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Archived Course Descriptions
Fall 2011
ETS 107-1 Living Writers
ETS 107-2 thru 4 & 6 thru 10
This class gives students the rare opportunity to hear visiting writers read and discuss their work. The class is centered on six readings and question-and-answer sessions. Students will be responsible for careful readings of the writers' work. Critical writing and detailed class discussions are required to prepare for the question-and-answer sessions with the visiting writers. This class is open to freshmen, sophomores, and juniors. The first class meets in the room assigned to ETS 107-1.
ETS 114-4 Survey of British Literature, 1789-present
TuTh 2:00-2:55
Instructor: Mike Goode
ETS 114-5 Discussion Section Th 3:30-4:25
ETS 114-6 Discussion Section Th 5:00-6:20
This course will examine roughly 225 years of Britain's literary history, covering the literature and culture of the Romantic Age, the Victorian Age, the twentieth century, and the present. Historical topics will include: political revolution; the industrial revolution; urbanization; evolution; religion; social reform movements; race, class, gender, and sexual politics; nationalism and imperialism; the World Wars; counter-cultures; postcolonialism; and postmodernism. Readings will include novels, poems, plays, and other historical texts. Writers covered will include: Olaudah Equiano, Mary Wollstonecraft, William Blake, William Wordsworth, Samuel Coleridge, Charlotte Smith, Percy Shelley, Jane Austen, Robert Browning, Alfred Tennyson, Charles Dickens, Queen Victoria, Bram Stoker, Oscar Wilde, W. B. Yeats, Virginia Woolf, James Joyce, Wilfred Owen, Radclyffe Hall, Grahame Greene, George Orwell, Derek Walcott, Seamus Heaney, Eavon Boland, Bob Marley, Johnny Rotten, Linton Kwesi Johnson, and Ian McEwan. Assignments will consist of three essays, reading quizzes, and a final exam.
ETS 118-2 Survey of American Literature since 1865
Instructor: Jolynn Parker
This course will provide a chronological overview of American literature since the Civil War, paying particular attention to key literary movements such as realism, naturalism, and modernism. Historical topics will include industrialization; consumer culture; immigration; social reform movements; race, class, gender, and sexual politics; nationalism; imperialism; postmodernism; and the history of literary forms. Readings will include novels, short stories, poems, plays, essays, and other historical texts.
ETS 119-1 Topics in U.S. Literary History:Postwar American Fiction
TuTh 11:00-12:20
Instructor: Susan Edmunds
This course offers a survey of postwar U.S. novels and short stories from the late 1940s to the present. We will interpret the fiction through a sociohistorical framework, with particular emphasis placed on investigating the interconnections between aesthetics and politics. After an initial survey of fiction written in direct response to World War II and its aftermath, we will read literary texts associated with or influenced by the counter-culture, the Vietnam War, the Civil Rights, Black Power and AIM movements, and Second Wave Feminism. We'll end the semester with a series of novels that focus on the position of racial and ethnic minorities in the contemporary U.S. The reading list is not final yet but is likely to include: Baldwin, Going to Meet the Man; Vonnegut, Slaughterhouse Five; Morrison, Tar Baby; Erdrich, Love Medicine; and Choi, A Person of Interest.
ETS 121-1 Introduction to Shakespeare
Instructor: Dympna Callaghan
ETS 121-2 & 3 Discussion F 10:35-11:30
ETS 121-4 & 5 Discussion F 11:40-12:35
This course offers a reading intensive introduction to the oeuvre of arguably the world's greatest writer, William Shakespeare. We will cover at least one work from each genre Shakespeare wrote in (e.g. Roman history, English history, tragedy, comedy, problem comedy, and lyric) as well as some of the historical and critical writings that inform and elucidate his writings. We will pay particular attention to the historical, literary, and theatrical contexts of Shakespeare's plays. You need to be committed to careful and sustained critical reading and prepared to attune yourself to the English language as it was spoken in the late sixteenth and early seventeenth centuries. Every effort will be made to make both the plays and the contextual documents accessible to you, but please be ready for a reading and learning experience that will be challenging, as well as rewarding and exciting. Assignments include a midterm, a final, two quizzes, and a 5-page essay. Play screenings will be offered one evening each week.
ETS 145-1 Reading Popular Culture
TuTh 12:30-1:50
Film Screening: Tu 7:00-9:50
Instructor: Thomas Witholt
Popular culture is the culture "of the people," made from the material that the mass culture industry disseminates. While some scholars have viewed mass culture as an unstoppable top-down force, others argue that audiences instead "make do" with what is delivered and exploit the gaps in popular texts. This course begins with the understanding that popular culture is participatory, not passive, and as such it provides the potential to resist dominant culture without demanding resistance. Together, we will examine how people take mass culture and use it to create their own, more relevant interpretations in the form of popular culture. In exploring what it means to read popular culture through its historical and social contexts, we will move from the fundamental elements of popular culture, through different models of reading popular texts, and finally to fandom, via fan communities and fan productions. This course will examine myriad sources for twentieth- and twenty-first-century U.S. popular culture, including comic books, television, and film. Discussion will be a critical component of this course, and assignments will include weekly Blackboard posts, short critical papers, and midterm and final exams. The weekly screenings scheduled for this course are required.
ETS 145-1 Reading Popular Culture
Film Screening: W 7:00-9:50
Instructor: Steven Doles
The vast majority of the texts and objects we experience in our everyday lives, from television to toothbrushes, are mass produced within a commercial context. Scholars have frequently been highly skeptical of these texts, seeing them as overly commodified and inferior to high art. However, within the past several decades a model of popular culture has become more prominent within cultural studies, examining the ways people make use of cultural products rather than how cultural products use and exploit their consumers. In this course, we will learn about both sides of this debate, but the emphasis will be on the latter approach. The course will take us from discussions about how to define popular culture and how to recognize the elements that can make a text available for popular appropriation, to looking at actual instances of fandom, including fan fiction and videos. Specific case studies of popular culture appreciation may include such phenomena as comic book fandom or Star Trek conventions, but students are also be encouraged to bring their own experiences and knowledge into discussion and assignments. Assignments will include reflection papers, short critical papers, and a midterm and final exam. The weekly screenings scheduled for this course are required.
ETS 145-7 Reading Popular Culture
TuTh 3:30-4:50
Film Screening: Tu 7:00-9:50
Instructor:David Yaffe
This course will examine the images, music, and texts of popular culture with critical precision, approaching pop songs, Hollywood movies, advertising images, and even the stars themselves as "texts." The distinction between "high" and "low" culture has always shifted; Shakespeare and Dickens, for example, were popular entertainers in their own cultural moments. This course will challenge traditional hierarchical distinctions as we apply critical rigor and aesthetic consideration to vernacular material. Readings, listenings, and viewings will include Roland Barthes's essay on Greta Garbo, Clement Greenberg's "Avant-Garde and Kitsch," Susan Sontag's "Notes on 'Camp,'" Richard Kweitniowsky's film adaptation of Gilbert Adair's Love and Death on Long Island, Andy Warhol's soup cans, F. Scott Fitzgerald's The Great Gatsby, Orson Welles's Citizen Kane, David Lynch's Blue Velvet, and Quentin Tarantino's Pulp Fiction. Billie Holiday, Orson Welles, Marilyn Monroe, and Bob Dylan will be among our scrutinized icons. Assignments will include three papers and a final exam. The weekly screenings scheduled for this course are required.
ETS 145-8 Reading Popular Culture
Film Screening: M 7:00-9:50
Instructor:Lindsey Frank
Some scholars and academics have often, in the past, been less than optimistic about the ability of "the masses" to do anything more than passively consume and reflect the values conveyed to them by mass culture. Within the last several decades, however, sociologists and media scholars have become less skeptical about the public's passivity. This course will examine popular culture, or how people respond to and use mass culture in ways that are relevant to their own lives; we will explore the ways in which popular culture provides people with a means of resisting the dominant ideologies of society without requiring that resistance. We will explore how to read popular culture in its historical and social contexts, employ different theoretical modes of analysis, and examine various artifacts of fan productivity. In the process, we will view and closely read various texts, including films and television shows, and examine several fandoms, including vampire fandom, gamers, and punks. In-class discussion will be an integral component of this course, in addition to weekly Blackboard posts, two short critical/analytical essays, and a midterm and final exam. The weekly screenings scheduled for this course are required.
ETS 151-1 Interpretation of Poetry
Instructor:Bruce Smith
The course will consist of discussions of poems from the various traditions of poetry. I'm interested in what makes the poem memorable and moving, how it is a vehicle for the emotions. I'm interested too in what in the poem provokes and challenges us, what gives the poem its power to seduce and trouble and soothe, what gives it its music and voice as distinct from speech. Students will write six 2-page papers in which they examine closely a single poem by a poet from the text. Students may opt to write more papers (up to eight) and receive extra consideration for them. In addition, students will be asked to choose a poet and present the work of the poet in a 3- to 4-page paper. Attendance at the readings on campus is encouraged. Emphasis in discussions will be on style and substance, music and image. Multiple ways of reading poems will help the students expand the range of poetic possibilities.
ETS 152-3 Interpretation of Drama
TuTh 9:30-10:50
Instructor:William D. West
Ritual, pageant, mime, dance, vocal display: all have been instrumental in creating drama - a powerful mirror reflecting the lives and customs of a people and of individuals. The course examines this "mirror" as it has evolved in European and American culture from the Greek Drama of ancient Athens to the present, beginning with a reading of Aristotle's Poetics, and continuing with one of the great "problem" plays of Shakespeare, Measure for Measure. We will explore the beginnings of modern drama with two plays be Henrik Ibsen (A Doll's House and Ghosts), followed by five great twentieth-century American plays: Eugene O' Neill's Long Day's Journey into Night, Lillian Hellman's The Children's Hour, Arthur Miller's A View from the Bridge, August Wilson's The Piano Lesson, and David Mamet's Oleanna.
ETS 153-1 Interpretation of Fiction
TuTh 8:00-9:20
Instructor:William D. West
The course will discuss the nature of narrative (story-telling and plot), fiction, and the novel. Having established these boundaries, we shall then study examples from different historical periods and cultural traditions, all of which have as an important element in their narrative the societal and cultural role of women. Novels for study and discussion will include Elizabeth Gaskell's North and South (1855), George Eliot's Silas Marner (1861), Thomas Hardy's Tess of the d'Urbervilles (1891), E. M. Forster's A Room with a View (1908), André Gide's novella, The Pastoral Symphony (1919), F. Scott Fitzgerald's The Great Gatsby (1925), and contemporary American novelist Ann Patchett's Bel Canto (2001).
ETS 153-2 Interpretation of Fiction
Instructor:Amy Leal
This "Interpretation of Fiction" course centers around the theme of "Dreams, Visions, and Awakenings" and is designed to introduce you to the art of interpreting fiction as you hone your critical reading and writing skills. In addition to examining the relationship between narrative and fiction, we will also look at the formal aspects of novels and short stories such as point of view, structure, plot, setting, character, and figurative language. Authors will include Maxine Hong Kingston, Nathaniel Hawthorne, Zora Neale Hurston, Ambrose Bierce, Henry James, Tracy Chevalier, George MacDonald, Lewis Carroll, Jorge Luis Borges, and Jane Austen. There will be a group presentation, short in-class and at home writings, a midterm, and two longer papers.
ETS 153-4 Interpretation of Fiction
TuTh 9:30-10:50
Instructor:Jackson Petsche
The purpose of this course is to help you engage critically with fictional texts. We will examine throughout the semester elements of fiction such as narrative, plot, character, focalization, and figurative language. This course is structured around the broad theme of "labor and class." Therefore, while considering formal elements of fiction, we will also be examining fictional works in terms of their explicit and implicit political themes as they pertain to issues including class, race, gender, and sexuality. We will interrogate how ideology shapes the production as well as the reception of novels and short stories. Authors included will be Charles Dickens, Dashiell Hammett, Octavia Butler, C.L.R. James, J.D. Salinger, Tillie Olsen, James Baldwin, Sherman Alexie, and James Joyce among others. We will also read some essays of literary and critical theory.
ETS 153-5 Interpretation of Fiction
TuTh 2:00-3:20
Instructor:Jessica Kuskey
This course will introduce you to ways of closely reading and interpreting fiction and will help you sharpen your skills of reading, discussing, and writing about literary texts. Our primary task will be to analyze textual details and the formal aspects of fiction like point of view, plot, narrative structure, character, and figurative language. We will then step back and examine the relationship between these formal details and the specific historical and cultural contexts within which our course texts have been produced and read. We will read a diverse collection of short stories and novels all linked by our course theme: representing humans. This course theme will direct our attention to the ways fictions produce representations of people, societies, and material objects in ways that construct, critique, or subvert categories of difference like race, class, and gender. This approach will enable us to produce interpretations of literary texts based in close readings that examine the relation between the ways literary texts use language and the ways fiction can reflect and critique its culture and society. Authors will include: H.G. Wells, Philip K. Dick, Bram Stoker, Arthur Conan Doyle, William Gibson, Alan Moore, Jean Rhys, and J.M. Coetzee.
ETS154-1 Interpretation of Film
Film Screening: M 7:00-9:50
Instructor:Roger Hallas
ETS 154-2 Discussion Th 3:30-4:25
ETS 154-4 & 5 Discussion F 9:30-10:25
ETS 154-6 & 7 Discussion F 10:35-11:30
ETS 154-9 Discussion Th 5:00-5:55
This course provides a comprehensive introduction to the interpretation of film. Regarded as the quintessential medium of the last century, cinema has profoundly shaped the ways in which we see the world and understand our place within it. Focusing principally on classical and contemporary English-language cinema, we will investigate precisely how meaning is produced in cinema. The course integrates a close attention to the specific aesthetic and rhetorical aspects of film with a wide-ranging exploration of the social and cultural contexts that shape how we make sense of and take pleasure in films. We shall also devote attention to questions of history: How may one interpret a film in relation to its historical context? How should the history of cinema be written? Film history incorporates not only the films that have been produced over the past one hundred years, but also an understanding of how the practice of movie going has transformed over time. The weekly screenings scheduled for this course are required.
ETS 181-1 Class and Literary Texts
TuTh 3:30-4:50
Instructor:Auritro Majumder
This course will provide a systematic introduction to the social interactions between class and literary texts. We will interrogate what is meant by literary texts by loo
king at a wide variety of writers, from the graffiti-writer Banksy to the lyrics of Erykah Badu, comparing their works to the likes of James Baldwin, Arundhati Roy, Leslie Silko, and Nadine Gordimer, to name a few. This global constellation of texts will illuminate key concepts related to the study of class and the relevance of class in today's world. We will frame our discussions by examining the categories of "exploitation," "freedom," "desire," "the body," and so on. Short selections from Karl Marx, Frantz Fanon, and others will provide a framework for this purpose. This is writing and discussion based class, so students are expected to participate and engage with each other. There will be a midterm exam and at least three writing assignments of varying length (500 - 1500 words). Students are free to write on any topic of their choosing, after consultation with the instructor, but these essays will have to engage rigorously with concepts discussed in class.
ETS 182-3 Race and Literary Texts
TuTh 2:00-3:20
Instructor: Joseph Hughes
The term "post-racial" is a recent one that has been both enthusiastically embraced and roundly criticized. Using literature, this course seeks to question this term, and our general ideas of "whiteness" and "blackness" through a thoughtful examination of texts from Africa, the Caribbean, the United States, and Great Britain. Among the core issues we will consider are: 1) The way in which notions of whiteness have long-depended on the "formulation" of blackness as a means of consolidating both political and economic identity; 2) What are authentically African traditions and values and how do these survive amidst the destructive incursions and dislocations that come with the slave trade and later nineteenth-century imperial projects in Africa; 3) What are the continuing challenges facing peoples of the African Diaspora, and why do so many of this community's contemporary writers feel compelled to "return" to the past. This course will include excerpts, poems, short stoires and a few novels. Writers you will likely encounter in the course will include Richard Ligon, Harriet Beecher Stowe, Joel Chandler Harris, Toni Morrison, Jean Rhys, Chinua Achebe, Ama Ata Aidoo, George Lamming, James Baldwin, and Richard Wright.
ETS 184-1 Ethnicity and Literary Texts: Introduction to Asian American Literature
TuTh 2-3:20
Instructor: Manan Desai
In his incendiary introduction to Aiiieeeee!! (1974), the playwright and novelist Frank Chin described Asian American writers as "Chinese and Japanese Americans, American-born and raised, who got their China and Japan from the radio, [...] from the pushers of white American culture." Chin's anthology for Asian American literature did far more than define an aesthetic literary tradition; he was defining a racialized and politicized community in the U.S. This course takes Chin's declaration as a point of departure, exploring the ways in which Asian American writers (including South and South East Asian Americans) have constantly interrogated the meanings of both Asian American and American identity. Our readings will cover literary texts responding to key periods in Asian American history, starting with Asiatic Exclusion policies in the early 20th century, continuing through Japanese-American Internment, the Celler-Luce Act of 1945, the Hart-Celler Act of 1965 and onward to post-9/11 U.S. How have Asian American writers engaged the broad intersections of race, class, and gender throughout American history? How does this literature participate in or write against the national narrative of multiculturalism in the United States? And finally, given the great diversity of people that constitute "Asian America," what is the value in organizing these writings within the folds of an Asian American literary tradition? This course will draw from fiction by Carlos Bulosan, Joy Kogawa, Dhan Gopal Mukerji, John Okada, Frank Chin, Louis Chu, Maxine Hong Kingston, Jhumpa Lahiri, and Lois-Ann Yamanaka.
ETS 184-4 Ethnicity and Literary Texts: Introduction to Native American Literature
TuTh 9:30-10:50
Instructor: CJ Dosch
This course offers an overview of writings by Native American authors from the eighteenth century to the present. By locating the texts and authors in their historical, cultural, and political contexts, the course will examine Native American responses and resistance to the pressures and cultural destructiveness of U.S. imperialism over the past three centuries through such issues as removal policies, reservations, boarding school educations, Native sovereignty, and land claims. These writers, in defending their cultures and defining themselves in relation to the colonizing ideologies of white society, challenge the historical representations of Native Americans and require their readers to consider the complex identity constructions necessary at the front line of ideological conflict. Through scholarly and theoretical writings relevant to each period and writer, students will encounter and engage with a variety of methodological approaches to reading Native American texts. The course may include essays, poetry, fiction, and autobiographies by writers such as Elias Boudinot, George Copway, Jane Johnston Schoolcraft, Charles Eastman, Zitkala-Sa, Francis La Flesche, N. Scott Momaday, Leslie Marmon Silko, Louise Erdrich, Sherman Alexi, and many others.
ETS 192-1 Gender and Literary Texts
TuTh 3:30-4:50
Instructor: Jillian Sherwin
In this course we will explore the construction of gender in several literary forms, as well as the impact that gender has on our interpretation of these works. We will devote considerable attention to the intersection of gender with other issues, especially class, race, and sexuality. Other concerns will likely include the body's relationship to gender, gender conflict, and the history of gender thought and criticism. We will cover primarily British and American texts from the nineteenth and twentieth centuries, with a few extras thrown into the mix. In addition to critical and theoretical texts on gender, we will read several fictional texts in a variety of forms, such as poetry, plays, novels, films, and television shows. Texts will likely include: Fight Club; Walker, Texas Ranger; Charlotte Bronte's Jane Eyre;Emily Bronte's Wuthering Heights; Stephenie Meyer's Eclipse; as well as other works by William Shakespeare, Arthur Conan Doyle, Judith Butler, Virginia Woolf, and Charlotte Gilman. We will also examine contemporary works such as music videos and magazine advertisements. This course will meet the writing intensive requirement in the Liberal Arts core, and students can expect to write several informal response papers, a short critical paper, and a long research paper.
ETS 200-1 Selected Topics: Religion, Literature, Film
Instructors: Ken Frieden and Gail Hamner
ETS 200-2 & 3 Discussion 11:40-12:35
This course examines literary and cinematic approaches to religious life, focusing on the diversity of Jewish and Christian expression and practice (e.g., words, symbols, rituals, music, and gesture). One of our goals in co-teaching this course is to disrupt the frequent use of the term "Judeo-Christian" in our culture, encouraging students to view, read, and reflect on the differences between Jewish and Christian ways of life. Each week's readings and film will present a set of literary and cinematic elements for our consideration, but through them all we will use the axis between "realism" and "formalism" as the general frame for literary and cinematic interpretation (recognizing that this axis is often ambiguous or blurry).
ETS 215-1 Introductory Poetry Workshop
Tu 3:30-6:15
Instructor:Carroll Beauvais
In this class, students will write eight to ten poems over the course of the semester. Students will be expected to respond to these poems in written and oral critiques. The study of form, prosody, and readings from contemporary poets will also be required. Students will be expected to revise at least four of their poems to turn in at the end of the semester.
ETS 217-3 Introductory Fiction Workshop
Tu 9:30-12:20
Instructor:Dana Spiotta
This class will introduce students to the fiction workshop. Students will work on writing and reading stories. In class we will discuss student work as well as work from outside the class. We will do in-class writing exercises, and each student will keep a writing notebook.
ETS 242-1 Reading and Interpretation
Instructor: Claudia Klaver
TuTh 11:00-12:20
Instructor: Carol Fadda-Conrey
ETS 242 introduces students to the discipline of English and Textual Studies, stressing not what is read but how we read it - and the difference that makes. Its goal, in other words, is not only to show how meanings are created through acts of critical reading but also to demonstrate the consequences of pursuing one mode or method of reading over another. This course is designed to enhance your ability to read and interpret contextually as well as closely, to help you to articulate your understanding effectively, and to draw connections through reading and writing. Through close, deep, and thoughtful reading of literary and non-literary texts as well as essays by critics and theorists, we will explore the ways texts mean and the ways readers produce meaning. Each section of ETS 242 takes up issues of central concern within contemporary literary and cultural studies. These include representation; author/ity, textuality, and reading; subjectivity; and culture and history.
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Upper Division
ETS 303-1 Reading and Writing Fiction
TuTh 2:00-3:20
Instructor: CW Staff
All creative disciplines depend on the study and imitation of the particular art form for mastery of its elements. In this course you will read and analyze one novel and a number of short stories in order to deepen your understanding of a variety of concerns in storytelling including voice, style, description, story, and character. We will attempt to answer the question: how have authors generated emotions, interest, and power in creative texts? You will be required to display an understanding of these issues by producing creative and analytical responses to the work studied.
ETS 305-2 Critical Analysis: Marxist Ideology Critique
Instructor: Don Morton
This course investigates the basics of Marxist social theory. Such an investigation seems especially timely considering today's global economic crisis, a crisis that has led to the recent publication of books with such titles as: A Failure of Capitalism: The Crisis of '08 and the Descent into Depression (Richard A. Posner); The Trouble With Capitalism: An Enquiry into the Causes of Global Economic Failure (Harry Shutt); The Failure of Risk Management: Why It's Broken and How to Fix It (Douglas W. Hubbard); and The Myth of the Rational Market: A History of Risk, Reward, and Delusion on Wall Street (Justin Fox). Such writings indicate loss of faith in the gospel of the free market and of capitalism in general. It is Marxism that provides the strongest possible critique of capitalism. The course will foreground the social difference of class as a productive way of reading the texts of culture.
ETS 305-3 Critical Analysis: The Anti-Colonial Mode of Thought
TuTh 2:00-3:20
Instructor: Greg Thomas
It is telling that when current academic paradigms speak of colonialism at all, they tend to speak of "post-colonialism" or "post-coloniality" and thus help to evade or efface the current phase of colonial or neo-colonial empire. This course will examine the critical politics of ANTI-colonialism–past, present, and future–oriented–with a focus on selected figures, positions, and movements. What is the relationship between theory and practice, thought and struggle? What sort of ideas emanating from beyond the West (Europe or Anglo-North America) have been recently and historically suppressed? Why? What various affinities and solidarities emerge from continental and diasporic time-spaces of Africa, Asia, and the Americas? Students will develop well–informed responses to such questions throughout this rendition of "Critical Analysis." We may read from Frantz Fanon, Walter Rodney, and C.L.R. James; Ho Chi Minh, Mao, and Trinh T. Minh-ha; Edward Said and Vijay Prashad; Huey P. Newton, Assata Shakur, and George L. Jackson; Anibal Quijano, Enrique Dussel, and Eduardo Galeano; Ward Churchill, Leslie Marmon Silko, and Craig S. Womack; Cheikh Anta Diop, Ifi Amadiume, and Ayi Kwei Armah, as well as Claudia Jones and Sylvia Wynter. The ANTI– colonial mode of thought will be engaged to think critically about not only the literary culture but geopolitics, economics, psychologistics, and body politics of colonial empire.
ETS 310-1 Literary Periods: American Beginnings
Instructor: Patricia Roylance
When, where, and with what does "American literature" begin? At stake in this question are our basic assumptions about what Americanness is, as well as our basic assumptions about what literature is. Who gets to be called an "American" and what counts as "literature? Should Native American oral stories be part of the canon of American literature? How about the letters from Spanish and French explorers describing the Americas to their royal backers? How about William Shakespeare's The Tempest, which takes place on an island obviously inspired by the New World? This class will read a variety of early American writings, including traditionally revered accounts of the founding and early days of the British settlements at Plymouth, Massachusetts Bay, and Jamestown. But we will also draw from a more expansively defined "early America," potentially encompassing Native America, the colonial Americas (Spanish, French, British, and Dutch), and the writers in Europe who were responding to the idea of the New World (new to them, at least).
Pre-1900 course
ETS 315-1 Ethnic Literatures and Culture:
Popular Culture Representations of the Arab World and its Diaspora
TuTh 12:30-1:50
Instructor: Carol Fadda-Conrey
This course focuses on the role that popular culture plays in representing and shaping Arab identities in the Arab world and its diaspora. We will examine a variety of Arab films, documentaries, music (ranging from traditional tarab music, resistance songs, to rock and hip hop), fashion, graphic novels, and TV programs in order to analyze how popular culture has contributed as well as diversified pan-Arab identities in the last fifty years. In light of the recent uprisings in Tunisia and Egypt, we will also evaluate the role of social media (including Facebook, Twitter, and the blogosphere) in creating new political and social vistas in the Middle East. Our study of Arab cultural texts will be accompanied by a look at the construction of the stereotypical Arab in U.S. popular culture, paying close attention to the power structures embedded in such portrayals.
ETS 315-3 Ethnic Literatures and Culture: Literature of the Caribbean Diaspora
TuTh 11:00-12:20
Instructor: Silvio Torres-Saillant
We will read US-based writers of Caribbean descent–i.e., Oscar Hijuelos, Paule Marshall, Edwidge Danticat, or Junot Diaz, whose parents hail respectively from Cuba, Barbados, Haiti, and the Dominican Republic. The hypothesis that their shared regional origins render their works suitable for reading as a differentiated segment of American literature will guide our exploration of the greater likeness these authors share with one another than with writers from the other subsections of the country's literature. A look at works by French novelist Gisele Pineau and British authors Andrea Levy or Pauline Melville–respectively of Guadeloupean, Jamaican, and Guyanese origin–will bring to bear the transnational sphere as another possible approach to reading the writings of the Caribbean diaspora. The course explores the here/elsewhere dialectic often found in these texts, and the tendency of the authors to reflect on the cultural, social, and political tension emanating from the colonial history that links them to the United States and Europe, while attending to questions of language, artistry, and the constitution of a diasporic identity.
ETS 315-4 Ethnic Literatures and Culture: The Holocaust in American Literature
TuTh 2:00-3:20
Instructor: Harvey Teres
This course will explore the moral, religious, and artistic challenges faced by American writers who have represented the Holocaust and its aftermath in fiction, poetry, and non-fiction. The texts we will read include Philip Roth's "Eli, the Fanatic;" Saul Bellow's Mr. Sammler's Planet; Bernard Malamud's The Fixer; Cynthia Ozick's "The Shawl," "Rosa," and The Messiah of Stockholm; Jonathan Safran Foer's Everything is Illuminated; Hannah Arendt's Eichmann in Jerusalem; Art Spiegelman's Maus I and Maus II; Michael Chabon's The Final Solution; Susan Fromberg Shaeffer's Anya; and selected poetry by Jacob Glatstein, Charles Reznikoff, W.D. Snodgrass, Adrienne Rich, and others.
ETS 315-5 Ethnic Literatures and Culture: Literature of South Asia and its Diaspora
TuTh 9:30-10:50
Instructor: Manan Desai
"India lives in its villages," Gandhi was famously quoted, but over the past half-century, Indians and South Asians, more broadly, have poured into the megapolises of the subcontinent and the Western hemisphere. More recently, the South Asian city has impressed itself onto the American imagination, from the silver screen's melodrama of Mumbai in the Oscar-winning Slumdog Millionaire to the barrage of televised stories of upheavals in Karachi, Pakistan. In this course, we will be reading literary texts that have responded to widespread changes in South Asian society by focusing on the city. How have South Asian writers used narratives of city-spaces (Mumbai, Delhi, Colombo, Karachi, London, New York, to name a few) to address and complicate the relationships between metropole and colony, tradition and modernity, capital and labor, globalization and migration? How have urban centers been imagined as a site to grapple with the rapidly changing dynamics of race, caste, gender, religion, and sexuality in postcolonial South Asia and its diasporas? We will draw from fiction and criticism by Salman Rushdie, Arundhati Roy, Arvind Adiga, Meera Nair, Anita Desai, Namdeo Dhasal, Monica Ali, Arundhati Roy, Mohsin Hamid, Gautam Mallick, V.V. Ganeshananthan, Vivek Bald, and H.M. Naqvi. Films may include Salaam Bombay, Sinhasan, and Mutiny: Asians Storm British Music.
ETS 320-4 Authors: Shakespeare's Late Plays
Instructor: Rory Loughnane
Recently, the examination of the final productive years of Shakespeare's life has become an area of significant focus in Shakespearean studies as critics has sought to identify a distinctive shift in the playwright's style and interests in his later plays. Traditionally, critics of late Shakespeare have focused upon certain trends, such as the author's return to the Romance genre, and certain themes, such as separation, rejuvenation, and reconciliation, or have focused on his return to collaborative writing. While such criticism has been invaluable to the student of late Shakespearean drama, the prioritization of an overriding critical agenda, unifying motif, or consistent set of structural or stylistic features has most often necessitated a fragmented, or at least an incomplete, approach to the late corpus. Eschewing a separation of what are nominatively entitled 'Romances' to the exclusion of Coriolanus and King Henry VIII, or a separation of the 'collaborations' to the expense of the rest of the later plays, this course will investigate each of the extant late Shakespearean plays and collaborations from 1608 until 1613: Pericles, Coriolanus, Cymbeline, The Winter's Tale, The Tempest, King Henry VIII, and The Two Noble Kinsmen.
Pre-1900 course
ETS 325-2 Histories and Varieties of English
TuTh 11:00-12:20
Instructor: Patrica Moody
This course aims to provide students with as much knowledge as possible, as interactively as possible, of the basic structures of the English language and representations of its history. Equally important, the course aims to develop critical awareness of contemporary language issues and the complex ways in which language embeds attitudes.
ETS 350-1 Reading Nation and Empire: Transatlantic Letters : America and Spain
TuTh 2:00-3:20
Instructor: Silvio Torres-Saillant
This course studies the cultural history that has linked writers and thinkers from Spain and the Americas across several generations. We look at the geography of the colonial transaction, the wars of imperial competition, and the migration or travel experiences of individuals on both sides of the ocean. Pertinent texts by writers and thinkers such as Washington Irving, Maria Amparo Ruiz de Burton, George Santayana, Jose Yglesias, Felipe Alfau, Federico Garcia Lorca, Ernest Hemingway, John Dos Passos, Ruben Dario, Nina Otero-Warren, Cleofas Jaramillo, Fabiola Cabeza de Baca, Jovita Gonzalez, William H. Prescott, Candelaria Nash, Pedro Henriquez Urena, Richard Wright, and James Michener, among others, will bring to light the complex history of exchanges that have brought authors from the western hemisphere into various kinds of contact with Spain in addition to mapping the creative, cultural, and political space of Spaniards who have lived and written in the United States or Latin America.
Pre-1900 course
ETS 350-4 Reading Nation and Empire: National and Postcolonial Cinema
Film Screening: W 7:00-9:50
Instructor: Roger Hallas
Over its hundred-year history, cinema has played a significant role in the mediation of national and imperial ideologies. Through their complementary pleasures of narrative and spectacle, movies have provided the fantasies, mythologies, and desires of nation and empire with an enormously popular medium. However, anti-imperial and postcolonial movements have also recognized a revolutionary potential in this quintessentially modern medium and have thus harnessed filmmaking as an important tool in their own struggles. This course explores the complex relationship between cinema, nation, empire, and postcoloniality through a focus on the cinemas of Britain, West Africa, and India. We shall examine a wide historical range of filmmaking practices, from historical costume dramas to postcolonial allegories, from ethnographic film to Bollywood classics. This course combines sustained attention to the specific economic, political, cultural, and aesthetic histories that have shaped British, West African, and Indian cinemas with an ongoing consideration of some key theoretical issues in the study of nationalism and postcoloniality. Films screened include A Matter of Life and Death (1946), Dr. No (1962), Mansfield Park (1999), Black Girl (1966), Yeelen (1987), Hyenas (1992), Awara (1951), Pather Panchali (1955) and Deewar (1975). The weekly screenings scheduled for this course are required.
ETS 360-1 Reading Gender and Sexualities:
Negotiating Difference: Coming of Age Narratives
Instructor: Vivian May
Using a combination of memoir, fiction, and film, this seminar explores how a range of authors examine the multiple aspects of identity, the intimacies of power, and the meanings of silence as they navigate both self-definition and self-representation. We will consider how such authors invent new forms of storytelling, negotiate different expectations about the self/subjectivity, and how they think through the politics embedded in everyday life. (Meets with WGS 365)
ETS 360-3 Reading Gender and Sexualities: Cinema and Sexual Difference
Film Screening: W 7:00-9:50
Instructor: Steven Cohan
This course studies the representation of sexual difference in mainstream U.S. film. The course's goal as a political mode of inquiry in the ETS curriculum is to examine how film as a cultural institution reproduces but also challenges the dominant ideology of a binarized heterosexual gender system. The type of films to be selected for close study include Vertigo, Gilda, Marnie, Basic Instinct, Basic Instinct, Desperately Seeking Susan, American Gigolo, Pillow Talk, Victor/Victoria, Kiss of the Spider Woman, Velvet Goldmine, Fried Green Tomatoes, and But I'm a Cheerleader. Reading assignments, combining theoretical pieces and critical readings, will also be an important component of the course's content. Beginning with Laura Mulvey's famous essay on narrative cinema and visual pleasure, the syllabus will be sequentially organized around the problematics of femininity, masculinity, and hetero/homosexualities, although as the course progresses we shall rather quickly see that these categories are in fact interrelated. Along the way, topics to be discussed include (in the order in which the course will raise them): spectating, spectacle, and the gendered gaze; the (in)authenticity of the filmed body; gender as a performative masquerade; stardom and ideology; crossdressing and cultural subversions; queer identities and identifications. The weekly screenings scheduled for this course are required.
ETS 401-2 Advanced Poetry Workshop
Instructor: Michael Burkard
We will discuss poems from class members each week. There will be some assignments based on subject matter or form. There will be a variety of contemporary poems assigned for outside reading. This is a discussion class, so half of the course grade will be based upon the quality of your participation in class discussion. Both revision and improvisation will be encouraged. Permission of the instructor is required for this course. Submit up to five pages of your own poetry to my mailbox in 401 HL.
ETS 403-2 Advanced Fiction Workshop
Tu 3:30-6:15
Instructor: Arthur Flowers
Workshop Format. Development of Craft. Production Skills.
ETS 405-2 Topics in Medicine & Culture: Medicine in Literature and Film
Instructor: Deirdre Neilen
The relationship between artistic creation and medicine will be explored through the study of novels, film, short stories, poetry, and essays about medical situations, characters, and themes. Thematic areas to be examined include the relationship between truth and confidentiality; the hospital as toxic and therapeutic environment; relationships between health care workers and patients; illness as metaphor and as reality; and the experience of disease. This class is held in Room 1508 Setnor Academic Building, SUNY Upstate Medical Center.
ETS 410-2 Forms and Genres: Television Genres as Practice
Film Screening: M 7:00-9:50
Instructor: Chris Hanson
This course will explore American television genres as part of an examination of genre theory and the evolution of generic forms and conventions on television. The function of genre in the production and reception of television will be considered as we assess genre simultaneously as a cultural practice and an industrial strategy. Genres covered in the course will include iterations of the drama and melodrama, sitcoms, reality programming, and others. We will engage with the historical and aesthetic development of genres, in addition to exploring shifts in televisual modes of address and the role of emerging technologies in shaping generic practices. The weekly screenings scheduled for this course are required.
ETS 410-4 Forms and Genres: Twentieth Century U.S. Historical Fiction
TuTh 12:30-1:50
Instructor: Susan Edmunds
In this course we will study a selection of historical novels by twentieth- and twenty-first century U.S. writers. We will begin by reading critical and theoretical arguments that weigh the differing truth claims of historiographers and fiction writers, both of whom typically depend on narrative to communicate knowledge about the past and our relationship to it. We will then turn to a series of historical novels written in the postwar (WWII) period. Questions that will concern us include: What kinds of truth about the past are available to us? How does the common reliance on narrative shape our knowledge of the past? How do U.S. writers use their historical fiction to engage and challenge powerful ideologies, stories, and myths about our national past? Where and how do writers challenge the boundaries of the nation in the stories they tell about the past and our relationship to it? The reading list will include: Danticat, The Farming of Bones; Doctorow, Book of Daniel; Ellison, Invisible Man; Erdrich, Tracks; Lee, A Gesture Life; and Mukherjee, Desirable Daughters.
ETS 420-1 Cultural Production and Reception: Medievalism
TuTh 12:30-1:50
Instructor: Patricia Moody
The Middle Ages remain present in modern consciousness, both through scholarship and through popular media such as stage and film, video and reenactment games, poster art, television, and print media. This course investigates responses to the Middle Ages across all periods since a sense of the mediaeval first began to develop. It is concerned, then, with creative reception of the Middle Ages, including attempts to "reproduce" the Middle Ages, as well as with both academic and political-ideological reception of the Middle Ages. In short, we may look at selections from a very broad historical and cultural spectrum: Lord of the Rings to Batman, the pre-raphaelites to Shrek, Chaucer to Mark Twain and John Steinbeck, or Joan of Arc and Robin Hood.
Pre-1900 course
ETS 420-2 Cultural Production and Reception: American Icons
Instructor: David Yaffe
This course will explore the concept of the icon in American culture. How have certain figures become the subject of scrutiny, obsession, even worship? And how has the idea of the icon been a central theme in American literary texts and in American life? This course will consider these question from the American Renaissance to the present. Possible icons may include Walt Whitman (a gay icon and poetic icon), Herman Melville (creator of the iconic literary slacker and the iconic narrative slave revolt) Henry James (an icon of the literary Master), F. Scott Fitzgerald (an icon of the Lost Generation), Allen Ginsberg (a Beat icon), Bob Dylan (an icon of the 60s counterculture, much to his chagrin), Billie Holiday (an icon of the martyred jazz diva), Sylvia Plath (an icon of confessional poetry), and Andy Warhol (our icon of iconography itself). Expect two major papers and a presentation of original research, which will be on an icon not covered in the syllabus.
Pre-1900 course
ETS 494-1 Research Practicum in ETS
Th 3:45-6:30
Instructor: Jolynn Parker
This 1-credit course introduces students to the scope and demands of an honors or distinction project in ETS. Enrollment is by invitation to participate in the distinction program, and/or honors program, only. The course will involve five seminar meetings over the course of the semester. We will discuss choosing an advisor, developing a suitable topic with engaging research questions, compiling a bibliography, reading critically, and taking notes effectively. In addition to the seminars, you will have individual meetings outside of class with peers, your advisor, and the workshop coordinator to lay a firm foundation for writing your thesis in the spring, when you will enroll in the second part of this workshop, ETS 495: Thesis Writing Workshop.
ENG 630-1 Graduate Pro-Seminar: Early America
Instructor: Patricia Roylance
Designed as an introduction to U.S. literary and cultural studies, this seminar will survey American language and writing from the sixteenth to the late eighteenth centuries, and will provide a foundation for more advanced study of this period. Because this is a Pro-Seminar, the reading will be somewhat heavy, but you will need no prior knowledge of the period. For the final project, you will work on primary material from the course or closely related to it, but you will have conceptual and methodological freedom in choosing an approach.
Reflecting recent revisions in the critical conception of this field, "Early America" will be treated as a problematic rather than as a settled category. We will question the homogeneity and push the literal boundaries of "America": what regional, racial, religious, and linguistic subcultures exist within the space of America? What transatlantic and hemispheric contexts illuminate early American literary production? We will read Native American oral literature and writings from New Spain, New France, and New Netherland alongside literature from the British colonies, and alongside European writings about the "New World." The course will culminate with an examination of the rhetoric of the U.S. Revolutionary War, which attempted to present as unified and univocal a colonial period that had been anything but.
ENG 630-3 Graduate Pro-Seminar: Theories of New Media
Tu 12:30-3:15
Film Screening: Tu 7:00-9:50
Instructor: Chris Hanson
As digital technologies play an increasingly central role in the production and experience of media texts, historical separations between individual media forms and practices are ever more prone to slippage and redefinition. If we watch a "film" on a computer, is it still truly cinema if it is not light projected through a celluloid print watched in a darkened theater? While we may still claim that we watched a "film" on the computer, it is evident that our conception of "cinema" has been historically defined, the product of a constellation of social, industrial, political, and cultural practices. As we will examine in this seminar, traditional theoretical approaches to media forms are often heavily invested in the role of medium specificity—that is, articulating the precise material properties and cultural practices which separate one medium from another. The shift to the digital has challenged such theoretical modes, and a consideration of the convergent properties of digital media will inform our examination of theoretical approaches to "new" media. We will examine emergent media forms and practices in conjunction with their associated conceptions and considerations, tracing their historical lineages while simultaneously charting their theoretical implications.
ENG 630-4 Graduate Pro-Seminar:
The Public Voice of Twentieth-Century American Poetry
Tu 9:30-12:15
Instructor: Harvey Teres
This course will survey some of the most accomplished and influential poets of the past century, including Robert Frost, Ezra Pound, T. S. Eliot, Wallace Stevens, William Carlos Williams, Langston Hughes, Sterling Brown, Elizabeth Bishop, Robert Lowell, Gwendolyn Brooks, Denise Levertov, Robert Creeley, Frank O'Hara, John Ashbery, Allen Ginsberg, Sylvia Plath, Anne Sexton, Adrienne Rich, Richard Wilbur, Alan Dugan, Amiri Baraka, Haki Madhubuti, Frank Bidart, Charles Bernstein, Louise Gluck, Billy Collins, and various hip-hop and slam lyricists. Attention will be paid to the craft of poetry, to poetry's private and public voice and its effect on readers individually and collectively, and to poetry's role within American society as a whole. Theodor Adorno's "Lyric Poetry and Society," Robert Pinsky's Democracy, Culture, and the Voice of Poetry, Joan Rubin's Songs of Ourselves: The Uses of Poetry in America, Scholes and Wulfman's Modernism in the Magazines,and James Longenbach's The Resistance to Poetry will help frame the course's broader concerns.
ENG 631-2 Critical Theory
Instructor: Don Morton
"Theory signals 'speculation.'" --Culler, "What Is Theory?"
"Where speculation ends. . . there real, positive science begins."
--Marx and Engels,The German Ideology
The course will be a rigorous inquiry into a range of contemporary theoretical discourses, drawing on texts from such zones (among others) as language and rhetorical analysis, psychoanalysis, deconstruction, feminism, performance theory, race theory, queer theory, historical materialism, postcolonial and globalization theory, . . . . In addressing the fundamental question of what the term "critical" means in the phrase "critical theory," the course will explore the significant differences between traditionalist criticism, deconstructive critique, Foucauldian genealogy as critique, and Marxist ideology critique.
The course will organize these diverse inquiries by addressing several overarching issues. One such issue will be the competing claims of both (post)modernist/(post)structuralist theory and Marxist theory to constitute "materialist" critiques that provide more productive knowledges than the now "outmoded" idealist theories represented by traditionalist/humanist/modernist thought. This will lead to a sustained investigation of the divergent and incompatible meanings of "materialist" in these competing "materialist" theories and therefore into the question of the theory and politics of theory. Christopher Butler has recently argued (2002) that "most of the French intellectuals responsible for the theoretical inspiration of postmodernism worked within a broadly Marxist paradigm." In terms of "materialist" theory, what does such a claim amount to? Does it in fact conflate important intellectual and theoretical distinctions?
Another larger issue will be the question of whether by the late 1990s the American academy had in fact entered into—and is perhaps still in—what some have called a "post-theoretical moment." What is the meaning of this expression? Is theory itself now somehow irrelevant and unnecessary, or does the phrase simply refer to the passing of a specific theoretical development that has in recent times exhausted itself?
ENG 650-3 Forms: The Russians
Th 9:30-12:15
Instructor: George Saunders
This class is intended not as a survey of the Russian short story, but rather as a chance to read (very closely) a selected number of great stories from that tradition, with an eye to craft. Our real topic is simply: the short story. How does a good story work? What do you value in a story? What we really want to accomplish is to improve your fiction. Exposure to these masterpieces, and the close analytical work we'll do to try and understand their power, should, we hope, rub off on our own fictional efforts.
As such, I'd like to err on the side of reading a smaller amount of text each week, so that our discussions will center on close line readings and study of fictional effects, rather than, say, larger historical or thematic concerns. We are basically just reading a number of amazing stories and trying to figure out how they work—and they happen to all be by Russian writers—including Pushkin, Gogol, Turgenev, Dostoyevsky, Tolstoy, Babel, Kharms.
ENG 650-4 Forms: Translations
Tu 12:30-3:20
Instructor: Brooks Haxton
For this course on poetry in translation, fluency in more than one language is not a requirement. We will read prose about the art of translation and poems brought into English from various languages by Wyatt, Jonson, Pope, Fitzgerald, Pound, Lowell, Wilbur, and others. You will write your own translations (with the help of existing translations, or collaborators, as needed), and present your analysis of existing translations.
ENG 650-5 Forms: The Ear and the Eye.....
Th 6:30-9:15
Instructor: Michael Burkard
This class will study a wide range of poets and prose/fiction writers. I will provide an anthology of writers which will include Etheridge Knight, Fanny Howe, Terrance Hayes, Kenneth Koch, Lucille Clifton, Langston Hughes, Diane Wald, Sharon Olds, Safiya Henderson Holmes, Joe Brainard, Michael Palmer, and Sapphire, among others. We will also look at poetry and fiction in translation by Nikolai Gogol, Rafael Alberti, Ceasar Vallejo, Federico Garcia Lorca, Tomaz Salamun, and Danill Kharms, among others.
We will study matters of repetition, refrain, and sequencing, and the effect of these on content and lyrical patterns. We will also use musical samples as a means of studying what repetition/variation can accomplish in lyrics and music. Some of the performers/songwriters/musicians we will pay attention to will include Bob Dylan, Nina Simone, Leadbelly, Lightnin' Hopkins , Robert Johnson, and Lucinda Williams. We will also give attention to composers, two examples being Eric Satie and Duke Ellington.
We will also look at the art and writing of/on Louise Bourgeois, Paul Klee, Joseph Cornell, Frieda Kahlo, Andy Warhol, and Joseph Beuys.
We will examine possible juxtapositions among many of these writers, singers/musicians, and artists. We will practice strategies which could enhance our own writing and reading.
There will be weekly written creative responses, and presentations. I will also be asking that the class members form collaborative groups, both for some of the weekly responses and presentations, and for working to form "collaborations" among the various creative materials we will be studying.
I think this course would be of equal interest to poets and fiction writers, as well as students with backgrounds in music or the visual arts. If the enrollment (15) isn't filled by graduate students, the course will be open to undergraduates with the instructor's permission. For enrollment consideration, undergraduates will have to submit a creative writing sample of 5-10 pages.
ENG 650-7 Forms: Prose Poetry/Flash Fiction
Instructor: Chris Kennedy
In the past twenty years, the prose poem and flash fiction (aka microfiction, sudden fiction, micro-story, short short story) have emerged as viable sub-genres. Though both forms have a long history, in recent years a number of print and on-line journals and anthologies have begun to feature work from these two sub-genres, and some new journals are devoted exclusively to the forms. Despite the proliferation of pp/ff, as one anthology characterizes the work, defining the difference between the two is often a difficult and perplexing task. Why is one piece of writing a prose poem and another of similar length a work of flash fiction?
This class will provide an opportunity to explore prose poetry and flash fiction with the goal of distinguishing the characteristics that make them separate forms while identifying their commonalities.
Writers we will read include Lydia Davis, Maurice Kilwein Guevara, Charles Simic, and Gary Lutz.
ENG 650-8 Forms: Narrative Strategies
Tu 9:30-12:15
Instructor: Chris Kennedy
The purpose of this course is to read the work of several different authors and to make an attempt to figure out what they are doing and how they're doing it. From Joe Wenderoth's Letters to Wendy's to Brian Evenson's Altmann's Tongue, the authors we will read employ various narrative strategies to create characters and situations that are compelling and entertaining, to posit ways of looking at the world, and to mirror or distort "reality" in an attempt to define human experience. How they accomplish these goals or whether or not they do is what should concern us over the course of the semester.
ENG 715-1 First Poetry Workshop
Instructor: Brooks Haxton
Students in this workshop will write one poem each week and revise at least four into carefully considered versions on the basis of workshop analysis. Reading and writing assignments will address issues that arise in workshop. Admission is strictly limited to first-year students in the MFA Program in Poetry.
ENG 716-1 Second Poetry Workshop
Th 12:30-3:20
Instructor: Michael Burkard
We will discuss a poem by each participant each week. We will also look at various poems by various poets--e.g. Bishop, Dickinson, Sapphire, Creeley—to possibly prompt an idea or a form for a new poem, or perhaps suggest a possibility for form or content in a poem being revised. I will give you a poem or two to read each week which touches on your current writing concerns or interests. Considered reading and discussion of all poems is necessary for the course.
ENG 717-1 First Fiction Workshop
Th 12:30-3:15
Instructor: Dana Spiotta
This course is the workshop for students in the first year of the MFA Program in Fiction.
ENG 718-1 Second Fiction Workshop
Th 3:30-6:15
Instructor: Arthur Flowers
Workshop Format. Development of Craft. Production Skills. Literary Vision. Professionalism.
ENG 719-2 Third Poetry Workshop
Instructor: Bruce Smith
Students in this course will be asked to write twelve poems, one "free" poem to push back against the world with the imagination per week. The emphasis will be both on the craft—the language and the shaping and forming of the writing—and the imagination—the vision that's unique to each individual. Classroom work will consist primarily of workshop style discussion of student work, although each class will begin with poems, ancient and modern, as models or targets for discussions of technique as well as examples of tapping the resources available to the writer. This term I'll begin class with what I call an "exemplary" poet—avoiding the more prescriptive term "essential." Exercises will include ways to locate the source of your poems as well as ways to "music" them, to shape them, and to revise them.
ENG 721-1 Third Fiction Workshop
Instructor: George Saunders
This class is required of, and restricted to, third-year students in the MFA Program in Fiction. We will read and comment upon work produced by members of the class in an attempt to push the work up to its highest and most iconic level.
ENG 730-1 Graduate Seminar: The Arts of Memory: Remembering Subjection in Early Modern England
Instructor: Rory Loughnane
ENG 730-2 Graduate Seminar: Nineteenth-Century Capitalism and the Victorian Novel
Th 9:30-12:15
Instructor: Claudia Klaver
This course will examine the ways in which the Victorian novel negotiates its relationship to the imperial-industrial capitalist economics that were newly dominant in nineteenth-century Britain. The course will begin by looking at texts that theorize and popularize political economy as the central discursive articulation of capitalist economics and ideology in the nineteenth century. These texts are some of the "original" texts of what is now seen at the (social) "science" of economics. As such, they function both as template for and counterdiscourse to many of the "literary" engagements with capitalist economics that we will explore for the bulk of the semester.
In addition to the contemporary context of nineteenth-century economic theory, we will read the novels for the course in conjunction with more recent discussions of various aspects of capitalist economics, of capitalist ideology, and of the relationship between capitalism and Victorian fiction. These readings will draw on a number of contemporary critical theories, including various forms of Marxism, Foucauldianism, postcolonial theory, and gender theory. The aim of these readings will be to help us explore the multiple ways in which the project and popularity of the nineteenth-century novel drew upon, reinforced, and contested fundamental impulses in the development of a capitalist economy, state, and society. The readings will give particular attention to the intersection of the Victorian novel with class formation, gendered identities, imperialism, financial speculation, consumerism, and advertising.
Readings for the course will include nineteenth-century economic texts by Adam Smith, Thomas Malthus, John Stuart Mill, Harriet Martineau, and Karl Marx and novels by Charles Dickens, Charlotte Bronte, Elizabeth Gaskell, and Anthony Trollope, as well a contemporary criticism and theory.
Students will give one or two formal oral presentations, write a short 5-7 page mid-term essay, and a final seminar paper.
ENG 730-4 Graduate Seminar: Psycho-Sexual Racism and Pan-African Revolt
Tu 3:30-6:15
Instructor: Greg Thomas
Frantz Fanon and Chester Himes are two enormous intellectual figures in the Black radical tradition, at once literary and political. A psychiatrist-cum-revolutionary, Fanon writes his way famously from Martinique to Paris and then Algeria while articulating a praxis of Pan-African liberation—that is, total decolonization and bona fide independence. A novelist and revolutionist, ideologically—not to mention a "sensualist"—Himes writes his way from U.S. incarceration to European exile or expatriation while articulating his political ideas and concerns in the form of fiction, autobiography, and a world-famous Harlem detective series featuring Coffin Ed Johnson and Gravedigger Jones. Fanon is now typically read in academic criticism as the ("post-colonial") author of Black Skin, White Masks (1952), outside the (anti-colonial) politics provided by the bulk of his corpus: A Dying Colonialism (1959); The Wretched of the Earth (1961); and those political essays collected by François Maspero in Toward the African Revolution (1964). Himes has barely been discussed in academia at all. This is unfortunately true of his first novel, If He Hollers Let Him Go (1945); his final novel, Plan B (1983); and everything he would prolifically publish in between. Yet there is a striking, sometimes uncanny, similarity to be noted in the stunning oeuvres of Fanon and Himes, especially on the score of violence or the particular violence of race, sex, and empire. They highlight the structure of a "psycho-sexual" racism endemic to the "political economic" structure of white racist domination by the West. They thus expand the parameters of Pan-African revolt—to quote a paraphrased C.L.R. James. They expand and recast in advance what would count as studies of gender and sexuality as well. Accordingly, this course will examine the writings of Fanon and Himes against the grain of critical neglect and distortion; it will focus on the sexual politics of race and empire which they systematically expose, both at the level of institutions and identity or subjectivity; and it will consider how these literary-political writings should lead us to rethink basic intellectual concepts in and outside their Black radical tradition.


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1650 West 82nd Street, Ste 600
Bloomington MN 55431
Ph: 952-831-2707 Fax: 952-831-7875
Event calendarList of select MNCPA events and conferences.
Candid Conversations About Women and InfluenceThis interactive session will explore gender differences in career aspirations and discuss best practices for fostering women's ambitions.
Celebrate CPAs LuncheonAnnual luncheon honoring CPAs and MNCPA award winners.
CPA Day at the CapitolMembers from across Minnesota meet at the Capitol to educate their state legislators on issues important to the CPA profession.
Leadership SummitThis event gathers CPAs who represent the future leadership of the accounting profession.
Recognition DinnerBi-annual event celebrating newly certified CPAs in Minnesota.
YPG eventsSocial and educational events geared toward young professionals.
Business & Industry Member Get-Togethers
Breakfast and lunch meet-ups designed to widen your circle of corporate CPA peers.
The Minnesota Society of CPAs offers a full range of accounting CPE programs, including live seminars, conferences, webinars, self-study products, and more.
Search the CPE catalog
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Minnesota Society of CPAs
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- 1 Aldermanbury Square,
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- 120 Old Broad Street, London
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- Capital House, London
- 1 Craven Hill, London
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London WC1
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Capital House
Capital House is a London landmark building on the corner of Edgeware Road and Marylebone Road in the West End of London.
The property totals approximately 137,000 sq.ft., split between 86,000 sq.ft. of offices and a 50,000 sq.ft. retail unit, let in its entirety to Marks & Spencer.
The offices are arranged over 2nd to 16th floors and are multi-let.


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Question about Acer Extensa 4620 Notebook
My Acer laptop is about a month old and i was able to access Word and type but now it says i cannot as a section of it is locked. The product key at the bottom of the laptop seems to be incorrect and i have no other product key. This problem just started today and i will be very grateful if you could help me out as soon as possible. Thanx
Posted by santam60 on
This sounds like the Word product you were using was part of a Microsoft Office Free Trial software package. Do you have a Microsoft Office product key?
SOURCE: My Acer laptop is about a month old and i was able
That means you need to buy microsoft office package , which includes Word and other usefull software , because the microsoft office package on your system is only a trial version .
rate please !
best regards .
Posted on Jan 12, 2010
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We were lucky enough to have our wedding here and chose it purely for one reason - customer service. Having worked in the hospitality trade in Maidenhead and surrounding areas for fifteen years, I was a little daunted going there, in my mind Fredricks, has always been the best hotel in Maidenhead, second only to Cliveden at nearby Taplow. Every other venue we went too told us what they could offer for our wedding as if it was from a catalogue, whereas Marsha at Fredricks asked us what we wanted which was ideal as we had a slightly different idea of what we wanted.
We both have used the spa facilities previously and both found them to be excellent with Pamela a very welcoming host and al staff very proffessional and couteous. With regard to previous comments about the decor of the hotel, it may not be current and up to date, but it is refined and peaceful and this shows throughout, and stays true to the history of the hotel and the family that previously owned it.
The day prior to the wedding my wife and two friends spent the day at the spa and had an amazing time, leaving them all relaxed and ready for the big day. High praise indeed for three women to be happy. The big day itself was incredible, we held a msall service and luncheon and nothing was a problem for any of the guests or myself and my wife. The staff made us feel as though we were the most important people in the hotel that day, and an incredible effort made with the children, (the wedding coordinator took my brothers young son outside during the ceremony allowing him to be present! class!!) Other highlights for the children involved two of the bridesmaids telling the waitress that they didnt like melon as a starter and only liked the strawberries, five minutes later the waitress returned with a big bowl of strawberries for them. Again a lovely touch. The hotel provided a red carpet, and flowers but the best detail was the toastmaster, who again was incredible, a real asset to the smooth running and organisation of the day without ever taking the limelight. Many thanks Mr Warwick!
My new wife and i spent the evening together in the restaurant and had a truely memorable meal, everything was superb, again, having been in the trade i can normally find fault with most places but i just couldnt. The level of cooking was superb and the teaming and blance of ingredients was incredible. We topped this wonderful meal by having a cheese board on the patio ovelooking the adjacent golf course as the sun set.
Overall we couldnt have asked for more, the service and staff were first rate as were the staff and service in the spa. Our only complaint was that we had to leave the next to go to the Maldives but felt so comfortable and relaxed in the hotel we did not want to leave!!!
- Official Description (provided by the hotel):
- A lovely Edwardian building with it's own private gardens and swimming pool. Ample free car parking and great road access to the M4, M40 AND M404. Heathrow less than half an hour away and London also. Great location for Ascot, Kempton, Sandown, Windsor, Newbury and Lingfield racecourses. Close to Henley, Kingston Upon Thames,Windsor and for all major visitor attractions around The Central Thames Valley. 2 AA Rosetted Restaurant, Large Function Room and Spa Facilities. ... more less
- Reservation Options:
- TripAdvisor is proud to partner with Booking.com, Hotels.com, Expedia, Ebookers, Odigeo, Priceline, Traveltool, S.L.U. and HRS so you can book your Fredrick's Hotel Restaurant Spa reservations with confidence. We help millions of travellers each month to find the perfect hotel for both holiday and business trips, always with the best discounts and special offers.
- Also Known As:
- Fredrick`s Hotel Restaurant Maidenhead
- Fredricks Hotel Maidenhead
- Fredrick's Hotel Restaurant Spa Maidenhead, Berkshire


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Next up was a Fast Pass for the Winnie the Pooh ride
It was decided to try a more adventurous ride, so we headed over to Barnstormer. This is a "junior coaster". Sierra is not interested in a coaster of any sort, so she chose to just wait. Secora wanted to ride, but it looked like the drop might be too much for her, so I took Sedona on it first to preview.
We're in the last car on the right. She asked me if she could scream and I said yes, I didn't know she meant one solid, long scream for the ENTIRE ride!
Even with the speedway, Sierra turned down the opportunity to drive by herself and they all squeezed into one car
As evening got closer, we packed up princess dresses for the little girls, put a crown in the big girl's hair, and headed back to the Magic Kingdom
We had grabbed some fast passes for Journey of the Little Mermaid, so we took a spin on that. I think it might have been my favorite ride themeing/wait line.
Secora really wanted to ride Seven Dwarfs' Mine Train, but we couldn't get fast passes and there was a bit of a wait, so Josh and the big girls killed time back at the Speedway while we waited. This time Sierra drove solo
First up, we saw Lady Tremaine. I think we may have gotten the same person we had five years ago?? Disney casting is pretty good, but usually not THAT good. Do any face characters stay at the job for five years?
Lady Tremaine of 2011
Lady Tremaine of 2016
She was more than a bit disappointed in this Prince Charming. Can't say I really blame her on that one...she was like, "what did he do to his hair? He cleaned up better last time"
And then Drizella with more of the sister talk
another Magic Kingdom day!


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Baby, all of thirteen years old, is lost in the gangly, coltish moment between childhood and the strange pulls and temptations of the adult world. Her mother is dead; her father, Jules, is scarcely more than a child himself, and always on the lookout for his next score. Baby knows that 'chocolate milk' is Jules' slang for heroin, and sees a lot more of that in her house than the real article. But she takes vivid delight in the scrappy bits of happiness and beauty that find their way to her, and moves through the threat of the streets as if she's been choreographed in a dance.
Soon, though, a hazard emerges that is bigger than even her hard–won survival skills can handle. Alphonse, the local pimp, has his eye on her for his new girl; and he wants her body and soul –– what the johns don't take he covets for himself. At the same time, a tender and naively passionate friendship unfolds with a boy from her class at school, who has no notion of the dark claims on her –– which even her father, lost on the nod, cannot totally ignore. Jules consigns her to a stint in juvie hall, and for the moment this perceived betrayal preserves Baby from terrible harm –– but after that, her salvation has to be her own invention.
A gritty, heart-wrenching novel about bruised innocence on the city's feral streets—the remarkable debut of a stunning literary talent
Heather O'Neill dazzles with a first novel of extraordinary prescience and power, a subtly understated yet searingly effective story of a young life on the streets—and the strength, wits, and luck necessary for survival.
At thirteen, Baby vacillates between childhood comforts and adult temptation: still young enough to drag her dolls around in a vinyl suitcase yet old enough to know more than she should about urban cruelties. Motherless, she lives with her father, Jules, who takes better care of his heroin habit than he does of his daughter. Baby's gift is a genius for spinning stories and for cherishing the small crumbs of happiness that fall into her lap. But her blossoming beauty has captured the attention of a charismatic and dangerous local pimp who runs an army of sad, slavishly devoted girls—a volatile situation even the normally oblivious Jules cannot ignore. And when an escape disguised as betrayal threatens to crush Baby's spirit, she will ultimately realize that the power of salvation rests in her hands alone.


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We Believe Education is the Path to Peace
2017 Graduates
Mazar Graduates Commencement Ceremony
2016 Graduates
Kabul Graduates Commencement Ceremony
On November 17, 2016, AAE celebrated its 13th commencement ceremony in Kabul. 111 students graduated this year from our Kabul schools and every single one of them is off to college. In addition, 43 students of AAE's Parwan School received graduation diplomas. These students are registered to take the Kankor exam this year.
The ceremony took place at the Kabul University auditorium. Government officials, students' family members, teachers, and AAE supporters came together to honor the class of 2016. After Hassina Sherjan, founder of AAE, welcomed everyone, guests listened to speeches from the Minister of Education, a representative from the office of the First Lady of Afghanistan, and a video message from First Lady Rula Ghani herself. Thanks to an agreement between AAE and the Ministry of Education, all graduates received an official, state-certified diploma.
A few words from some special graduates, Firooza and Frozan:
Firooza is 28 years old and has 5 children. She turned to AAE when no other school would accept her because of her age. "I can already feel the difference in the way I talk and discuss with others, compared to when I was illiterate. My life has changed a lot." She is headed to midwifery school soon to help other women in Afghanistan.
Frozan is 26 years old and has 3 children. Other schools don't accept married students, so she enrolled with AAE. "Initially, it was very difficult for me to come to school because I had no one to look after my kids. Sometimes I was sitting alone and crying, but those days passed. Thank God I am a graduate. Now, I feel very happy and confident, and can help my children." She is following her dream of becoming a dentist and is going to dental school.
Frozan has a message for you: "Thank you very much to all those who support AAE. I love you and am really grateful. AAE paved the way for me to change my life."
You've made our graduates' dreams come true. 100% of our graduates this year are planning to continue their studies and go to college, and it's all thanks to supporters like you. Thank you for being partners for peace, and happy holidays from everyone at AAE.
2015 Graduates
In 2015, a total of 244 students have successfully graduated from our schools in Bamiyan, Ghazni, Balkh, and Kabul provinces. Among those, 194 of graduates were from our 3 school in Kabul, 25 from Balkh School, 10 from our school in Bamiyan, and 15 others have graduated from AAE school in Ghazni Province. All our graduates have received their high school diplomas from the Ministry of Education. Most of them are pursuing higher education while some of them are working and few others are helping their children with their lessons.
2014 Graduates
AAE celebrated the graduation of 153 students in 2014. The graduates were from different AAE schools. 104 students graduated from Kabul schools, 23 from Balkh, 8 from Bamiyan and 18 graduated from our school in Badakhshan Province. Many of these graduates registered themselves to take Kankor exam in order to make their ways to universities.
2013 Graduates
In 2013, AAE celebrated the commencement ceremony of 125 graduates from 3 different AAE schools in Kabul. In this year a total of 265 AAE students graduated from 6 different provinces. While Kabul had the largest number of graduates, 10 students graduated from AAE school in Bamiyan province. There were 48 students who graduated from Ghazni school, 36 from Badakhshan, 33 from Parwan, and 13 graduates from Balkh province.
2012 Graduates
In 2012, 304 high school students graduated from AAE schools in 6 provinces. Kabul had 178 graduates. We had 8 graduates in Bamiyan, 18 graduates from Ghazni, 57 graduates from Badakhshan, and 43 graduates from Parwan.
Graduation Ceremony in Kabul – Aid Afghanistan for Education (AAE) held a ceremony on June 6, 2012 in the Ministry of Women's Affairs to celebrate the graduation of 125 students from its three schools in Kabul. This event was attended by Dr. Husn Banu Ghazanfar, Afghan Minister of Women Affairs, Members of Parliament, dignitaries from civil society organizations and representatives of the international donor agencies.
Graduation Ceremony in Parwan Province
On September 24, 2012, AAE celebrated its 4th round of graduations in Parwan Province. In addition to Founder Hassina Sherjan and Executive Director Ms. Payvand Seyedali, parents of graduates, representatives of the Ministry of Education and local elders of Parwan were residing in the event. In this round of graduations, 43 students of AAE's Parwan school received graduation diplomas.
Graduation Ceremony in Badakhshan
36 students graduated in the Khash district of Badakhshan on July 9, 2012. This was AAE's first graduation in Daynow village. Hassina Sherjan traveled to Badakhshan to attend the event. The event was also attended by local officials including the District Governor of Khash. In his speech, Governor Hashim Noorzai praised AAE's efforts in bringing education to his district. He also emphasized the need for further expansion of AAE activities in the area.
2011 Graduates
In 2011, 238 female students graduated from AAE schools. AAE celebrated graduation of 154 students from three AAE schools in Kabul. We also had 38 graduates from our schools in Badakhshan. In the same year, 32 students graduated from our school in Parwan and 14 other students received their diplomas in Ghazni.
2010 Graduates
AAE is proud of educating Afghan women. This year we had a total of 203 graduates: 38 from our school in Parwan province and 165 students from 3 schools in Kabul.
2009 Graduates
In 2009, 123 students graduated from AAE's Kabul schools. Our Ghazni school also had 12 graduates in this year while 38 students graduated from AAE school in Parwan province. The total number of our graduates in 2009 was 167.
2007 & 2008 Graduates
In 2007, AAE for the first celebrated the graduation ceremony of 42 female students from our 3 Kabul schools. In 2008, the number of our graduates almost doubled and we proudly celebrated with 79 graduates in Kabul.
Our vocational training prepares the students to either work while they are pursuing higher education or have the option to enter the job market full time to support their families. These graduates are equipped with skills to work as office managers, assistant accountants, receptionists, or administrative assistants.
AAE Vocational Training graduation ceremony at MoWA Feb 16, 2010 Shamsul Islam Jamali, AAE Deputy Country Director for Program, presenting Zahra with her certificate.


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Your LASIK OptometristView Full Bio and Credentials
Dr. Taylor received his Doctor of Optometry degree in 2010 from Southern College of Optometry in Memphis, TN; he joined LasikPlus in 2011.
Dr. Taylor enjoys golfing, as well as playing and watching many other sports. When not working or out on the golf course, he enjoys spending time with his family and friends.
You have decided it's time for LASIK. After researching and talking to your friends, you decide it's time for LASIK at LasikPlus. So who are you going to meet on your journey?
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Life-changing results from real LasikPlus patients.


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This post was shared with Simply Gluten and Sugar Free, Real Food Forager, Whole New Mom, The Healthy Home Economist.
List Link Title
Ann Cooper, Renegade Lunch Lady, Speaks Out.
This post was shared with Simply Gluten and Sugar Free, Real Food Forager, Whole New Mom, The Healthy Home Economist.
2 comments:
- Heather's Blog-o-rama said...
I watched the video and it's fantastic. You know, there was a series...too short-lived called "Jamie Oliver's Food Revolution" It's a really good show...and the second-season, when he was in the L.A. school district was good. He had a tough fight...and I was really saddened to see how kids were being fed and what they were being fed. When I was in school, all the meals were cooked at the school. I went to school in the L.A. School District...You might be able to catch the episodes on-line. They are worth watching.
Love and hugs from the ocean shores of California, Heather :)
- December 25, 2011 at 3:06 AM
- Jill@ RealFoodForager.com said...
Thanks for linking your great post to FAT TUESDAY. This was very interesting! Hope to see you next week!
Be sure to visit RealFoodForager.com on Sunday for Sunday Snippets – your post from Fat Tuesday may be featured there!
- December 27, 2011 at 8:28 PM


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Love the color of the cabinets---Your home's setting can provide color inspiration for your kitchen cabinetry. For this home in Crested Butte, Colorado, proximity to the Rockies is reflected in a mountain-fresh blue-green. It took several tries with different combinations of paint and glaze to get just the right hue for the cabinets, which are paired with snowy-white surfaces.
Beautiful color
love the colors
two colors of paint
Bedroom with exposed brick wall
Exposed bulb lights white subway brick tiles black wood industrial chic kitchen cabinets
Beautiful steel + glass sliding doors.
Black & white bathroom
Spaces . . . Home House Interior Decorating Design Dwell Furniture Decor Fashion Antique Vintage Modern Contemporary Art Loft Real Estate NYC Architecture Inspiration New York YYC YYCRE Calgary Eames


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Skip to content. | Skip to navigation
Personal tools
Join us in the North Cascades!
For personalized assistance on which program is right for you, contact our friendly registrars M-F at (360) 854-2599 or send us an email.
For more information, contact Calvin Laatch, Group Rentals Coordinator, at (206) 526-2565 or email@example.com


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Our latest podcast guest is John Dehlin, founder of the Mormon Stories podcast.
John just completed his PhD in clinical and counseling psychology. His podcast celebrates the faith and also critiques it when necessary. Because of some of his views supporting same-sex marriage and the ordination of women within Mormonism, Dehlin was excommunicated from the Church earlier this year for apostasy. That story was covered in the New York Times.
We spoke with John about how discovering the truth about Mormon history pushed him away from the Church, why he still has a soft spot for the faith, and why Mormons have strategic reasons for standing firm against LGBT rights.
[Read more…]


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Equestrian competed against many schools at Sacred Heart University this week and had three women awarded first place in their class!
Women's Volleyball played in the Rutgers tournament on Sunday and won four of their six games!
This past Saturday, our Women's Ice Hockey team won 2-1 against the University of New Hampshire.
Our Gymnastics team hosted a meet this past weekend and won 132.9-120!
Men's Volleyball won against UNH 2-0, Fairfield 2-0, and Marist 30-28 (one set).


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Slowly Pouring Those Ice pellets In
Gilgamesh of
, well known on many UK based forums since winning the Universal abit 2006 contest! Since then he has moved onto new pastures and achieved second place at the Gigabyte UK overclocking Contest (GOOC) Having been a water cooling specialist and for the first time using sub-zero cooling (Dry ice) and with the help of Innovation Cooling ICDiamond, he managed to win 2nd place*
* Sponsors Note It should be observed that this was Gilgamesh's first attempt at sub cooling, competing against several teams using LN2 and only one of those besting his score, all in all a remarkable showing.
Dry Ice Competition Set up
Since then Gilgamesh refuses to use any other thermal compound and is
quoted as saying.
For water and sub-zero cooling (dry ice) The IC diamond is the choice compound for me. It helps even when cooling with water to achieve higher overclock results with a noticeable temperature differential. I flatly refuse to use anything else! It would be a fair statement to say though this was the first time I have ever used sub-zero cooling; the Diamond compound by innovation cooling DID help me to achieve a top award.
I look forward to using the Innovation Cooling thermal product in any
contest I take part in.
LookingFor Those All important Bios Settings
Scores-oct Second
Second Place Award
IC Diamond Elite Member Gilgamesh
Notice: Giglamesh has recieved free IC Dimond compound for Innovation Cooling promotional purposes and for his own use and as of August 2013 is now a reseller of out Product(s).
Innovation Cooling, LLC
IC Diamond Elite Member Gilgamesh
Innovation Cooling
IC Diamond Datasheet
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Application Notes
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Lahore, Mar 14(ANI): Pakistan has seen an unprecedented rise in the number of suicide attacks carried out across the country and loss of life during the first 70 days of 2010 compared to the same period last year.
According to the available facts and figures, at least 15 incidents of suicide bombings have taken place so far in the first 70 days of this year (between January 1 and March 12), while 11 assaults were carried out in first 70 days of 2009.
The suicide bombings in 2010 have left 321 people dead and injured over 500, with the daily average killing rate of four and a half people and the weekly killing rate of 10 people.
During the same period in 2009, 105 people were killed. The year had proved to be the bloodiest as at least 1,217 people were killed and 2,305 injured in 80 attacks.
According to the data compiled by the Punjab Home Department, 145 people were killed in five incidents of suicide bombings in January this year; another 101 people lost their lives in seven such attacks in February while 75 people have so far been killed in the first 12 days of March, The News reports.
Authorities investigating the bombings are of the view that most of the attacks have been carried out by the Punjabi Taliban belonging to four Jihadi groups working in tandem with the Tehrik-e-Taliban Pakistan.
They also believe that several members of the banned Sipah-i-Sahaba Pakistan (SSP), Lashkar-e-Jhangvi (LeJ), Jaish-e-Mohammed (JeM) and Harkat-ul-Jihad al-Islami have tied up with the TTP to carry out suicide attacks across Pakistan, especially targeting key military installations. (ANI)


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Bargain hunter Brenda Adams set up a camping chair outside Silcox Son & Wicks in Kingsmead Square, Bath, at 4.30pm on Christmas Eve. The 75-year-old waited until 9am on Wednesday to pick up a chest of drawers reduced from £200 to £10 for her 20-year-old grandson Joshua.
She told the Bath Chronicle newspaper: "By my stage of life you've seen every type of Christmas going: happy ones, sad ones, interesting ones and boring ones. I just wanted to do something different.
"I'm not interested in just sitting around being fed and watered. I like to experience new things."
The widow attached a laminated note to her chair laying claim to the first spot in the queue. During her three-day wait the retired midwife, from the Newbridge area of the city, slept in her car, parked a few yards away.
She said: "It's been a wonderful experience. There have been a few small incidents but on the whole everyone has been so kind."
The mother-of-two had her walking stick stolen by a partygoer but said it was all just part of life.
When the doors finally opened on Wednesday, Mrs Adams had been joined by a queue of around 50 others. She snapped up the drawers and was out the shop again within 10 minutes.
Mrs Adams added: "All the staff inside were lovely. It has been a lovely festive period."
Steve Wicks, director of the independent store, told the paper: "Brenda is a fantastic lady and what she did took a lot of courage, stamina and determination. I am delighted she managed to get the bargain she wanted."
- More about:
- Camping


text: Get twoadmin • April 6, 2017 • Leave a replyI add five to nine, and get two. The answer is correct, but how?Show AnswerWhen it is 9am, add 5 hours to it and you will get 2pm. Share on Facebook Share Share on TwitterTweet Share on Google Plus Share 3 0 More Funny Riddles


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|Flat Rock finishes season with feel good, funny 'Dear Santa'.
|by Tim Reid
|December 5, 2008
|Ashville Citizen-Times
Flat Rock Playhouse's stage is knee-deep in tinsel and toys this holiday season as some of Flat Rock's best-known actors perform Norm Foster's Christmas comedy Dear Santa. Advertisement Michael Edwards makes a great Santa Claus with both the girth and the merriment to do the role justice. Another Flat Rock favorite, Scott Treadway, is hilarious as pushy salesman Lou Flapdoodle, who does his best to convince Santa to buy a rocket-powered sleigh. And Ben Hope gives a very believable performance as Santa's nerdy, uptight chief of staff Algernon, who is always sweating the details of Christmas without really understanding the magic.
But Damian Duke Domingue pretty much steals the show as Bozidar, the chief of toy production whose zany mispronunciations keep the audience laughing.
Christmas preparations are in high gear when a young girl, Kit (Allison Nock), comes bearing a letter to Santa from her younger brother. Kit's ho-hum attitude and lack of Christmas spirit threatens to put a damper on things, so Santa gives her a task intended to help change her attitude. Santa's housekeeper, Octavia (Neela Munoz), is good-hearted but empty-headed as she pines for the affections of Algernon, who is too caught up with himself to notice.
|The holiday comedy "Dear Santa" continues through Dec. 14 at Flat Rock Playhouse. Pictured, from left are Neela Mu?oz, Ben Hope Michael Edwards, Allison Nock and Damian Duke Domingue. (Special to the Citizen-Times)
The scenes in Santa's workshop are enchanting as the diminutive elves talk to Santa in a sing-song tone that is quite intriguing. Kit's headstrong actions almost ruin Christmas, but not to worry. Santa has a few tricks up his sleeve, including the surprise appearance of Kit's mother (Chelsie McRae) and brother (Jericho Thomas). Director Paige Posey and a talented cast serve up the perfect vehicle to put you in a Christmas mood.
This play is best enjoyed with younger members of the family but should be fun for anyone.
Tim Reid reviews theater for the Citizen-Times.