the US from Europe that day. My friend Tai, a woman delightfully addicted to conspiracy theories, rang me: I heard the phone ring through the blast of my hairdryer.
"Turn on your television. Something bad has happened."
I knew, then, that my passport, life experiences, and scholarship will be stamped by the political decisions subsequent to that fiery argument between two flying machines and two icons of power: while America united in mourning, many new immigrants to the nation knew that their "right to happiness" would be compromised. 9/11 was not just a day of terror in the Homeland; it was the day the 'West' became aware of Third-World Others' increased mobility - an unwelcome result of globalisation itself - leading national governments to use the risk of terror as currency in the political processes necessary for increasing 'security' via amplified surveillance, imprisonments without trial, and a sweeping series of legal policies hostile to the rights provided by the US constitution. In those early days, I was too afraid to show up at any rally - I knew surveillance would record my presence. Ten years after 9/11/2001, I know that we need to address the long-term effects of the War on Terror, and have a better understanding of our citizenship, constitutional rights, and engagement within the nation. We'll write about our own experiences, informed by legal scholarship, journalism, political manoeuvrings, and poetic language. Our class will read a variety of novels, memoirs, and theory and criticism that concerns 9/11 and the War of Terror, including Frederick Beigbeder's homage to the beauty of the buildings; Mahvish Rukhsana Khan's accounts of her time as a defence lawyer for the prisoners at Guantanamo Bay; and a news correspondent's experiences on the ground, with American soldiers.
ENG 365 - JUNIOR SEMINAR Clark
Since Alice Walker's recovery of Zora Neale Hurston's work in the mid-1970s, the interest in her work as novelist, anthropologist, memoirist, ethnographer, and womanist that spans from the Harlem Renaissance of the 1920s through the mid-twentieth century has not abated. This course will examine Hurston's oeuvre, which may include the following: Their Eyes Were Watching God, Seraph on the Suwanee, Mules and Men, Mule Bone, Dust Tracks on a Road. Additionally, we will explore her collaborations, conversations, and relationships with other writers such as Langston Hughes, Carl Van Vechten and Fanny Hurst in order to apprehend Hurston's oft-overlooked intellectualism in her creative work, her acceptance of patronage, and her conservatism, considered controversial by some. The principle course requirement will be the completion of an extensive research project.
ENG 373 - THEORIES OF LANGUAGE Lears
A survey and analysis of recent theories of language as the ground of literature, including reading, writing, speaking, and understanding. The course will examine the interplay between language and the issues of class, culture, gender, race, and childhood that affect our use of languages. PREREQ: Minimum sophomore standing OR LIN 100 or instructor permission.
ENG 374 - HISTORY & DEVELOPMENT OF ENGLISH LANGUAGE Lears
Historical backgrounds of the English language, growth of vocabulary, and development of linguistics standards and usage. PREREQ: Minimum sophomore standing or instructor permission.
ENG 376 - SCIENCE FICTION Bertonneau
An exploration of the mythic, philosophic, and poetic roots of the science fiction genre, this course surveys the field in the work of selected authors such as Leigh Brackett, Edgar Rice Burroughs, Philip K. Dick, Stanislaw Lem, H. P. Lovecraft, Catherine Louise Moore, William Olaf Stapledon, H. G. Wells, and others. Topics include science fiction as mythopoeia, as visionary experience, as anthropological speculation, and as metaphysics and theology. The course integrates key science fiction films, emphasizing the 1930s, 40s, and 50s.
ENG 384 - SS: YOUNG ADULT LITERATURE Kane
This course will involve the study of current issues in the field of young adult literature, as well as major authors, themes, genres, award winning books, and pedagogical concerns. It will provide strategies for selecting and sharing appropriate literature with teens.
ENG 385 - CHILDREN'S LITERATURE Troy-Smith
A survey course of literature for children. Not a course in methodology, the basic purpose of this course will be to survey the various genres of literature that have been written especially for children (approximately 2-14 years of age), or literature that was originally written for adults, but now has generally been relegated to children. The genres include: picture books, nursery rhymes, folk literature, modern fantasy, realistic fiction, poetry, and information books. Criteria will be established for literary evaluation. Certain social issues such as sex, sexism, and violence will be discussed in terms of children's books.
ENG 386 - THE CINEMA Schaber
T 6:00-8:15 Lab
A direct engagement with some fragments of the major theories of film from the 1930's to the present. These primary documents will mediate an extended discussion of what cinema has been (or perhaps might have been), what it is (or perhaps might be), and what it is becoming (or perhaps might be becoming). But we don't only have to think about the cinema; sometimes the cinema encourages us to think about other things, many other things, as well. Three take-home exams. Required texts: Timothy Corrigan and Patricia White, Critical Visions in Film Theory (2011); Thomas Elsaesser and Malte Hagener, Film Theory (2010).
ENG 387 - VISION & TEXTUALITY Guerra
"I See What You're Saying." Who hasn't uttered some version of this phrase before? Mundane. And yet, if we really look at it, this everyday expression illustrates that the distinction between vision and text is always, well, blurry. From pictures that tell a story, to our generally held notions that a good book paints pictures with words, vision and text consistently and messily define each other in often frustrating and interminable loops. The inability to define one without the other-even as we commonly assume pictures and texts are distinct entities-often means that the idea of one lingers in the other, structuring it subtly. They haunt and perhaps even curse one another. In this course we will begin to unpack the relationship between these two terms by looking at fictions that highlight the link between vision, text, and curse-between the visionary as an agent of change and the historical documentarian as a reminder of what remains the same. Our case studies will range from the historical "wizardry" at the core of Nathaniel Hawthorne's The House of the Seven Gables, to the aesthetic evils of Oscar Wilde's The Picture of Dorian Gray, to the dark generational dramas of watching and acting in Toni Morrison's Sula and Junot Díaz's The Brief Wondrous Life of Oscar Wao.
All the while, we'll develop our own critical eyes, enhancing our capacity to theorize productively about visual and verbal texts, and to allow these theories to change the way that we and others see.
ENG 388 - FILM GENRE Deater
A history and analysis of film genre. The course will examine the notion of film genre as distinct from other notions of genre, in particular, literary genre. Special attention will be paid to horror, melodrama, film noir, musicals, science fiction, and teen pics. Prerequisite: ENG 286 or minimum sophomore standing, or instructor permission.
ENG 465 - SEMINAR IN ADVANCED LITERARY STUDIES Hurtado
A comprehensive review of the problems confronting the literary scholar, with emphasis on the theory and methodology of literary study. Repeatable for a total of 6 credits.
Prerequisite: ENG 304 or instructor permission.
ENG 465 - SEMINAR IN ADVANCED LITERARY STUDIES Guerra
"Confidence/Games." One way to understand the emerging aesthetics of culture in the nineteenth-century United States is by conceiving of them as engaging with a fundamental crisis of confidence-a crisis that continues to have significant currency in our own moment. As rural populations ventured into a society of strangers in the city, as social reform threatened/promised to change cultural traditions and politics, and as modern methods of marketing and sales emerged, authors and other producers of popular culture strove to create viable models of agency whereby the unfamiliar might be familiarized, whereby one could know where one stood within the social body as a whole. Etymologically, the word "confidence," often employed by these same producers, refers to a "together faith," hearkening to the necessarily social grounds for this agency as it was conceived in this period. What did this confidence entail? How was it achieved and how was it exploited? We'll get at this by examining important works of literature that engage with the theme, in addition to more ephemeral cultural products that, contrary to the antisocial view sometimes taken of literature, explicitly engage with a kind of social contract between players-that is, games. By fleshing out the specific logic of mid-nineteenth-century games, and understanding the way interaction and agency were materially and procedurally figured in these objects of rule-bounded play, we'll come to a closer understanding of how books also required and enabled similar modes of sociality and material engagement on the part of their readers. By using games as contemporary sources of both thematic and material concerns in the period, we will deeply explore the interface of agency and print-technology that facilitated (and troubled) confidence in an era of unprecedented change.
Readings may include Herman Melville's The Confidence-Man: His Masquerade, Nathaniel Hawthorne's utopian satire The Blithedale Romance, George Thompson's sensational and salacious Venus in Boston, and Hannah Crafts' recently uncovered The Bondswoman's Narrative. A number of historical games, from billiards and Tangrams to board games and early "Mad Libs"-like puzzles will also be examined in order to develop native theoretical models we might apply to literature.
ENG 485 - WORDS IN THE WORLD Murphy, M.
The Words in the World capstone course partners students with local and regional non-profits, businesses, government agencies, and grassroots organizations to work on real-world writing projects. These projects challenge students to draw on and expand the strong writing and rhetorical skills they have developed across four years as English majors. As part of this work, students are asked to compose a "narrative of aspirations" that asks them to think deeply about their intellectual skills and temperaments, ultimately imagining a set of potential professional identities consistent with and following from the intellectual commitments they have made as English majors. Drafts of the narrative, a résumé, and a cover letter will be due during the first week of classes (instructions will be sent in advance of the first meeting); after receiving peer critique, writers will review project descriptions proposed by partners and revise their job documents accordingly. Interviews will follow, after which writers and partners will be matched. By the end of the semester, writers should be able to: 1) identify the writing needs of a community organization or business; 2) carry out research and conduct ongoing dialogue with key constituents to refine a sense of audience and purpose; 3) imagine and design specific documents through which to address that audience and purpose; 4) demonstrate effective cooperative work strategies; 5) complete agreed-upon, writing-based projects on a deadline; and, 6) analyze and interpret the effectiveness of the writing in line with the client's goals.
For examples of the sorts of projects Words in World students have found themselves in a position to write in previous semesters, see the white paper on hydrofracking composed by
Alex Bissell for the Onondaga Nation available at: http://www.oswego.edu/academics/colleges_and_departments/departments/english/Alex_Bissell.html
or Marilyn Borth's article on the abortion debate for the Syracuse New Times at:
ENG 489 - WOMEN AND SCREEN STUDIES Shore
Since Eadweard Muybridge documented the nude female body in motion in his 1880s photographic studies, women's relationships to the visual screen have been fraught in terms of representation, spectatorship and identity. This course will study the histories and theories of these fraught relationships by examining representations of women on screen, theories of cinematic spectatorship and gender, cultural conditions of gendered reception and industrial conditions shaping gender and representation.


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What an excellent service we had the day of our wedding. Since the moment they arrived at the venue they took control, they helped us a lot, the table setting was great with the napkins and the cups and utensils. The food was delicious, our guests gave us good compliments about the food!
The waiters and waitresses were outstanding!!! I still remember Linda, how many times she came to our table to serve us and ask if we were ok. The cocktail hour.... Perfect!!! ?. Everything was great!
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Movies Seen in 2011
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April 10 2011, 05:24 AM
Captain Craig
Vice Admiral
Location: Nashville,TN
Re: Movies Seen in 2011
Too Much Fun wrote:
CC, what did you think of the ending of
? I thought it was pretty hilarious how it was going for tragic and disturbing...it was so over-the-top I couldn't take it seriously. In fact, I think the whole thing is a case of a movie taking itself too seriously when it lacks the subtlety to really deserve that, but yeah, fine performances.
I found the ending to be telegraphed, at least as far as Chloe was concerned.
You just knew Chloe was going to die. Frankly with all the emotional instability with Catherine(Julianne) I half expected her to somehow, with some instrument perhaps stab Chloe. The whole hairpin to the throat moment made me go there I suppose. Chloe letting herself die though was a bit hollow. What did she the result of that would be?
I think at times during the final act I could agree it staggered into "over-the-top" and then found it's way back.
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Dear Amy: I've been married to my wife for nearly 30 years; we've had our share of the usual problems.
I believe she had an affair with a friend of ours about 15 years ago. I've asked her about it a couple of times and she denied it, but I have this feeling that she isn't being truthful.
I can't seem to let it go, and I continually think about it. There is a company near here that does a polygraph test to prove infidelity. Do you think I should ask her to take the test to prove her innocence and help me to overcome my doubts? ...


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The fundamental forces driving the world oil market were broadly stable in February, due to the familiar pattern of consumption growth in Asia offsetting ...
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Enbridge said it fully restarted a Midwest oil pipeline Thursday morning that had been shut down last weekend after a car crash hit it, causing a fire and ...
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ExxonMobil CEO Rex Tillerson called for the adoption of a systematic hydraulic fracturing fluid disclosure program in Europe to provide further information ...
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Engineers and designers are highly skilled individuals. Forcing them to enter design changes using tables, forms and spreadsheets is unproductive and uneconomical, and it increases the likelihood of human error—this is the way that most instrumentation software systems currently work. For too long, software vendors have denied engineers and designers the simple practicality of a graphical visual engineering interface with "drag and drop" capability and inbuilt intelligence, ensuring changes are automatically replicated into all the associated data and databases.
As low oil prices make naphtha cracking margins in Europe and Asia more competitive, are investments in new, ethane-based petrochemicals capacity in the US and Middle East becoming less attractive?
Yes, ethane cracking is less economical
No, ethane cracking is still the future
Too early to tell
November 2015


text: Stewart: Romney's Misusing His Time Machine Also, why does Mitt's horse get to go to prom? By Kevin Spak, Newser User Posted Jul 17, 2012 8:11 AM CDT STORY COMMENTS (35) (Newser) – Jon Stewart joined the chorus mocking Mitt Romney's "retroactive retirement" on last night's Daily Show. "I'm not saying that if you have a time machine you necessarily have to kill Hitler," he quipped, "But this retroactive retirement is the worst use of a time machine I have ever seen." He also noted with amusement that Bain Capital almost shares a name with Batman's latest nemesis. "Not since Ayds diet candy … has a brand faced this type of challenge." Romney is also taking heat for his tax dodges, which he's defended by saying that his money is in blind trusts. Naturally, Stewart digs up a clip of Romney saying that, "The blind trust is an age-old ruse." ("To the time machine! To retroactively retire that soundbite!") Of course, Romney's ultimate defense is that he followed the law. "And that really is the point," Stewart says. "If you're a so-called job creator in this country—even if the jobs you create are in India and China—you are entitled to wonderful things," like, say, a $77,000 deduction for dressage horse competition expenses. "Yeah. A $77,000 tax break to send your horse to the f(bleep)ing prom!" Stewart: Romney's Misusing His Time Machine 1 of 2 Back to story » Jon Stewart thinks Mitt Romney is misusing his time machine. (The Daily Show) Jon Stewart has a problem with Romney's tax returns. (Comedy Central) Popular Video Stories DailyShow.com (Source Grid ») Politics Mitt Romney • Bain Capital • Jon Stewart • The Daily Show • tax breaks • blind trust CLICK BELOW TO VOTE 12% 66% 1% 0% 21% 0% RETURN TO THE STORY To report an error on this story, notify our editors.


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Community Activist Had Passion For Helping
Man Who Helped Homeless Dies At 69
Dick Randel, who died Friday, was known for helping the homeless and foster children. (Photo by Nikki Fox / DN-R File)
Any chance he had to help someone in need, he'd step up to the plate immediately,…
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American Eagle Series 079 are aggressive truck and SUV wheels manufactured from premium cast aluminum and features a 6 twin-spoke style in deep black finish and machined wheel lips adorned with rivet studs. The Series 079 are designed with deep lip profile for a tougher look that can fit for both standard and lifted vehicles. Comes in 17", 18" and 20" rim sizes with American Eagle center cap. American Eagle Series 079 Black are 100% American made.
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CRN Managed Services News
There will be more than $500 billion in profits this year related to solutions and services, Microsoft's Dana Manciagli tells European Solution providers.
Ingram Launches SaaS For Microsoft Exchange Server, SharePointThe offerings are delivered through Ingram's Seismic Virtual Services Warehouse and can be private labeled by solution providers.
Simplifying Managed Security through Software-as-a-Service (SaaS)New data from the Solution Provider Channel reveals that the profitability of Managed Security Services increases significantly when delivered through a SaaS model.
MSPAlliance Offers Insurance Specifically Designed For MSPsThe program is affordable as it takes into consideration risk management benefits of being a member of MSPAlliance, the group says.
Are You Ready For The Next Evolution Of Managed Services?As the managed service market reaches its' tipping point, it becomes more important to differentiate yourself through world class customer service, 7/24 support, proactive IT service delivery and keeping abreast of the latest technological developments.
Dell Updates MSP Certification To Include EverdreamEverdream partners who register before May 15 will be grandfathered into Dell's MSP desktop remote management certification program.
Profitable Service Desk Strategies: Episode 4 Of The 2008 Kaseya MSP Education SeriesThe strain of service desk support can sap vital resources which could be better directed at new account development and marketing.
Pentaho pact brings Carahsoft's open source options straight to Uncle Sam
Government, PleaseThere's an emerging trend among government agencies to consider open source software--and astute VARs are in line for a piece of the action. Carahsoft Technology Corp. (VARBusiness 500 No. 242) and Pentaho Corp., have announced a partnership that will make the government reseller the exclusive General Services Administration (GSA) Schedule distributor for U.S. Government organizations that choose Pentaho's Open BI Suite for business intelligence.
MSP Masters The StormMichael Drake thought he had the bases covered.
How to answer your SMB health-care customers' concerns about HIPAA protocols
HIPAA HelpHealth care has moved far beyond the days of "take two aspirin and call me in the morning." Emerging technologies have led to more accurate and quicker diagnoses, better communications between providers through the use of electronic medical records and the freedom for health-care professionals to concentrate on preventative care.
Incentra Grows Services Business As It Acquires VARsThe company's overall services revenue grew about 80 percent over 2007.
MSP Business Models and Strategies: Episode 3 of the 2008 Kaseya MSP Education SeriesWith so many ways to build a managed services business, picking the right MSP model and making sure it's profitable is no small task.
Success in Managed Security - Expand Your Reach, Grow Your ProfitsFind out how you can profit from the convergence of the booming SMB market, the maturity of Software-as-a-Service (SaaS), and the ever-increasing need for security.
Ingram Launches Services OfferingsSolution providers and MSPs can combine any of several services with a current offering or use them as a foundation to enter managed services.
Kaseya Readies Largest Platform Upgrade YetUpgrade includes support for Intel's vPro Technology and Apple's Mac OS.
2008 Channel Chiefs: Who's Who In MSP PlatformsCheck out the movers and shakers of managed services in the channel.
Avnet Beefs Up Healthcare Opportunities For ISVs, VARsThe program will beef up the HealthPath initiative Avnet started in 2006.
Click on a Channel Chief name for more details
2008 Channel Chiefs: MSP PlatformsThe who's who at the managed services provider platform vendors.
EMC Gobbles Up Pi, Gets Ex-Microsoft Exec For DessertPi has been working on next gen software environments to allow users to "create, repurpose, store, share, and access personal information in novel ways."
Tech Data Offers Managed Services With Zenith InfotechTech Data also offers remote-monitoring managed services access through an agreement with N-able Technologies.


text: We're sorry, Personalised Moon Mother's Day Card is no longer available Why not try one of these instead? 20% OFF Personalised Days I've Loved You Card by Ruby Wren Designs £4.95$11.11€7.39$8.14 £3.96$8.88€5.91$6.51 free UK delivery Personalised Tree Trunk Card by Claire Close £4$8.97€5.97$6.58 free UK delivery 20% OFF Cheesy Birthday Or Anniversary Card by Becka Griffin Illustration £2.50$5.61€3.73$4.11 £2$4.48€2.98$3.29 35% OFF Birthday Card Glasses For Her by Tandem Green £3.90$8.75€5.82$6.41 £2.53$5.67€3.77$4.16 free UK delivery Personalised Moon Mother's Day Card by Kitty's £4$8.97€5.97$6.58 13 customer reviews(13) This item is no longer available £6.95$15.60€10.38$11.43 delivery to United States Receive this item 5-10 working days from dispatch International delivery available name colour of mooncolour of moon (required)PinkBluecolour of moon (required)PinkBluecolour of moon (required)PinkBluecolour of moon (required)PinkBlue message inside(if being sent direct to the recipient) send direct to recipientsend direct to recipient (required)send direct to recipientnosend direct to recipient (required)send direct to recipientnosend direct to recipient (required)send direct to recipientnosend direct to recipient (required)send direct to recipientno love youlove you (required)IWelove you (required)IWelove you (required)IWelove you (required)IWe name on the moon we're sorry we're sorry, This item is no longer available buy a gift voucher related categories cards & wrap > cards & invitations > birthday cards > children's birthday cards cards & wrap > cards & invitations > birthday cards > general birthday cards cards & wrap > cards & invitations > cards sent direct by Kitty's Location: Kent, GB read seller's profile see seller's complete range more items from this seller 20% OFF Personalised Christmas Reindeer Decoration by Kitty's £5$11.22€7.46$8.22 £4$8.97€5.97$6.58 20% OFF Personalised Christmas Snowman Decoration by Kitty's £5$11.22€7.46$8.22 £4$8.97€5.97$6.58 20% OFF 1st Christmas Teddy Personalised Decoration by Kitty's £5$11.22€7.46$8.22 £4$8.97€5.97$6.58 20% OFF Personalised Red Heart Angel Christmas Dec... by Kitty's £5$11.22€7.46$8.22 £4$8.97€5.97$6.58 20% OFF Personalised Christening Wooden Keepsake Sign by Kitty's £5$11.22€7.46$8.22 £4$8.97€5.97$6.58 20% OFF Personlised Baby's 1st Christmas Card by Kitty's £3$6.73€4.48$4.93 £2.40$5.38€3.58$3.94 view all you may also like PRODUCT DETAILS CUSTOMER REVIEWS DELIVERY RETURNS Made in Britain can be personalised exclusive ask seller a question save for later A gorgeous Mother's Day card, designed and handmade by Kittys. This beautiful teddy with his handrawn features swinging from a moon is a lovely way of telling your mummy, grandma, auntie, cousin or godmother that you love them to the moon and back by sending them this lovely personalised Mother's Day card which they will keep long after their special day. Each unique card can have either a pink or blue moon, and if you would like a message to be handwritten inside and sent directly to the recipient please select from the options on the drop-down menu. made from: Each card has a beige teddy and tiny little paper stars embellished onto a luxury linen card, with a co-ordinating envelope and packaged in a cello bag. dimensions: Each card measures 14.5cms x 14.5cms. product code: 221259 13 customer reviews Fri 11 Apr 2014 Just as advertised first class Wed 19 Feb 2014 Great card Fri 27 Dec 2013 :o( Kitty's's response: Thanks for your feedback and we're sorry to hear that you're not totally happy with your purchase. We are passionate about customer service and always strive to make sure you have a great experience with us. Sun 24 Nov 2013 No comment supplied. Tue 12 Nov 2013 Lovely well made card Thu 17 Oct 2013 Lovely card and great service. Thank you so much for getting it to me in time after I failed to properly read the delivery times! Fri 20 Sep 2013 I would not hesitate to purchase from her again. My card was lost in the post and was sent a replacement by return. EXCELLENT SERVICE Sun 12 May 2013 No comment supplied. Tue 07 May 2013 A really nice personalised card. The recipient absolutely loved it and that is always the main objective! Sat 23 Mar 2013 Great quality but long delivery and so missed Mothers Day. Sat 23 Mar 2013 We had a hiccup at first but it was wonderful the lengths these people went to correct it.I would use them again Wed 20 Mar 2013 Really lovely card, fab that you could personalise it too! Tue 19 Mar 2013 Lovely sweet little card, just what I wanted. see all customer reviews hide some customer reviews read about our product rating system ratings guide trusted independent customer feedbackforum excellent bad good poor This product is dispatched to you by Kitty's. MAINLAND UK order now and receive this item by price Free Delivery Friday 4 December FREEFREEFREEFREE Tracked Two Day Delivery Wednesday 2 December £3.95$8.86€5.90$6.49 Tracked Next Day Delivery Tuesday 1 December £4.95$11.11€7.39$8.14 Tracked Next Day 1pm Delivery Tuesday 1 December £6.95$15.60€10.38$11.43 Saturday Delivery Saturday 5 December £12.95$29.07€19.34$21.30 NON-MAINLAND UK estimated delivery price Highlands & Islands of Scotland 2-5 working daysfrom dispatch FREEFREEFREEFREE Northern Ireland 2-5 working daysfrom dispatch FREEFREEFREEFREE Other UK Islands 2-5 working daysfrom dispatch FREEFREEFREEFREE INTERNATIONAL DELIVERY estimated delivery price Western Europe 2-5 working daysfrom dispatch £5.00$11.22€7.46$8.22 Rest of Europe 5-10 working daysfrom dispatch £5.00$11.22€7.46$8.22 USA & Canada 5-10 working daysfrom dispatch £6.95$15.60€10.38$11.43 Asia & Australasia 5-10 working daysfrom dispatch £7.25$16.27€10.83$11.92 Rest of the world 5-14 working daysfrom dispatch £7.25$16.27€10.83$11.92 You have 28 days, from receipt of cancellable goods, to notify the seller if you wish to cancel your order or exchange an item. Please note: goods that are personalised, bespoke or made-to-order to your specific requirements, perishable products and personal items sold with a hygiene seal (cosmetics, underwear) in instances where the seal is broken are non-refundable, unless faulty. Read more about our returns policy.Should you choose to return or exchange your order you will need to deliver the item(s) to the UK, where this seller is based. Kitty's's return policy Please see notonthehighstreet.com's returns policy.


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An idle question on language design, see "Does C# have a right hand if like Perl".
For example, in recent C family languages
z = foo ( a, b, c );
a is evaluated, then
b, then
c, so left-to-right.
z = a ? b : c;
a is evaluated, then either
b or
c, so left-to-right order.
In Python, you write a conditional expression as
z = b if a else c
so the order is the same -
b or
c, but it's not left-to-right.
Strict left-to-right ordering was put into Java to simplify the language; ordering is implementation dependent in C or C++.