text:
Chapter 6 CNS Depressants:. Sedatives – Hypnotics. Why are cns depressants problematic?. 1) CNS depressants are usually not obtained illicitly and self-administered but rather are prescribed under the direction of a physician.
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
Sedatives – Hypnotics
CNS depressants are a diverse group of drugs that share an ability to reduce CNS activity and diminishes the brain's levels of awareness.
Depressant drugs include:
(Hansen, Venturelli, Fleckenstein, 2012)
Benzodiazepines: prescribed for anxiety and sleep. They were originally referred as minor tranquilizers but over time this terminology conflicted with the pharmacological properties similar to the antipsychotic drugs which were major tranquilizers when they were very different. Examples of benzodiazepines include:
Reported side effects include drowsiness, lightheadedness, lethargy, impairment of mental and physical activities, skin rashes, nausea, diminished libido, irregularities in menstrual cycle, blood cell abnormalities, and increased sensitivity to alcohol and other CNS depressants (Charney, 2006).
Benzodiazepines, are also known to be a short acting drug and are used as hypnotics to treat insomnia which allows patients to wake in the morning with few after effects. They are also popular and affordable to get by prescription only (Hansen, Venturelli, Fleckenstein, 2012).
Another type of CNS depressant is Barbiturates, a barbituric acid component that is used in medicine as sedatives and hypnotics.
Examples of some known barbiturates that are used is as follows:
Barbiturates can become uncontrollable because of their addictive agents to one's body. It has been known to be replaced by Benzodiazepine's which is safer to use and less abuse liability.
Uncontrolled use of Barbiturates can cause a state of acute or chronic intoxication. Moreover, people that use Barbiturates can have some loss of inhibition, euphoria, and behavioral stimulation.
1) They lack selectivity and safety
2) They have substantial tendency to create tolerance, dependence, withdrawal, and abuse
3) They cause problems with drug interaction (Hansen,Venturelli,Fleckenstein,2012)
Withdrawal from any drug or alcohol is by far a very hard and difficult situation to obdure. Many signs and symptoms are different in many people because of the distribution of the drug and it's components. Withdrawal symptoms may include anxiety, tremors, nightmares, insomnia, anorexia, vomiting, seizures, delirium, and maniacal activity (Hansen, Venturelli, Fleckenstein, 2012).
As a counselor, we face many people with many difficulties. We trigger the problems by helping clients confront their problems and find solutions that are concrete for them to live healthy lives.
In either case, patients addicted to barbiturates and benzodiazaphines should not stop taking them on their own because of the high-risk withdrawal state. Client's rather should be seen by a professional, whether it's a family doctor, psychologist, psychiatrist or any counselor that is experienced with drug and alcohol addictions. In most cases addmitted to a rehab facility that can monitor the dependence and give the help needed for recovery.
It is important to remember the elimination of physical dependence is not a cure. If an individual is abusing a CNS depressant because of emotional instability, personal problems, or a very stressful environment, eliminating physical dependence alone will not solve the problem and drug dependence is likely to reoccur. Without psychological support at this stage, the detoxification will only be temporary and therapy will fail (Hansen, Venturelli, Fleckenstein, 2012).
1)Textbook- Hansen, Venturelli, Fleckenstein, 2012.
2)You tube video-Sedative Hypnotics
3)You tube slide- "Benzodiazepines and How They Work"
4) You tube slide-"Benzodiazepine Withdrawal Symptoms"
5) PowerPoint presentation-Chapter 6,CNS Depressants: Sedative-Hypnotics
6) AnotherPowerPoint Presentation on CNS Depressants
7) http://psychology.about.com/od/bindex/f/barbiturates.htm
8) http://www.nimh.nih.gov/index.shtml
10) http://www.drugs.com/enc/barbiturate-intoxication-and-overdose.html
11) Websites on Anxiety Disorders Association of America,The Anxiety Network International and "Freedom from Fear"


text:
Forums > Off-Topic Discussion > Get your dwarf on
So I have been doing the smart thing with the economy in the crapper for the last 5 years and been investing gold.
So after buying up gold like a mad man, I am starting to feel like a dwarf hording all this gold.
So is anyone else doing this, or am I just crazy for like those paranoid end of the world freaks.
Nov 14 12 05:15 am Link
Posts: 1862
Saint Paul, Minnesota, US
When a real crisis hits, will that gold taste better than it does normally? Will its nutritional content increase?
Will it suddenly become more portable?
When a real crisis hits, and everyone, at the same time, decides it's time to sell their gold and do something with the proceeds, what will happen to the price?
Nov 14 12 05:41 am Link
Posts: 2890
Orlando, Florida, US
I don't think that gold value will decrease. The scenario you are describing is of armagedon proportions and thats very unlikely is going to happen.
Nov 14 12 06:31 am Link
I am hoping the Obama reelection causes the crazies to panic buy gold so that the price goes up and I can sell for a profit.
Nov 14 12 06:42 am Link
Posts: 10405
Martinez, California, US
you are the crazy.
Nov 14 12 07:16 am Link
Paolo Diavolo wrote:
"All the best people are" ~Lewis Carol.
Nov 14 12 03:59 pm Link

subset: commoncrawl


text:
|28 Jun 2012
monitor cables -DVI
What is the difference between dual link DVI and single link DVI cables? Would I see a noticeable difference if I switch to dual link cables? Would I benefit any at all from switching from single link to dual link?
|My System Specs
|28 Jun 2012
MS Windows 7 Professional 64-bit SP1
Do you mean the actual cable or on the graphics card?
|My System Specs
|28 Jun 2012
With the monitors listed in your specs you would see zero benefit other than a lighter wallet.
Digital Visual Interface - Wikipedia, the free encyclopedia
Dual-link DVI
To support display devices requiring higher video bandwidth, there is provision for a dual DVI link. A dual link doubles the number of TMDS pairs, effectively doubling video bandwidth at a given pixel clock frequency. The DVI specification mandates how the dual link may be used. All display modes that use a pixel clock below 165 MHz, and have at most 24 bits per pixel, are required to use single-link mode. All modes that require more than 24 bits per pixel, and/or 165 MHz pixel clock frequency must use dual-link mode. In modes where each pixel uses 24 bits of color data per pixel or less and dual-link mode is in use, the transmitter stripes pixel data across both links; each sequential video pixel is transmitted on alternate links. In modes with color depth greater than 24 bits per pixel, the second link carries the least significant bits of each pixel.
|My System Specs
|28 Jun 2012
Thanks stormy13, I'll give it a good read. I also changed my monitors recently and updated my specs accordingly. Would it make a difference with the new monitors I have now?
|My System Specs
|28 Jun 2012
|My System Specs
|28 Jun 2012
Still no. You would only need them if you have a 120 Hz monitor that requires dual link to run at 120 Hz. On 60 Hz monitors even if you use a dual link cable connected to a video card with a dual link port, you still wouldn't see any benefit as it will fall back to single link.
|My System Specs
|Thread Tools
|Similar help and support threads
A few questions about USB cables and more
1.I have just noticed that my external hard drive has been forced to have its connector be bent by its own carrying case for one whole year. I have never noticed that the pocket in the case was there for the cable so I have always thought the case was supposed to be used with the connector plugged...
|Hardware & Devices
Question about USB 2.0 and 3.0 cables
I have several USB 2.0 and USB 3.0 portables wihich came with USB 2.0 and USB 3.0 cables respectively. One of my recent computer tower has both USB 2.0 and USB 3.0 ports. I understand that USB 3.0 and 2.0 cables are compatible with either USB 2 or USB 3 ports. My question is about the...
|Hardware & Devices
Braided Cables Help
If you have seen my recent post I am building a new computer. I was recommend braided cables and I have fell in love with some. Those being: BitFenix Essentials Pro Pack - ATX 24pin, EPS 8pin, 2x PCI-E 6pin Set - Red/Black Products Model: BFA-PROPACK1-RD-BK : Performance-PCs.com, ... sleeve it and...
|PC Custom Builds and Overclocking
What do these cables do?
Hi, I'm hoping someone can help me understand this as I don't to a lot of physical network setup. It all seemed obvious until this point. :confused: A customer has asked me to fill his pre-cabled (by BT) office with computers but there is one ethernet port that did not work whereas all the...
|Network & Sharing
Sata 3 Cables
I know that there is really no difference between a SATA 1 and SATA 2 cable, despite the fact that some vendors try to give that impression. However,the new Asus Asus M4A89GTD motherboard includes two pairs of cables, 2 x SATA 2 & 2 SATA 3. The only difference that I can see in them, is one pair...
|Hardware & Devices
What cables does this thing use?
Google Image Result for http://museum.bounce-gaming.net/vfx1.jpg I got this by a friend from the U.S.A but with no cables http://museum.bounce-gaming.net/vfx1.jpg
|Hardware & Devices
|Our Sites
|Site Links
|About Us
|Find Us
Windows 7 Forums is an independent web site and has not been authorized, sponsored, or otherwise approved by Microsoft Corporation. "Windows 7" and related materials are trademarks of Microsoft Corp.
© Designer Media Ltd
All times are GMT -5. The time now is 15:45.


text:
Our warehouse will be closed on 11/23 & 11/24. We will reopen 11/27. Order by 12pm EST on 11/22 for same day processing.
Recently added item(s) ×
You have no items in your shopping cart.
Currently Shopping by
There are no products matching the selection.
FREE SHIPPING! EVERY DAY. NO MINIMUM. > Details
SlipX Solutions
2299 Traversefield Drive
Traverse City, MI 49686


text:
We're going to the Pyrenees for our honeymoon in June/July. We're starting in Barcelona and going to work our way up to San Sebastian.
Wondering if there are any definite to-dos on your town list as far as food goes.
We're likely renting a car, so driving into Spain and France is not an issue. I don't want to spend my entire day driving, though, so something closer to the Pyrenees would be great.
The more towns/cities and restos you give, the more appreciates.
p.s. - i unfortunately do not eat seafood, so please keep fish and seafood out of mind. thanks


text:
If you are interested in blogging or want to promote your book, please contact E. B. Davis at firstname.lastname@example.com.
Our reason for creating WWK originated as an outlet for our love of reading and writing mystery fiction. We hope you love it, too, and will enjoy our holiday gifts to our readers with original short stories to celebrate the season. Starting on 11/16 stories by Warren Bull, Margaret S. Hamilton, Paula Gail Benson, Linda Rodriguez, KM Rockwood, Gloria Alden, and E. B. Davis will appear every Thursday into the New Year.
Our November Author Interviews: 11/8--Ellen Byron, and 11/15--Sujata Massey. Please join us in welcoming these authors to WWK.
November Saturday Bloggers: 11/4 Margaret S. Hamilton and 11/11 Cheryl Hollon.
Congratulations to our writers for the following publications:
Shari Randall's "Pets" will be included in Chesapeake Crimes: Fur, Feathers, and Felonies anthology, which will be published in 2018. In the same anthology "Rasputin," KM Rockwood's short story, will also be published. Her short story "Goldie" will be published in the Busted anthology, which will be released by Level Best Books on April 25th.
In addition, our prolific KM will have the following shorts published as well: "Making Tracks" in Passport to Murder, Bouchercon anthology, October 2017 and "Turkey Underfoot," just published, will appear in the anthology The Killer Wore Cranberry: a Fifth Course of Chaos.
James M. Jackson's 4th book in the Seamus McCree series, Doubtful Relations, is now available. His novella "Low Tide at Tybee" appears February 7 as part of Lowcountry Crimes: Four Novellas, which is available for order.--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Tuesday, June 1, 2010
Grabbing a Reader's Attention
For readers of novels and non-fiction books, such as I, the book cover jacket bears the responsibility of grabbing a potential reader's attention. The marketing department's choice of color, cover art, title, font size for the title, font size for the author's name, whether the author has a full name or only initials – are all designed to get you to pick up the book.
You succumb and are now holding the book in your hand. Next you open the book and scan the inside flap with the blurb. A successful blurb answers, or better, suggests answers to the five "W-questions": Who, What, Where, When and Why.
Who is the protagonist? What's happening that we should want to spend several hours reading about? Where and When is the story taking place? Why should you read this book rather than another? The Why portion often consists of short quotes from other authors about how great the book is.
At least that's what I understand a successful blurb should do. I read them only when I am psyching myself up for writing a query letter or a synopsis for one of my novels – a task I do not enjoy in the least.
I admit to falling prey to a good title or interesting cover art on a book while browsing a bookstore, but then I flip to the first page, first paragraph, and I start to read. An author who is new to me has a page, maybe two, to convince me I want to spend several hours with their work. They need to answer the same five W questions, but they must do it with their actual writing, not a blurb.
But that's me, how do you choose which book to read next?
~ Jim
2 comments:
- Krista said...
I have definitely bought books because I liked the covers. A great title is powerful, too. If a title makes no sense to me, I'm likely to pass on a book.
Like you, I read the first paragraph. It's rare that the first paragraph is the reason I pass on a book, but a really good first paragraph can overcome an uninspired cover.
~ Krista Davis
Domestic Diva Mysteries
Mystery Lovers' Kitchen
- June 1, 2010 at 9:35 AM
- Kaye George said...
If I know and like the author, I buy it. Sometimes I buy on the recommendations of friends. But, when I browsing, yeah, the covers make me look. Then the back cover. My daughter turns to the middle and reads a page. I've heard some people routinely read something like, page 87. But I usually skim the beginning.
- June 2, 2010 at 12:53 PM


text:
Narendra 17:38 10 Jul 2011
I have done that. Checked and rechecked. Thought fan connector is loose so removed the connection from the motherboard and reconnected it! The integrated graphics connector, I have checked again and again. Can not find any fault there. Also checked the motherboard screws if they are loose. No joy. All the connectors inside are tight.


text:
Posted in Audio, History, Nature
Posted in 60s, 70s, Antiwar songs, Folk music, History, Music, Politics, Protest Music, Songs about America, Video, War Tags: Donald Trump, Eddie Vedder, George W. Bush, Kyle Olson, Phil Ochs, Protest Music, Richard Nixon
Posted in Finnish, History, Translations, Travelogue Tags: Compartment No. 6, Lola Rogers, Rosa Liksom
Posted in 50s, Ephemera, History, Photos Tags: Rescued Film Project
Posted in 60s, Fun, History, Nature, Photos
Posted in 50s, Audio, Film, History, Politics Tags: 50s, Audio, Film, History, HUAC, Politics
Posted in Crafts, History, Video
Posted in Art, Ephemera, Fun, History, Literature, Nineteenth Century, Weirdness
Enter your email address to follow this blog and receive notifications of new posts by email.
Join 506 other followers
Blog at WordPress.com.


text:
Debian hangs on formatting, stuck @ 33%
Does anyone have any experience or familiarity with installs hanging indefinitely. This 9isa fresh install attempt on to a perfectly running machine with an 8TB RAID 5 array. Note: other OS installs attempts seem to go well with it.
Currently, the indication has been stuck at the 33% for hours. This is definitely not going well I dont think.
Have you tried to format using a live cd and when installing just tell the installer to use the partition(s) the way it is?
Thanks for the reply,
I will try this when possible and if it happens again.
The Debian installer will stop at 33% when formatting, this is normal, it doesn't show any progress while formatting the drives and formatting partitions of that size may take quite some time. How long have you waited?
That first time something did go wrong as the bootloader did not load at all all after waiting very long.
When it was successful, I do not remember as I was doing other things while installing, but I think it must have been about 45 minutes???
I've got the same problem. Array size 3.8 TB - formatting hasn't finished after 9h. I don't have aproblem waiting, but this seems definitely too long? Does anyone have an idea, how long it may take before one can be sure the system hit the wall?
Thank you!
Press Alt+F4 to change to the console with the status messages and look if you got an error.
2x 2.5Ghz Xeon e5620 processors,
16GB 10600 ECC RAM, and
intel RAID card in a PCIe 16x slot, (5x 2TB sata)
for architecture;
It took about 45 minutes to an hour for the 33% progress bar to update.
some "older" system hybride...
So, for 2x2.4GHz Athlon MP, 3GB RAM ECC, 2420SA in 66MHz PCIX with 3x2TB several hours seem still reasonable.
@ TobiSGD: Thanx a lot for the tip, I just start learning about Linux.
That's what it tells (message dates back appr. 7.5h now after restart this morning after 9h over night without result):
<Timestamp> partman: mke2fs 1.41.12 (17-May-2010)
Looks like still working, right?
Btw, this system has led to Linux. No 32bit OS with GPT in the MS world. And I do want have THIS system running. I know, that's not rational... (Would be more rational to upgrade to 64bit and use Windows, which I know quite well. But - how boring.)
Make sure you don't enable bad block checking as that can delay things for a very long time.
It is not enabled as long as this is not a standard setting for the debian installer.
Alt F4 and how back?
Good morning (at least for me),
finally formatting came to an end... (sometime this night, total time somewhere inbetween 18 and 24h).
Now I've got some follow up problem. After Alt-F4 (see above this topic above) the installation switched to command line mode. I'd like to go back to the "semi-graphics" mode it ran before. Could somebody please tell me how to?
Thanks a lot!
Have you tried Alt+ the other F keys?
Great, thanx a lot. Looks good.
|All times are GMT -5. The time now is 01:25 AM.


text:
Once you actually break into the action, it becomes even more obvious that the developer just doesn't get it. Essentially, it's a knock-off of Splinter Cell. Climb drain-pipes, sneak round corners, use night-vision. Even the controls are strikingly similar. But our hero Lloyd is infinitely more wooden than Sam Fisher, and he's short of a few moves. We're not just talking about split-jumps and SWAT turns here (although you can't do either of those); we're talking about the fundamentals, like the ability to walk over pipes without pressing A, or the not-so-ancient art of shooting downwards when you're crouching on a roof.
Believe it. Not that this basic ability would achieve much anyway. Get into a firefight with a vamp, and chances are, you're going to come in second. Once these creatures start charging you, pointy-teeth first, it takes a whole clip from any weapon to stop them, and if they catch you it's game over. No, really. Lloyd dies if a Nightwalker gets a couple of hits in on his fleshy body, and as these vamps always use two-strike combos, that means death and a restart are pretty much guaranteed.


text:
Have you written a book? I am contemplating. But wow, I do not know how to write a book. Those who have are far beyond me.
Didge, thank you. Ray, that is horrible. How violated you must feel. How awful. Don`t let them or whomever win. My heart goes out to you:)


text:
Template >> Flyer - 3 Horror Flyer Bundle 241713 by Lucion Creative @ CreativeMarket
File Size: 156.48 MB; Requirements: Adobe CS3+; Dimensions: 4 x 6 in.
A premium Vampire and Monster inspired Halloween Flyer for your next party event!
All items are easy to modify.
Print Ready: CMYK , 300 DPI
Size: 4" x 6" with bleeds
Keywords: blood, cinematic, club, concert, costume, demon, event, flyer, grunge, grungy, halloween, horror, indie, model, monster, night, october, gothic, vampire, texture.


text:
OAKLAND -- Jacoby Ford had an inkling he was going to break a long kickoff return against Cleveland.One hundred and one yards later, Ford had his franchise-record fourth return for a touchdown, giving the Raiders a lead they would not relinquish after the Browns tied the game at 7-7 early in the second quarter."Yeah, special teams had a good week of preparation this week and I also got to say that Rock Cartwright actually called that," Ford said. "He actually said it in practice, as soon as we got done running that exact return, he said, 'You're due to break one this week.'"According to Ford, who also had a 37-yard return, it was all about the blocking scheme employed by the Raiders.
"That blocking scheme is great and is definitely something that's hard to defend," Ford said. "And if they try to defend it, it's like there's another way to defeat it."Ford, who had been slowed by a strained right hamstring suffered in the season opener at Denver on Sept. 12, initially came out of the end zone to the left hashmark before bouncing out to the right sideline. He walked the tightrope down the stretch and the play was reviewed to see if he had stepped on the line. He did not."I didn't know how close I was when I first got to the sideline," he said, "but I knew I didn't step out when I started tight-roping."Making his debut -- Two days after his first and only practice with the Raiders, linebacker Aaron Curry started at weak-side linebacker.Curry, acquired from Seattle, had three tackles."I'm going to watch the tape, but I thought he was out there flying around, trying to make plays," coach Hue Jackson said of Curry. "As I told you when I traded for him, I traded for him for a reason, to stick him in there."And while Curry did not have a statement play, he said his defensive calls were not limited at all."I feel like this is a defense that allows me to utilize what I do best, which is run," Curry said. "They blitzed me one time but I think my best attribute is when the ball is snapped, who has the ball and go and get it and play smart."It's amazing. It's exactly what I saw on film. It's the same exact defense I saw on film. Nothing new, nothing surprising."Straight outta L.A. -- Rapperproducerdirector Ice Cube was at the game and held an impromptu press conference before the game.His 2010 documentary on the Raiders' years in Los Angeles and their influence on rap music was critically acclaimed. He was one of the last to be granted a one-on-one sit-down with the late Al Davis."Al, I don't know if he would condone this, but to me he's the original gangster," said Ice Cube. "He did it his way. I call him the Frank Sinatra of football. He really showed that you could be yourself and you still could be the best. You dont have to conform to be the best. That's what I got from Al."That's what we took, that you could be yourself with your flaws and all that and still make it to the top. With NWA we took on that philosophy. We said, 'Yo, we're not going to conform. We're just going to be ourselves and we're still going to win with it.' That's still the Raiders' philosophy."Ice Cube said the passing of Davis shook him. "It was a shock ... really unbelievable," Ice Cube said. "You always know that some days your heroes are not going to be with you but you never expect to wake up in the morning and not have him. When I heard that Al was gone, it's like youre losing an era. You're not just losing a person. Youre losing an era."You're losing, to me, one of the best football minds that we've ever seen. Without Al Davis, we've got three yards and a cloud of dust out here and that's it. With Al you've got the bomb, you've got speed, you've got the passing game. Al brought all that into our league. It's a sad day. He'll definitely be remembered."


text:
Jose Maria Blanco
Priority One Jets offers private jet charter and air charter services Jose Maria Blanco. With access to over 7,000 aircraft worldwide, no flight is too small or too large to handle. With just few hours-notice Priority One Jets is able to arrange any type of aircraft from Jose Maria Blanco or to Jose Maria Blanco regardless of the number of passengers.
Book a Private Jet in Jose Maria Blanco
Priority One Jets has access to all jet types. Choose from any Citation, Hawker, Lear, Falcon, Challenger, Gulfstream, Global Express, Boeing Business Jet and even Jumbo Jets. Priority One Jets can arrange all your jet charter flights with just few hours. Feel free to call our account executives to book your next jet charter flight in Jose Maria Blanco.
Rent a Private Jet from Jose Maria Blanco or to Jose Maria Blanco
Rent a jet and be ready to depart in just few hours. Priority One Jets can arrange your jet charter and air charter in Jose Maria Blanco.
On Demand Jet Charter in Jose Maria Blanco
Our on demand jet charter service in Jose Maria Blanco allows you to depart when you want and on the jet that you want. Arrange your flights from Jose Maria Blanco based on your own schedule. Avoid connecting stops and unnecessary layovers.
Call now to book your next:
Charter Flight
Air Charter
Jet Charter
Private Jet Jose Maria Blanco
Air Charter Service in Jose Maria Blanco
Let Priority One Jets handle all your air charter services from Jose Maria Blanco. Our experts have numerous years in the industry and will make sure you travel on the right aircraft for your particular flight.
Corporate Jet Charter in Jose Maria Blanco
Need to arrange your travel based on your own schedule? Corporate Jet Charter lets you travel when you want and avoid connecting flights as well as unnecessary layovers. Priority One Jets offers Corporate Jet Charter services in Jose Maria Blanco, with access to over 7,000 aircraft worldwide you can be sure to travel on the right jet every time.


text:
Since 1993, Jeffrey J. Williams has conducted over 50 interviews with contemporary critics, philosophers and writers. The Conversant is pleased to republish a selection of these interviews.
This interview took place in Jeffrey J. Williams' office at Carnegie Mellon University in Pittsburgh on August 8th, 2007. It was conducted and edited by Williams and transcribed by David Cerniglia.
Composition is the main artery of English departments. A course in composition or basic writing is a requirement that almost every university has and that English departments typically staff. Before the 1970s most English professors taught writing, but since then composition has developed into a distinct field, with its own vein of research, journals and organizations, and those who specialize in it. David Bartholomae is a leading figure in composition. But, initially trained as a Victorianist, he has stressed composition's link with literature rather than its separation, and resisted trends toward "writing without teachers" or without academic models.
Writing on the Margins: Essays on Composition and Teaching (Bedford/St. Martin's, 2005) collects a wide sampling of Bartholomae's articles, such as his well-known "Inventing the University." See also his survey of "Composition" in Introduction to Scholarship in Modern Languages and Literatures, ed. David G. Nicholls (MLA, 2007), and his debate with Peter Elbow, "Writing with Teachers," CCC 46.1 (1995). Alongside his essays, Bartholomae has had substantial influence with his textbook, now entering its eighth edition, Ways of Reading, co-written with Anthony R. Petrosky (Bedford/St. Martin's, 1987; 10th ed. 2014). He and Petrosky have also written the text Reading the Lives of Others: History and Ethnography (Bedford, 1994) and co-edited The Teaching of Writing: The Eighty-fifth Yearbook of the National Society for the Study of Education (University of Chicago Press, 1986) and Facts, Artifacts and Counterfacts: Reading and Writing in Theory and Practice (Boynton/Cook, 1987). In addition, he co-edits the University of Pittsburgh Press series in Composition, Literacy and Culture.
Born and raised in Ohio, Bartholomae attended Ohio Wesleyan University (BA, 1969) and Rutgers University (PhD, 1975). Offered jobs in Victorian literature at Boston University and in composition at the University of Pittsburgh, he chose composition and has been at Pitt since 1975. He directed the composition program from 1980-89 and was chair of the department from 1995-2009. He currently holds the Charles Crow Chair of Expository Writing and also has been a frequent visiting professor at Universidad de Deusto in Bilbao, Spain.
Jeffrey Williams: Composition is probably the most commonly taught course in English departments, yet it often has an iffy position, especially next to literature. How do you see composition fitting in an English department?
David Bartholomae: I'm on record as saying that composition with a small "c"—that is, an attention to writing in school—is best sponsored in the English department. I'm really concerned about what's happening across the country where more and more programs are splitting out and becoming self-standing composition or undergraduate writing programs, drawing TAs from all over the curriculum with no departmental status. There are a lot of reasons why I think that's a problem. Some are just structural. I think that, over time, if you don't have departmental status, you don't have a position at the big table, and you lose a certain level of clout. If the dean for whom this was a brilliant idea is no longer the dean and there's a new dean who needs to make budget cuts, that's the area that's going to get the cut. It doesn't have the same stability. No one's in a position to speak for it at the dean's level the way that, once upon a time, it was possible to talk about composition as part of the undergraduate mission.
It also says what I think is wrong: that the work is independent of the research mission of the university, and that the work of teaching undergraduate writing doesn't require or rely upon faculty paid to do research—and given time to think about what they're doing. So it's played into a distinction in today's American university where there's a teaching faculty and a research faculty, and the teaching faculty teaches in the lower division or undergraduate curriculum, does the required service courses, and the research faculty teaches English majors and graduate students, and then gets all the support that goes along with them.
I've been around long enough to know that composition is uncomfortable in English departments, and one of the reasons is that it has to be accountable to people who don't care about it or don't know about it or who carry an ancient prejudice about having to teach it. It's like you get that smell on your hands and it never comes off, and so you're waiting for the moment in which you graduate and you don't have to do it anymore. I think that English departments need to think about undergraduate writing, why it's important, and how to value it.
JW: I'm sympathetic, but in reading journals like JAC (Journal of Advanced Composition), which I've published in, it does seem as if there is a highly developed genre of complaint in composition.
DB: That's right, and supposedly, to compensate, there either has to be a major or it needs its own separate home. One of the positions I take that's different from Composition with a big "C" is that I think composition has historically been a way of thinking about the lower division and general education, and about the relationship between writing and ordinary language and the possibilities of an intellectual life that doesn't rely on specialized language. At a certain point, a distinction was made that we now take for granted, that there is something called "composition," and that it has its own expertise, its own set of classes and professional domain and literature. Once upon a time in the American university that distinction wasn't so fixed; certainly the lower division and upper divisions were set, the training of majors was set, but it was possible for people to imagine that, whatever their research interests were, there was a relationship between literary value and the value that you would find in undergraduate writing.
I think it's been a loss that, as composition has gotten more firmly defined professionally by drawing the boundaries between what's composition and what's not composition, we've lost that possibility. It's a fantasy, but I'm imagining an English department that sometimes I think I've lived in and chaired, where people do a variety of kinds of work, see their work as being part of a larger common mission, share interest in each other's research, value each other's scholarship and teaching, and understand the difference between general education and a kind of specialized training. But there's a great labor to make that happen and keep it going. I can easily understand why in certain places people have said, "I cannot do my work in the English department. I don't get the support. I don't get the resources. I'm tired of being dumped on. I'm tired of the whole thing."
JW: I want to come back to the history of composition, but first I want to ask you more about where you would place yourself. For you composition is linked to reading literature or other kinds of texts that have some degree of difficulty. For instance, in one essay you talk about assigning Foucault and how students struggle through it. Maybe you could say what you do and how you link composition to reading.
DB: I think of composition as a commitment to a course, and it's a lower-division, introductory course. It's a course where students have to learn to work with materials that aren't written for them and that they're not prepared to read. That's the defining moment of the undergraduate curriculum, and I think it's the reason why composition is a requirement across the country. Some people say it's because we have to make them good citizens. What I have said is that it's to prepare them to do the work of the academy, at least as I can represent it in that course. It's not mathematical work—it's work with written language, and it's to learn to work with materials that you're not prepared to read because you're not a part of that disciplinary or intellectual community.
So the job of the composition course is to prepare students to do that work, which means to learn how to read and how to write about what they read. They need to learn how to work with compelling and powerful texts beyond summary and paraphrase, and the way I usually put it is that there has to be a way for students to have something to say too. There's a way in which students can extend a project, they can apply it, they can see some connection with something else. They have an idea and they find a way of making that work something other than a summary statement of somebody else's text. That's a pretty interesting and exciting moment.
The reading piece has always been important to me. As I've imagined students encountering intellectual life: they make use of something that they've read, something the academy values. That's why I think it's important to give students the opportunity to read Foucault. The composition course also has to be a reading course because, if there's really a project where students are going to work on their writing, it means they must revise. There has to be a paper that they have written and then learned to read critically so they suddenly understand what it is doing and what it isn't doing, and they revise it not to clean it up but to make it smarter or to make it take the next step. That's always going to involve rereading.
The student who reads something that's difficult will write a paper that's sort of seamless and perfect. If you ask the student, "How did you do that?" the student will say, "Well, I just ignored everything that I didn't understand and I wrote about what I could understand," which is a very powerful strategy. My response as a teacher is to say, "Now, what I want you to do is to go back to read the parts you didn't understand to see how you would bring those into the text that you've written." And the first thing that happens is the key moment for me in the freshman course—it's the moment of translation, when the student says, "What I think Foucault is saying is this." Then the next moment is the student finding a way of taking that translation and putting it to work on something—a reading of another book that's in front of him, or a situation that he's encountered, or something that's going on in the news. So then he's doing a Foucauldian project. So there's now a reading of the work the student did last summer on a construction crew, and the way in which he was defined and placed on that crew in a hierarchical arrangement, in relation to Discipline and Punish. That is a kind of work I can value, because I know that there's an investment beyond just, "How can I fit Foucault into my pocket?" That's the reading piece. It doesn't require the literary text, but it certainly can.
JW: That's the direction of the textbook you've done, Ways of Reading, which is different from the usual run of comp textbooks. I understand it's done very well.
DB: It's going into its eighth edition. It's important to me to think that one of the ways that I have done my work is by organizing the experience of hundreds of thousands of writers and their teachers. The challenge of the textbook was to figure out how you might take your course and make it into a course that other people can teach. The pleasure of the textbook is hearing from people for whom it's been an important experience, both teachers and students, saying something like, "The book took me seriously as a thinking person." I refer to students as intellectuals, and people laugh at that, but I'm not being ironic. They're trying on the role of the intellectual, and we help them to do that by forms of engagement that we arrange.
Lynn Bloom was determining the canon of nonfiction as created by the composition reader, and there was a set of pieces that ran through all of them, but the one textbook that didn't fit the study was Ways of Reading. We were bringing a set of materials that nobody else was using, that were dense and difficult, that were experimental in certain ways, that you had to work to teach and that students really had to work on over time to be able to handle with any skill and pleasure. Many of the other books said, "Let's make the course as easy as possible. Let's give them what they can handle." The attitude was that freshmen were pretty stupid and their writing wasn't very interesting. Perhaps it's because they weren't being asked to do anything interesting.
JW: What kind of material do you have in it?
DB: Let's see, in the new edition we're including about twenty poems from a book by Cornelius Eady called Brutal Imagination. It's the story of Susan Smith, the woman from Union, South Carolina who drowned her children by letting her car go into a lake and then saying that a black hijacker did it. So he's imagining the role of the black man. With that we usually ask students to do two kinds of things. We ask them to think about how they understand this project as a project. One of the compelling things about it is that it places the black man in the history of black representation. There's a set of poems on Uncle Tom and Step'n Fetchit and media representations of blacks. There's a series of poems that works from the transcript of Susan Smith's confession. This series tries to imagine the position of the person for whom the only alternative is the invention of the black man who drowned her children. And then this quite brilliant final poem called "Birthing" is a remarkable piece for its unwillingness to make Susan Smith into a simple villainous character (just to reverse the race politics, so that it's black people who are good and white people who are bad). One of the things we want students to do is to think through that sequence, if it's a making an argument. Another thing we want them to do is an Eady-like project. If they want to do it in the form of poems, they can—they can imagine the limits of speaking for that person or bringing that person into light. The other kind of assignment we give is to have students think about history and its rewriting. They can go to the newspaper accounts on the Susan Smith investigation and trial, and think about what Eady can do that can't be done in those other forms.
We also include the opening chapter of Anthony Appiah's new book The Ethics of Identity, where Appiah is trying to think through the need to define yourself in relation to some larger collective. How do you do that, and what are the costs and benefits?
Ways of Reading is organized in such a way that the first set of questions is called "Questions for a Second Reading," so it assumes that rereading is the opening moment. And then it will help to direct that reading. The idea is that when students go back to work on the essay, they can be driven by a piece of it that seems interesting to them but that's slight or small or not necessarily what you would produce if you were being tested on your ability to summarize Appiah's argument. There are questions directing students to work inside of the text and there others directing them to imagine an Appiah-like project.
JW: It strikes me that a big part of what you do focuses on revising. As an editor, I've become more and more adamant about revision, and my method is usually paring things down. My saying is that no one ever complains about a shorter essay.
DB: My sense is that in the world of the professional writer (as academics are professional writers), one of the problems is too much revision. On the one hand, the rush to publish keeps people from being serious about revising, but on the other hand, too much revising keeps people from finishing, from publishing. I know people who've revised their book for so long that they've left three books behind them.
For students, it's often that they literally don't know how to revise, that they haven't had the experience. They may have revised papers, but it's usually to clean them up. At best, even when it's an intellectual project, it's to make it tighter rather than to make it messier. I think in teaching students to revise, the ideal is to teach them to come to terms with the formal limits of what they've done. The simplest example is that you have an idea, you gather the examples, and it leads you to your conclusion. If you ask students to bring in counterexamples, the parts of this book that don't fit the argument, or even just to write three possible conclusions, or two paragraphs that think tentatively rather than with certainty, that's a major task, but that makes revision a form of critical inquiry. To learn to do that requires an act of faith, since the good writers in your class have been good writers because they've found a form that works for them and they've got a set of routines.
Undergraduates need to learn how to take revision seriously and how to imagine it's something other than correction. Sometimes it means, "OK, you need to read another book—now that you're writing about images of women in advertising, you need to read Susan Bordo, or you need to read Judith Butler and see if you can bring that into the argument." But it's also a matter of a student seeing the problem of his or her own paper. A student has to learn to read it, to begin to understand what it doesn't do, or what its limits are. We like to have students write like the people that they're reading. We have students write about Emerson, but there is never an Emersonian paragraph, and we'll say, "When you revise, make one of those paragraphs an Emersonian paragraph," which means that they have to go back and read to figure out what an Emersonian paragraph is, and what would it mean to be able to do that, and then something happens. It's like asking students to write poems like Cornelius Eady. It's not to train them to be poets.
JW: How would you say your way of doing composition is different from other ways of doing composition? One that I especially know is the more expressivist line, since I went to Stony Brook when Peter Elbow was directing the composition program there. Another might be the critical pedagogy line, to train citizens.
DB: I want to do this in a way that doesn't make me singular or exceptional. I've been speaking with some passion about the way I imagine the course, but I'm not alone in imagining the course that way—that is, a course that asks students to be seriously involved with other people's ideas. Peter and I published a debate, and my essay was called "Writing with Teachers." Peter is a brilliant teacher, but the notion that there is a free writing, the notion that you can, at some point, be free, is one of the most powerful myths that circulates across the culture of writers, whether they're undergraduates or not. It means getting school out of the way. My argument is that: the moment somebody is writing seriously as an academic or an intellectual, they are always writing in the face of tradition, power and authority. At the undergraduate level, to pretend that they aren't is to make them foolish. You must make them aware of their responsibility to authorities beyond themselves, or to texts that have had a circulation. That means that they don't get to invent the discourse on the family or the discourse on the nation or citizenship or patriotism. They have to be worried about where their language is coming from.
Some imagine the composition course as a place to prepare citizens for a democracy. This reaches back into the history of the American university. The rise of the newspaper led the rhetoric course to be about writing, not public speaking. The notion was that you would be writing in relation to the public, and that you would have a way to be able to participate in democratic life. Now there's a strong movement to use the composition course and to justify its requirement by making it a service-learning course, where the course is the occasion for students to go out and work in a community literacy center or some community setting. I have a very skeptical and jaundiced view of this. It's a required course, and sending groups of 20 undergraduates out to meet poor people and to write about it—I'm not sure that achieves what it's meant to achieve, and I think in many ways it's a form of patronization. And often these programs fail to ask the necessary questions, "What are the genres of writing that are appropriate? What is the writing for? How good is it?" It's often descriptive, or it falls into a kind of op-ed genre, so that there's this Rush Limbaugh quality, or the liberal version of it, where the point is to summon up a strong feeling.
Kurt Spellmeyer and Richard Miller, both at Rutgers, have a very interesting book called The New Humanities Reader, and in it they say that, because freshman composition is a required course and we have the attention of so many students, we must turn students to the major issues of the day. They use the course to have students attend to social issues—the environment, poverty, globalization. The textbook produces a serious set of readings that can give students an informed position, and then prompts them to write about major issues. Of course it's hard to find the undergraduate paper in response, let's say, to the problems of poverty in Africa, that finally has an authoritative built-in knowledge, rather than that simply takes the right position. But to have students read serious works on public issues, I think that's something to do.
The other version of the course that prepares students to do the work of the academy is the writing-across-the-disciplines course, where you spend some time thinking about writing in the sciences, writing in the social sciences, and writing in the humanities. There was a time when there was a lot of energy being spent on that. The limit of this conception of academic writing is that enforces a kind of formalism: it assumes that there is something called "historical writing" or "economic writing." But within a field like economics, the genres vary wildly. Whenever I do faculty workshops, I use something I learned from Jim Slevin. One of the first things Jim would say, if he were going to meet with a group of anthropologists, was, "Send me what you think to be a really good piece of writing, and then send me a piece of your writing." What would happen is that there would be strong disagreement among the anthropologists about what good anthropological writing was. The disciplines have multiple genres and a contested sense of the good. All of that is hidden or erased in the writing-in-the-social-sciences approach to preparing students to write in the academy.
There are also those who argue that students should change the genres of academic writing. I'm thinking here of Geoff Sirc, who has a book called Composition as a Happening. He sees the composition class as the place to bring the discourse of the academy and its values and standards into productive conversation with popular or emergent culture. There's a lot of interest now on the research side of the composition community in what's happening in chat rooms, text messaging, rap or hip hop, the varieties of forms of writing that are emerging now out of youth culture and technologically mediated culture, and the idea is that composition should allow students to imagine the place and power of those in relation to the sort of stuff they'll read in the class.
JW: So the writing of Facebook? One could imagine a very different kind of composition course in twenty years.
DB: That's true. Actually, Jim Slevin, who died a year ago and who's one of my intellectual heroes and was a very good friend, had this notion that composition was something that he would work with but not in. The last piece he wrote tried to imagine a course that wasn't bound by all the predeterminations of, "Is it a literature course or is it a composition course?" But Jim saw that composition was the place where a set of institutional standards and values met with emergent, popular, ordinary language—acts of reading, ways of writing, that come from outside the classroom, and that they would transform each other. It was not just the students who would be transformed, but the academy would be transformed as well.
There was a time in the academy when a professor (and departmental chair) could pay the kind of attention to the lower division and general education that Jim paid. One could imagine that happening again, where scholarship changed because of what came through the door in the freshman class. It might seem hard to imagine this now, but this was the world that Jim imagined. John Norton, who's chair of History and Philosophy of Science at Pitt, teaches a senior seminar where students learn to write as though they were historians and philosophers of science. Most departments at Pitt have a capstone course like this. John said that "the future of the profession depends on a course like this senior seminar," and what I heard him to be saying was not that courses like this prepare students to go to graduate school, that as we watch smart, young people who are intellectually serious trying to imagine themselves in the roles that we occupy, roles manifest in our writing, we learn about ourselves and our writing and what we have learned to take for granted—what our blind spots are, what our discipline might mean to those on the outside. That's how I understand our relation to freshman composition and general education.
JW: That's a good justification of composition. But, to look at the less optimistic side of things, there are a number of critiques of it. You and I both admire Richard Ohmann's work, but he exposed some of the less than humanistic functions of the composition class. And more recently there are critiques of labor practices and composition's complicity in them. Many compositionists have become middle managers instead of professors, as Marc Bousquet, whose work I especially admire, points out. How would you respond to some of those criticisms?
DB: I think they're very different criticisms. I haven't done the homework to work this out in detail, but the thing about Ohmann is that he actually believed that the teaching of writing could produce the forms of intellectual and social change that he valued. The canonical piece "Use Definite, Specific, Concrete Language" (in College English 41, 1979) tells how the values that we bring to the writing class ask students to look only at the local and not to theorize. His point is that what you teach students to do with sentences can be imagined as a form of political enslavement. The argument, then, is that what you teach students to do with sentences can also be a form of powerful critique and liberation. So the question is: "What do you teach students to do with sentences?"
I think teaching students to do things with sentences is a very powerful political act. Teaching students to only look for examples that fit is a kind of Bush politics: you look only to find what you have to, in order to do what you want to do. Teaching students to use a parenthesis when they have two thoughts at once, or to imagine that they occupy two linguistic positions, makes them different people. My sense is that Ohmann is right. He was a teacher; he did at least one textbook.
JW: And he edited College English. He had Harvard training in literature and he was writing on stylistics, but he chose a different career path from most of his cohort.
DB: That's right. And his hero, Wallace Douglas, who was at Northwestern, is a very important critical thinker who published only in relation to classroom practice.
JW: Douglas was the author of one of the chapters in English in America.
DB: That's right, the one that looks at the history of instructional practice. I was chair of CCCC (Conference on College Composition and Communication) when the Wyoming Resolution came in…
JW: What's the Wyoming Resolution?
DB: There was, annually, a conference on composition at the University of Wyoming. It was exciting to be there because you felt like things were happening. There was more discussion than paper-giving, and it seemed free of hierarchy, and there was a great barbeque and people drank a lot. One year at the Wyoming conference, people said (there were a number of part-time and adjunct faculty there), "Think about the division of labor and the contract conditions of part-time faculty," and a resolution was passed to address the problem of an underpaid, part-time faculty primarily assigned to teach composition.
The resolution was addressed to CCCC, and Jim chaired the committee charged to respond. The political history was like the history of the proposals that Bousquet and Cary Nelson and others brought to MLA. The Wyoming Resolution charged CCCC to sanction departments that were in violation of best practices in hiring. Of course CCCC was not in a position to be able to do that; they had no legal standing, they didn't have the money, and it wasn't in keeping with their charter. Everybody felt that changes needed to be made, but no one could figure out how to make them. This was when we first started to think about the organization and distribution of labor as part of what we thought about when we thought about composition.
One of the interesting things that happened was that the initial proposal said we should get rid of part-time faculty (that composition should be taught only by full-time, tenure-stream faculty members), but, in the first of several meetings that Jim chaired, one of the angriest groups was a group of adjunct faculty who didn't want tenure-stream jobs and who saw us eliminating their positions. They had a variety of reasons. The committee wanted to solve the problem of the inequity in pay and course-load in composition, but they couldn't figure out what to do about it other than take positions.
The Wyoming Resolution did produce statements on campuses that outlined the rights and responsibilities of faculty. It served union efforts on certain campuses, and CCCC issued a series of statements about maximum course-load and the role of part-time faculty in making decisions about curriculum, about office space, and so on. I can only dredge up the memories of it, not the details very well, but to my mind it long preceded the work of Bousquet and Cary Nelson. This was when people in composition started to realize that you couldn't think about the field without thinking about the employment conditions of those who were primarily engaged with the field.
I mean, I directed a composition program for 10 years. I knew all the part-time faculty, and I knew them intimately. You rely on them. They are the teaching faculty in the provost's formula, the formula that provides a non-tenure-stream teaching faculty and a tenure-stream research faculty. At Pitt, we have begun to produce more full-time, non-tenure-stream positions. We haven't changed the formula (which disturbs me), but we have considerably improved working conditions. I'm on an ADE (Association of Departments of English) committee doing a survey of hiring practices, to create a database so we can chart change in the use of adjunct, part-time, non-tenure-stream faculty. Having participated in that process, I have no idea whether I'm going to rot in hell for what I've done or whether I've made my way to heaven, because on many campuses and on my campus, there are maybe 50 people working full-time outside of the tenure stream. The have continuous employment, get paid a decent wage, are given responsibility for the curriculum—and we haven't traded in a single tenure-stream line to achieve that. However, it plays into the distinction that I find problematic, between a teaching faculty and research faculty. The teaching faculty teach 3/3 loads. They get to make decisions about the courses they teach, they really run the curriculum in many ways, they're wonderful colleagues, but they don't get sabbaticals, and we now have to think about the difference between the research faculty and the teaching faculty.
JW: I want to ask you about your background and the situation of comp when you came into the profession. I know that you come, indirectly, out of the tradition of Hum 6, which Reuben Brower and others developed at Amherst after World War II, and which Brower brought to Harvard, where Paul de Man and Richard Poirier and probably Ohmann encountered it. Poirier was one of your mentors at Rutgers, which helps to explain your stress on text-based writing. Maybe you could talk about how composition developed from World War II through the time you came into it.
DB: I've come to believe in the following: once upon a time it was not so natural or inevitable to think that we had composition on the one hand, and on the other we had literature, and these were two separate professional worlds, each requiring its own forms of professional development, its own meetings, where people in one world were either mysterious or suspicious to people in the other. There was a time when people could imagine being interested in their own research, and they could imagine being interested in the preparation of English majors, and they could also imagine being interested in the lower division and in general education.
One of the places where this was done in a very interesting and influential way, at the end of the Second World War, was at Amherst. It was Theodore Baird, not Brower, who was the key figure there—although in the project I'm working on, it's also Robert Frost. Brower was Baird's student, but there was a larger group working together. The course they created is actually very similar to the course that I described as my own earlier in this interview. I do feel that I'm part of a project (because of the teachers that I've had and the commitments that I've made) that is connected to the course at Amherst, English 1-2. Students wrote, often more than once a week, and spent a considerable amount of time learning to read closely and to criticize their own work—not in order to finish an essay, but because they were engaged in an intellectual project that had a topic to it. The topic was usually imagining general terms: "What does it mean to be located? If you're in Amherst, where are you?" You'd think about Amherst in relation to its place on the globe, its place in history, its place in the economy of Massachusetts. But in the end, it was a course about the problems of language and reference. The final question would always be something like, "And so what, then, does it mean to be 'located?'" Actually, one of the first courses that Baird taught had as its central text Henry Adams' autobiography. What does it mean to be a student? What does it mean to be a person? Here's Henry Adams working this through. Students were set a series of tasks where they would write short papers, where they would try to locate themselves, and then the question was phrased something like, "Who are you and what do you know if that's how you define yourself?"
There were a number of interesting people who went through there. Reuben Brower left with a number of people, including Richard Poirier, who was one of my teachers, to go to Harvard; de Man was one, and Ohmann was one. There's a long and interesting list of people, and they took seriously their charge to do a freshman course, a gen-ed course. They didn't see it as something that should belong to someone else.
Amherst had access to people whose careers became distinguished enough that it's left a very interesting trace across the history of English studies. At the same time, in 1947, there was a group of people—John Gerber is one, who became chair at Iowa—who were at MLA and were furious because there was nowhere, they felt, inside of the structure of MLA to talk about the freshman composition course, which mattered to them. So in 1948 they organized a meeting in Chicago, I believe concurrent with a meeting of NCTE (Nation Council of Teachers of English) and decided that they would apply to NCTE to form a conference, the Conference on College Composition and Communication, which then had its first meeting in 1950. They felt a need to create composition as a professional category so that one could have a career in composition, there would be a journal that you could publish in, there would be a professional identity that wasn't shameful. With a new field, they had to seek and find a scholarly foundation, a tradition. So on the one hand they sought and found the history of rhetoric and ways of applying the history of rhetoric to the teaching of writing. On the other hand, they received funding to create a scientific foundation by doing usage studies, basically, and studies of classroom practices. It was a moment that produced great energy. It produced a journal. It produced a set of key figures. It started to evolve its own canon.
JW: But it precipitated a split, unlike the Amherst model.
DB: I think that's what happened. It wasn't just Amherst; Brooks and Warren were writing a modern rhetoric, and there were a number of New Critics who, early in their careers, were seeing the work they were doing connected to undergraduate writing, often in a freshman English course. One of the early reviews in the journal of the Conference on College Composition and Communication, on the Brooks and Warren rhetoric, criticized it for being too involved in literature. There was a desire then to create another kind of textbook, founded differently, like James McCrimmon's Writing With a Purpose, one of the early composition textbooks to command the field. So suddenly the split was formalized in competing professional organizations and competing professional identities.
I felt this in my own career. I came from a PhD program at Rutgers where our study was literary study, and there was not one single graduate course that we took that had anything to do with composition, or with rhetoric for that matter. We were told that we would teach composition to pay our bills, but that we shouldn't spend much time with it because it wasn't important. What was important to us was our graduate work—work, ironically, pointed not to authors or periods but to problems of written language.
JW: And your field was Victorian literature?
DB: That's right. I wrote my dissertation on Thomas Hardy. So I was of a generation who made a set of professional decisions to do composition. For me it was a kind of "two roads in the wood" decision. I was offered a job as a Victorianist at Boston University and I was offered a job at the University of Pittsburgh in composition, and I just thought that the composition job was more interesting. I thought I could spend my life doing that, and I didn't think I could spend my life writing about Thomas Hardy.
JW: Were you an anomaly then? Your advisors must have been surprised.
DB: Oh, they were shocked. People thought I was out of my mind. I was not only choosing composition instead of literature, I was choosing Pittsburgh instead of Boston. It was in 1975, and it was not until the 1980s that the separate PhD programs or PhD tracks in composition and rhetoric became common. As you create a category of PhD preparation and you name jobs with the same name, you assume that the only person who can take a job in composition is somebody who's gotten a composition PhD, even though the generation before were all people like me who had written on Dickens or whatever. This is the great divide.
An interesting sidebar is that my class at Rutgers produced a surprising number of people who made careers, very successful careers, in composition, including your colleague Linda Flower, but also Don McQuade, Pat Bizzell, Bruce Hertzberg. I think it's partly because they were savvy and saw opportunities opening up that seemed interesting and exciting. They could have had jobs either way, but they were people who got very interested in teaching and the problems that teaching presented. I think that's a part of the tradition that Amherst started, when folks like Richard Poirier, Julian Moynihan, Tom Edwards, Paul Bertram and David Kalstone, who had been at Harvard, came all at once to be in the graduate program at Rutgers. It was partly that they gave us a way of thinking about teaching, and it was partly the critical frame that we were given as we were working with literary texts—which was that we were thinking about the problem of language as represented in Norman Mailer, or Robert Frost, or Marvell or whomever.
JW: Your students nowadays probably don't have the same sense of it.
DB: Rutgers nurtured faculty who work with composition but not in composition. That is, composition doesn't define everything that they are or do. And I think there are a number of graduate students whose careers will be defined similarly.
But the history I wanted to tell is of a moment when we wouldn't have had to think about composition and literature as the necessary designations of an English department. I think that we ought to imagine ourselves back in that place. Joe Harris said, very rightly, that I was trapped inside a structure of feeling that was going to make me forever nostalgic. I wrote him to say, "Joe, I think you're right. But I cannot, or I will not, let that nostalgia go." Whatever time I have left to work, I would rather write about Frost and Amherst and Humanities 6 as a way of thinking and teaching than anything else.
JW: I wanted to ask you about being chair of a department and how you see administering fitting with what you do.
DB: The simple answer to how I became a chair is that our department elects a chair, and I stood and was elected. It was my turn. I really like the department; it's a department where we have a shared sense of purpose. We have programs in creative writing, film, literature and composition, but we're not in separate annexes. I've always taught literature courses. There's movement back and forth. I never thought of myself as being in composition in such a way that it was the only way I had of inhabiting an English department.
So it was my turn. I thought, "Sure, I can do this job." And I've enjoyed it. The parts of the job that are interesting are hiring and promoting. I was very interested in committing myself to figuring out how to do that well across the areas of my department, and I like the job of reading my colleagues' work in all the areas. I've had, I think, the trust of most of my colleagues, and they think that I will act with their concerns in mind and that I'm not going to take sides programmatically.
There were things I wanted to work on. One of the things I've worked hard on is increasing the number of full-time, non-tenure-stream positions. I've been eager to support the work of my colleagues in composition, but I've been eager to support all of the work across the department.
I'm in my third term. I felt like I was called to do something and I'm glad I did it, but I'm eager to be done. I'm very eager to be a professor again.
JW: You're also involved with the press at Pitt, co-editing a series in composition. I noticed that it had a long list of award-winning books, including one I've used in my research on the history of criticism, John Brereton's Origins of Composition Studies. How did it come about?
DB: The press thing was just fortunate. The director of the University of Pittsburgh Press, Fred Hetzel, had a young assistant named Peter Oresick, a very fine poet and an old friend. Peter said, "Would you be interested in doing a series?" and I said, "Absolutely." I think the first book came out in 1985. There weren't many opportunities to publish in composition at that time—Southern Illinois, and that was just about it. I felt that there was a kind of scholarship that I wanted to be able to make a case for, and I asked one of my colleagues, Jean Ferguson Carr, if she would co-edit with me, and we wrote up a proposal and it was accepted. We publish three or four books a year. I think most people, if asked, would say that it's the premier series in the field. We have won more of the major book awards than any other series.
JW: How do you find manuscripts? Over the transom, or do you ask people?
DB: Initially we went to a number of people. Among the first books we published was the one by John Brereton that you mentioned. We said he ought to do this, because we knew that he'd been working with archival materials, and Graff's book had just come out providing a documentary history of English, but really only of literary studies. Lester Faigley was working on a book and wanted to bring literary theory into it but felt that it wouldn't suit the audience. We said, "No, this is the audience we want to create, the audience for whom that set of connections would make the book interesting"—that is, to read student papers in relationship to poststructuralist theory. As an editor you like to believe that the books that you publish create possibilities for others to imagine books.
Now it's the case that most of the books come in over the transom. You get dissertations, and sometimes you know that there's a book there and sometimes you know that there isn't. We tend to get the second or third book of people with established careers; they want to publish with the series. I really like making books.
JW: One last question, more on the prognostication side: do you see composition gaining a more equitable standing with literature? Or literature declining and English becoming almost entirely a service department?
DB: I have a dystopian vision of the future. Composition at major institutions is now more and more being directed not by tenure-stream faculty but by full-time lecturers or senior lecturers, and I think that's one version of the future. We've produced people who do PhD work in composition and rhetoric and want to have nothing to do with any course called composition. They want to teach the comp theory course, but they have nothing to do with composition with a small "c," with general education.
A lot of schools are creating writing majors which are cobbled together. It's a bizarre combination of creative writing and business writing, as though somehow they have the same roots, and they serve the same ends. These programs become self-perpetuating and they don't have much to do with interesting problems of general education. For composition, literature, creative writing: faculty in all three areas are abandoning the lower division, the one place, it seems to me, that must be reinvented and that must demand the attention of the tenure-stream faculty.
I don't have a very happy vision of the future, which is why I'm a nostalgist. If you listen to the way people talk at RSA (Rhetoric Society of America) or CCCC, it's odd for literature or the literature faculty to enter the discussion as anything but a punching bag. On the other hand, I have been involved at a number of levels with the Modern Language Association, and there's not even a sense of political correctness in how they refer to composition and composition programs. They say things that make your hair stand on end, like, "Who would ever want to teach that?"


text:
Videos tagged "Craft Beer Advocacy"
March 13 : Hellion : Ritual Brewing Co11:05
We're breaking out the I.E. love this week, with a bottle of Hellion from Ritual Brewing Co. This take on a Belgian style Golden Ale is delightfully approachable and utterly devious.. Where…+ More details
March 6 : Saison de Wench : Bison Organic Beer16:20
This week we're visited by the Beer Wench .. or at least her beer. She's there in spirit. We're drinking Saison de Wench, a delightfully refreshing organic saison with Rose petals,…+ More details
February 27 : Melrose IPA : Beachwood BBQ & Brewing11:36
This week we're enjoying a fantastic IPA, Melrose IPA, from one of our favorite breweries .. and incidently, one of our sponsors as well .. Beachwood BBQ & Brewing. Stephen says something…+ More details
February 20 : The Harlot : Societe Brewing Company : with Travis Smith & Doug Constantiner09:59
This week we pack up the equipment and head to San Diego to Societe Brewing Co to hang out with Travis Smith and Doug Constantiner while drinking the Harlot, a Belgian/Czech pilsner inspired dry ale,…+ More details
February 13 : Sneak Attack : 21st Amendment Brewery15:31
It's smack dab in the middle of San Francisco beer week, and since we couldn't get up for the festivities this year, we are cracking a local SF favorite, 21st Amendment, and their Sneak…+ More details
February 6 : Nelson Showers : Noble Ale Works with special guest Gregory Nagel18:55
We have the sexy and delicious Gregory Nagel from the OC Beer Blog ( http://blog.ocbeerblog.com/ ) joining us this week and he brought along some delicious Nelson Showers, a double IPA from Noble…+ More details
January 30 : Swami's IPA : Pizza Port Brewing Company11:56
Is it Lost Abbey .. nope. Is it Port Brewing? Nope... Is it Pizza Port Carlsbad? Nope. It's all new and improved, it's Pizza Port Brewing Company, and we're enjoying one of their…+ More details
January 23 : Fathom IPL : Ballast Point Brewing Company19:02
This week, we use the magic of the Internet to talk about our anniversary party before we ever even had it, while we enjoy an India Pale Lager called Fathom from Ballast Point Brewery. Stephen…+ More details
January 16 : Batch Number:1 Wild Wild Brett : Crooked Stave Brewery15:43
This week John got a massive shipment of his Crooked Stave beers, so we popped a Batch Number:1 Wild Wild Brett brewed in 2010 and we drink them in our fancy crooked stave glasses. John is geeking…+ More details
January 9 : Lagunitas Sucks : Lagunitas Brewing Company : with special guest David Gillanders24:17
This week we ponder why Lagunitas Sucks ... so good. We're drinking the big 32 oz bottle in the bag version of Lagunitas Sucks, the substitute beer for Brown Shugga. Stephen is back from…+ More details
What are Tags?
Tags are keywords that describe videos. For example, a video of your Hawaiian vacation might be tagged with "Hawaii," "beach," "surfing," and "sunburn."


text:
To facilitate provision by Christians of quality counselling and pastoral care
Links to Counselling and Care Organisations
Safeguarding Children and Vulnerable adults
Guidelines for using Technology in Counselling
Pastoral Care Training Resources
Counselling Adoption guidance
Looking for Pastoral Care?
Click Here
Check The ACC Accredited Register
The full text of Ethics and Practice can be viewed on this site. Nevertheless we recommend that the…
Check the Accredited Register


text:
L'Oreal Tecni Art Fix Design is a fixative spray. The spray is ideal for precise localized fixation to provide a natural shine. Your hair is strengthened to the point where you want making it easy to create the desired hairstyle. The hair remains smooth throughout the day so you can restyle the hair. At any time
Spray from 15 cm from the root to the point its a nice covering result.


text:
Other Name: 不笑童子~108宗罪; 笑えぬ童子 ~108の業~; THE EMOTIONLESS SPIRIT - One Hundred and Eight Karma (Official Translation); Waraenu Warashi - 108 no Gou (Karma); Waraenu Warashi - 108 no Karma
Status: Ongoing
Author: MANO Makoto ,
Genre: Drama Fantasy Psychological Seinen Tragedy
Year of release: 2014
Plot Summary:
A long time ago, a pair of twins were born. Back then, however, multiple births were considered unlucky, so one of the twins, a girl, was... crushed to death with a millstone, buried under the shade of a large mulberry tree. The girls soul, lacking a fully grown spirit, could not reincarnate, and as such was forced to wander the world. Only after collecting 108 individual sources of human misery/worldly desire could she move onto the next world.


text:
The Final Farewell09:49
In life, Mr Lee Kuan Yew brought Singaporeans together, and even in death, he united us all once again. The outpouring of grief in the days after his passing was overwhelming. I couldn't help tearing at the touching video tributes on various forms of media.
It was heartwarming to see appreciative Singaporeans and foreigners alike streaming to the Parliament House to pay their final respects to the great man who had built Singapore. Acts of kindness were abound. The crowds to Parliament House were so massive that the government had to divert people to community tribute sites instead.
I headed to the Ang Mo Kio GRC - Sengkang West SMC Community Tribute last night.
The solemn atmosphere, expressions of grief, lethargic faces of volunteers and the occasional tearing of the public cast a gloom over the place.
The public penned down their condolences and heartfelt messages on condolences books and message boards.
I had so much to say, but no amount of words could even express my respect and gratitude for our founding father. He was such a courageous man who firmly stood by his beliefs, delivered everything he promised, and took to heart all the voices of the people from the ground. I believe he viewed Singapore as his dear child, and all her people as family. He must have been the greatest alumni Raffles Institution ever had and he fully epitomises the school's motto, "Auspicium Melioris Aevi". It's truly an honour to share the same alma mater as a legendary figure like him.
Sunday. This is our final farewell to Mr Lee Kuan Yew before he is finally going to be laid to rest. Even the skies are crying.


text:
Dec. 21, 1999 (Atlanta) -- In the fast, aggressive sport of ice hockey, the number of high-impact collisions has led many colleges to make full-face masks mandatory. However, the nearly simultaneous increase in concussions and neck injuries has sparked a debate. Are the masks creating a 'gladiator mentality' that puts athletes at risk?
In a study published in this week's Journal of the American Medical Association, a group of sports medicine specialists tracked several hundred players' injuries over one season and found that full-face shields have not increased the risk of neck injuries. In fact, they had the added benefit of significantly reducing the risk of facial and dental injuries.
There was no evidence of 'gladiator mentality,' study author Willem H. Meeuwisse, MD, PhD, of the University of Calgary Sport Medicine Centre, tells WebMD in an interview. "We looked at whether overall injury rates were different and they were not. We saw the same amount of aggressive behavior and other injuries [whether they were wearing full or partial shields]."
The study involved 642 male ice hockey players in 22 different teams, all of whom were about 22 years old and playing in the 1997-1998 Canadian Inter-University Athletics Union hockey season. About half the athletes wore full-face shields during the play season, while the other half wore half-face shields.
Of the 319 athletes who wore full-face shields, 195 had at least one injury during the season, while of the 323 who wore half-face shields, 204 were injured.
"Although we found a significant difference in rates of head and facial injuries between the two groups, there was no significant difference in risk of sustaining a concussion, neck, or other injury (overall) for athletes wearing half shields compared with those wearing full-face shields," says Meeuwisse. "Basically, we showed that full-face shields are a good idea and don't have any measurable downside."
The study also found that, for those wearing the half-shield, the risk of facial laceration was nearly 2.5 times greater than with full shields. The risk of dental injury was 10 times higher with half-shields. Time lost from participation because of concussion was significantly greater in those who wore half-shield protection.
While half-shield players were at greater risk of facial lacerations, Meeuwisse points out, those with the full-face shield had lacerations, too -- but they tended to be 'burst' or crush-type injuries at the chin. "With the half-shield, the lacerations tended to be around the mouth and the eye and were potentially a lot more serious."
The number of concussions was not significant, says Meeuwisse, but the severity was worse in players with half-shields. "We didn't look at specifically why, but with the full-face shield, the helmet is actually anchored on the head by the shield because it cups the chin. With the half-shield, it can slip back and expose the forehead."
Facial protection is "one of the most controversial or heated discussion topics in the sport" because the players think it will restrict their vision, says Meeuwisse. "A few players say, 'If I have a full face protector on, I can't see the puck at my feet.'"
"The great thing about this study -- and the reason we're so confident about the results -- is that we had a natural experiment, exactly the same caliber of players, same rules, same officiating, same ice surface, same everything. The only difference was the facial protection," says Meeuwisse, who is also team physician for the National Hockey League's Calgary Flames.
While their results might be applied to high school-level play, "we can't say that's true," says Meeuwisse. "When you get into less mature players, young adults, [the effect] might be different. Full-face shields might have a different effect on an immature neck or an immature head."
Lori Livingston, PhD, associate professor of kinesiology and physical education at Wilfrid Laurier University in Waterloo, Ontario, has also researched the issue. She provided independent commentary on the study for WebMD, calling it "solid work."
"My major comment [is] they could have gone a step further. It's rather disturbing that there were still 34 head and face injuries, even when wearing full-face shield," says Livingston, who has played college-level hockey and coached women's field lacrosse.
The way in which games are officiated should be addressed, she adds. "Because players are wearing equipment, officials tend to be more lenient. We should have very strict rule enforcement. Any injury up around the face should be a penalty."
While officials attempt to control players' behavior, "to be fair to the officials, there are [only] so many things you can control, and you can't anticipate that a player is going to do something illegal. You can see it and react to it, but you can't necessarily stop it from happening. ... Coaches and players need to understand that their attitudes need to be under control as well."
Vital Information:
- Because of the aggressive nature of hockey, some colleges are requiring players to wear full-face shields.
- Hockey players who wear full-face shields do not have an increased risk of head and neck injuries and experience fewer facial and dental injuries than those who wear half-face shields.
- One expert says that the number of hockey injuries is still too high, and officials, coaches, and players need to change their attitudes about the sport.


text:
Kathy Cummings
Lay Trustee, KCTS 9, Seattle, Washington
Kathy Cummings is currently President of the International Labor Communications Association. Previously, she worked with the Washington State Labor Council and ensured that its events and positions were well-publicized, both in the news media and within the labor movement. Ms. Cummings supported and encouraged local union publications and communications efforts by providing training, assistance and materials to labor union editors around the state. She also produced training and educational videos for affiliates and coalition members of the Labor Council.
Ms. Cummings joined the council in 2007. She has worked in Washington, D.C. for CNN, NBC, PBS and in the communications department at the IAM Headquarters in Upper Marlboro, MD. She also served as the Interim Communications Director for the California Labor Federation, during the victorious Prop. 75 fight in 2006. Ms. Cummings was the recipient of a 2007 Telly Award for a public service video.
Ms. Cummings has a Master's degree in journalism from Northwestern University. She is married to Kevin Cummings, Special Representative on the Grand Lodge staff of the IAM, and has two children, Tom and Stacy.


text:
Skip to comments.Census Bureau Blows $2.5 Million On Reminder To Be Counted
Posted on 02/08/2010 2:04:46 PM PST by Biggirl
Your tax dollars at work. The real problem here is the federal government and the Congress-critters think $2.5 million is a drop in the bucket, but for many Americans, it is more money than will be earned in a lifetime. I understand $2.5 million is something like 0.0000066 percent of the budget, but perception matters.
(Excerpt) Read more at radioviceonline.com ...
You could have stopped the headline after the third word.
There were a lot of people who were surprised when I told them $2.5 million taxpayers dollars were spent on that lame-ass commercial.
I saw a Spanish language version of this in the elevator today at my county center. No English so I had little idea about what it was talking about. I feel browned off about this.
IMO, they were talking more to those who receive money and benefits funneled to them from government. The message was: make sure you get counted or the money might dry up.
It was a horrible commerical. If not for someone saying "it's just like the census" I would have had no idea what that commerical was about.
And all this time I thought we were out of money. Silly me.
Is it against the law to ignore a census request via the mail?
they'll come to your house
There is a constitutional mandate to do the census but I have a hard time finding a penalty for not participating. Maybe there is one...
Yeah, who knows how schools ever manage to deal with growing enrollment the other nine years when there's no census.
"Two adult citizens, one male and one female, reside at this domicile."
After the commercial I looked at my wife and just shook my head. They crammed as many leftist as they could in the piece and the commercial did not reach their target audience (the type of people the left wants counted; low IQ). Guarantee you half the people who saw it didn't even know what it was about.
Let's see, Obama get 10 minute infomercial during pregame (never happened before), and the census bureau (run out of white house) spends millions of advertising dollars during program (never happened before). Could they be, like, connected? HMMMMMM?????
To my knowledge, and I will be the first to admit it is limited, it is an offense to willfully give incorrect responses to the census.
I don't plan to answer with incorrect information. I plan to throw the form in the trash. If a census taker comes on my property, wife and I will escort that person off.
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


text:
Privacy Statement: How we use cookies
Cookies are very small text files that are stored on your computer when you visit some websites.
We use cookies to help provide you with the best possible online experience. By using this site, you agree that we may store and access cookies on your device. For more information on cookies and how we use them, please visit our website.
It is important to consider the reasons for your 'improvement'. For example, is it more important to increase your property's value or to make your home more comfortable? There is usually a trade-off between these two objectives. Also, bear in mind that if you move soon after making an expensive improvement, you may not recover the construction costs.
Improvements that add space, add most value.
Extensions, especially those where you can't see the join and which follow the style and scale of the existing house are best.
Conservatories can provide an instant space-making solution. The best ones unite house and garden, without substantially reducing the available garden - and look an integral part of the house.
Converting the loft is usually simpler than building an extension. A well-conceived design can create extra space and increase the value of your home by up to 10 per cent. Victorian houses probably offer most scope - the roof spaces are usually larger and the timbers may not need to be reinforced.
Space-making improvements may need Planning Permission and those that don't will probably need Building Regulations approval. You may have certain 'permitted development' rights - please check with your local authority.
Installing central heating is usually a worthwhile improvement, as are sympathetic building restoration and adding a garage.
Double glazing is a popular improvement but, unless the window frames need replacing, it can be one of the least cost-effective. The capital cost could take 15 years to recoup through energy savings, although the comfort and quiet gains are less quantifiable. Costs vary considerably.
You could also consider installing home security, refitting the kitchen, refitting the bathroom and interior decoration.
The market value of a home is influenced most by its location. All properties and areas have an optimum value and there is a limit to how much an improvement can increase the price. In practice, the reality is that your house needs to look much like the one next door - but better.


text:
Designer Suzy Hoodless worked closely with Johnny Holland of Hackett Holland architects on the extensive renovation of this Victorian house in London.
Several clever, glazed elements give Johnny's conversion its particular allure. Undivided windows give a view all the way to the entrance hall, and reveal a double-height bespoke lighting installation, which hangs above the coffee table from Mint.
The gorgeous little garden, landscaped by Alasdair Cameron, features white cobblestones, slim, silver-birch trees, and a living wall dotted with birdhouses.
Out of view, on the lower-ground level and accessed from the basement, is a miniature smoking yard. Something of a sunken surrealist urban folly, resplendant with outdoor stone mantelpiece. See inside the house here.
Like this? Then you'll love How to beautify the outside of your home


text:
The MAAS Photo Library has content available under several different rights categories.
© All rights reserved:
This means that the work is under current Copyright restrictions. This means that it may not be reproduced, communicated or copied (other than for the purposes of fair dealing, as defined in the Copyright Act 1968) without the Copyright holder's permission.
In some cases the Museum (as the Trustees of the Museum of Applied Arts and Sciences) is the Copyright holder, and in other cases Copyright is held by a third-party and the work is licensed to the Museum.
No known Copyright restrictions:
This means that the Museum is unaware of any current Copyright restrictions on this work. This can be because the term of Copyright for this work may have expired or that Copyright does not apply to this type of work.
Public domain:
Content identified as public domain is no longer covered by Copyright in Australia.
Creative Commons, Non-Commercial, No Derivatives, with Attribution:
This licence is used on some parts of our website. This licence means that you can republish this material for any non-commercial purpose as long as you give attribution back to the Powerhouse Museum as the creator and that you do not modify the work in any way. A more detailed explanation of this licence is available from Creative Commons.
Creative Commons, Non-Commercial with Attribution
Creative Commons, Attribution, Share-alike
These two license types are used for different sections of text documentation in our online collection database. Both require attribution and have limited restrictions.


text:
Who Is Doing This?
The simple answer is WE ARE. Who is WE? Well, we are a group of volunteers from several different Pagan groups within the DFW area who decided to get together and make this happen again. WE are dedicated to running this thing by committee so it is not about any one person or one group but, to the best of our ability, represents a fair and balanced approach to organizing and running this event for the entire Dallas, Fort Worth, Arlington and surrounding area Pagan Community. WE welcome your opinions, ideas and offers of help and support because WE want to see people of Pagan, Heathen and Earth Centered Spiritual paths have a day to shine. A day to be proud of who and what they are and the Gods, Goddesses, Ancestors and Kindred they believe in.
All paths are welcome. The PPD committee organizing this event has spent considerable effort extending invitations to the Pagan organizations of which it is aware.If you would like to be part of the WE please get in touch…
What Charities Are You Helping?
In 2013 we had a bus from Carter Blood Care taking blood donations on site as well as a canned food drive benefiting SoupMobile.
Our 2014 charities are yet to be determined.
What's all this Pagan stuff about anyway?
For one of the best answers we've seen in a long time to some common questions asked of Pagans by folks who just found out a friend, family member or co-worker is Pagan have a look at this excellent article from About.com entitled Ten Things Pagans Want You To Know.


text:
Juan Carlos Matty
- 53 years old
- Date of birth: Oct 16, 1960
- Date of passing: Oct 9, 2014
|Let the memory of Juan be with us forever
This memorial website was created in memory of our loved one, Juan Matty, 53, born on October 16, 1960 and passed away on October 9, 2014. We will remember him forever.
Leave a Tribute:
Invite your family and friends
to visit this memorial:
to visit this memorial:
Subscribe to receive e-mail notifications when others contribute to this memorial.
1262 views
Have a suggestion for us?


text:
Hunt for big name begins
Newcastle United 1 Chelsea 1
MICHAEL OWEN HAS POLITELY informed Newcastle United that he has no intention of becoming a Geordie galáctico this summer. The England forward has been courted assiduously over recent months by Graeme Souness, whose club are under increasing pressure to attract a stellar name to St James' Park. Season-ticket renewal forms are scheduled to land on supporters' doormats within the next few days.
Yesterday's 1-1 draw with record-breaking Chelsea was symptomatic of a wearing season, which, worryingly for Newcastle directors, has concluded with as much apathy as dissent. Change must follow if the club are to propel themselves back up the Barclays Premiership table and while the squad will be remodelled, Owen will not be forming a dream partnership with Alan Shearer, his former international team-mate.


text:
Special price 1/50 Mercedes Benz BREINING Truck Diecast
Sold for:
Start Free Trial
or Sign In to see what it's worth.
- Sold Date:
- Source: eBay
We accept Paypal.We shipping to worldwide . Shipping cost: Nation or Area ( By Airmail ) the first model the second model the third model worldwide US$19 US$12 US$12 Nation or Area ( By EMS ) the first model the second model the third model
Japan,KoreaUS$14.99 US$6.99 US$6.99 Cambodia, Malaysia, Singapore, Thailand, Vietnam, Australia, New Zealand, Papua New Guinea US$17.99 US$8.99 US$8.99 USA,Canada US$21.99 US$8.99 US$8.99 Austria, Belgium, Denmark, Finland, France, Germany, Greece, Ireland, Italy, Luxembourg, Malta, Norway, Portugal, Spain, Sweden, Switzerland, U.K. US$24.99 US$8.99 US$8.99 the other Country Please email us before placing bid/purchase
By AIRMAIL, item arrive in 10 or 15 days.By EMS, item arrive in 5 or 8 days.