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Little Hannah Learns She is Going to be a Big Sister
Description:A puzzle and a T-shirt led to quite the surprise for our little Hannah. Our very own Joanne is having another baby and Hannah recently learned the special news. Hannah would later go on to explain how it all went down!
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As the Jacksonville Jaguars get their training camp underway, fans will be eager to see their brand new 'offensive weapon' that the team drafted this spring. Yes, the term 'offensive weapon' has been given as an official title to one of the more overlooked and exciting players in this year's draft.
Former Michigan Wolverines quarterback Denard Robinson entered the draft as more of a running back/wide receiver instead of quarterback because there weren't any teams interested in his potential as an NFL quarterback.
During the minicamp this year, Robinson was seen at the quarterback position for some time as well as his other two spots which begged the question: Will he wind up playing a single snap at quarterback this year for the Jags?
There is a slim chance that it happens, but as he's been given the new title there are tons of possibilities for where he could be lining up this season.
The fact that Blaine Gabbert is starting for a third straight year scares the living daylights out of plenty of Jacksonville fans, and at this point they know they aren't going to compete for a playoff position. So with that said, why not try Robinson at quarterback at least during training camp and maybe the preseason?
The worst that could happen is he fails just like everyone assumed he would. If he proves everybody right, he'll wind up playing in the back field and on the line of scrimmage as a wideout as the original plan had entailed.
Any time you have a guy with the kind of play-making ability like Robinson has, you have to make sure he gets the ball in his hand and is given a chance to break the game open. Will that be at running back? Maybe wide receiver? How about quarterback?
You never know how he will pan out, but the options are there for a guy with his skill set.
Ryan Heckman is a Senior Writer for RantSports.com. Follow him on Twitter @ryanmheckman, "Like" him on Facebook or add him to your network on Google.

subset: commoncrawl


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New Logan 2017 teasers were revealed through Director James Mangold's social media account including new mutant Caliban.
James Mangold has been active in promoting his new Wolverine movie on Twitter lately. Previously, the director teased new storyboard images for the movie. This time, he confirmed the appearance of a new mutant!
Mangold even posted pictures of the newly confirmed mutant called "Caliban." Hello Ladies star Stephen Merchant will play as the hellhound Caliban. According to IGN, actor Stephen Merchant posted a picture of him as Caliban on his Instagram (see featured image).
A source indicates that Caliban appeared in this year's X-Men: Apocalyspe film but only serving as a minor role. In the new Wolverine film next year, Logan, Caliban's screen time will be significantly longer.
Caliban made his comic book debut on X-Men #148 and has appeared in many issues later. He has ties to the group of Morlocks, Apocalypse's horsemen and even the X-Force. Caliban's distinctive super power is his "psionic" ability to sense other mutants within a 25-mile radius. His other distinctive features include having a chalk-white complexion and having enormous eyes. The image below depicts Caliban's original design.
Caliban swayed back in forth in siding with the forces of good and evil. At one point, Caliban was a part of the horsemen of Apocalypse. Caliban later found himself on the good side when he eventually joined the X-Force.
As for the movie adaptation of Caliban, it is looking good so far. Based on the original character design of Caliban, Stephen Merchant managed to pull off the looks.
The resemblance might not be as uncanny as the X-Men, but it is a great rendition nonetheless. With the steady amount of teasers for the upcoming Logan 2017 film, it is starting to sound better.
The upcoming Marvel superhero mash-up series, The Defenders, will be released next year as well. Along with the new Logan film, there are tons of Marvel goodies to look forward to.
Also Read: Logan Storyboard Show Angry Wolverine And Ruthless Fights; Find Out Why!
Photo Source: Instagram/Stephen Merchant


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Peter Barton,Peter Doyle,Johan Vandewalle,: Beneath Flanders Fields : The Tunnellers' War, 1914-1918
Whilst the war raged across Flanders fields, an equally horrifying and sometimes more dangerous battle took place underground. "Beneath Flanders Fields" tells the story of the tunnellers' war, which still remains one of the most misunderstood, misrepresented and mystifying conflicts of the Great War. A wealth of personal testimonies reveal the engineering, technology and science behind how this most intense of battles was fought - and won. They speak of how the tunnellers lived a relentless existence in the depths of the battlefield for almost two and a half years, enduring physical and mental stresses that were often more extreme than their infantry counterparts. Their lives were reduced to a complex war of silence, tension and claustrophobia, leading up to the most dramatic mine offensive in history launched on 7 June 1917 at Messines Ridge. Yet, Messines was not the end of their story, which continued with the crafting of a whole underground world of headquarters, cookhouses and hospitals, housing the innumerable troops who passed through this part of the Western Front. Here, this extraordinary, hidden world is revealed and the fragile legacy it has left behind on Flanders fields is brought to light.
Praise for The Corrosion of Character: "A benchmark for our time."-Daniel Bell "[A]n incredibly insightful book."-William Julius Wilson "[A] remarkable synthesis of acute empirical observation and serious moral reflection."-Richard Rorty "[Sennett] offers abundant fresh insights ...illuminated by his concern with people's struggle to give meaning to their lives."-[Memphis] Commercial Appeal " At St Mary's Institute of Historical Research, the historians don't just study the past, they revisit it. Behind the strait-laced facade of a conventional academic institution, the secret of time travel is being used for ground-breaking and daring historical research taking the historians on a rollercoaster ride through history: from the destruction of Pompeii to the Normandy trenches; from the Great Fire of London to Bronze Age Troy and even to the time of the dinosaurs...Meanwhile, within St Mary's itself, there are power struggles and intrigues worthy of a book in themselves. In Book One, we follow new recruit Max as she rides the catastrophe curve from eleventh-century London to the First World War, and from the Cretaceous Period to the destruction of the Great Library Beneath Flanders Fields : The Tunnellers' War, 1914-1918 download ebook pdf at Alexandria. For wherever Historians go, chaos is sure to follow in their wake ...
Author: Peter Barton,Peter Doyle,Johan Vandewalle,
Number of Pages: 304 pages
Published Date: 28 Sep 2007
Publisher: The History Press Ltd
Publication Country: Stroud, United Kingdom
Language: English
Download Link: Click Here
free pdf, mobi, ebook pdf, for mac, facebook, iPhone, free ebook, rarbook review,Beneath Flanders Fields : The Tunnellers' War, 1914-1918 fb2, download torrent Beneath Flanders Fields : The Tunnellers' War, 1914-1918 by Peter Barton,Peter Doyle,Johan Vandewalle, pocket, download epub, download pdf, iPad, Peter Barton,Peter Doyle,Johan Vandewalle, download book,fb2, kindle, pocket, paperback, download book, download ebook, zip, Read online, epub download, ebook, for PC, iOS, free pdf, download torrent,
Around the Tarot in 78 Days : A Personal Journey Through the Cards
Murder Most Frothy


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Sarah Grayland
Current Location:
SWINDON, Wiltshire
My Profile
Our PTA is about much more than simply fundraising. The PTA exists to provide closer links between home and school and it is an excellent way to bring staff, parents and friends together socially in support of the school, working towards a common goal. It is fun too - just ask any of the Committee members or PTA helpers. Obviously, as in any organisation, we have experienced some challenges but with the continued support of parents and staff, our PTA has always succeeded in its efforts. On 12th May 2016 DOVE PTA became a Charity. This will benefit us enormously in our fund raising efforts.
Our Mission Statement
To enhance the education of pupils in Orchid Vale School by developing effective relationships between the staff, parents and others associated with the school and engaging in activities or providing facilities or equipment that support the school
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Coming to UNL as a freshman music student, I never thought that I would study abroad. However, after being exposed to the Deutsch in Deutschland program and seeing how incredibly doable it was and how it could fit into my life, major, and pocketbook, I took the plunge and opted for a semester in Berlin, Germany. And let me tell you, the only thing I regret is the hesitation I had about signing up in the first place! This program allowed me to live in a huge, metropolitan city and study at Deutsch in Deutschland, a renowned language institute, right in the heart of it all. Being a language-based program, most of my studies were learning German with other students from all around the world. Of course I learned a lot from studying abroad, including becoming fluent in a language, but how I grew as a person was an even larger gain. It allowed me to uncover hidden courage and realize aspects of myself that I never thought I possessed. To this day I still find new ways in which I've grown through my experiences abroad and even though it was probably the hardest thing I have ever done, I can honestly say it was the best thing I have ever done. One of my favorite parts of the trip was being able to interact with my host family that spoke absolutely no English. Although it was a challenge, overcoming that barrier led to relationships and experiences that I will have forever and I can't wait to go back and visit! How important my time abroad was to me is something that I cannot express enough. It was truly an experience of a lifetime.
Deutsch in Deutschland Institute, Berlin, Germay, spring 2013


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Your 30-Second Guide to Interview Dos and Don'ts
Welcome to jobwebghana.com. This website helps you to achieve your career dream by linking you to vacancies from Top Companies in Ghana. Job Seekers are also exposed to best articles for career growth and development. Click Here to Subscribe for Job Alerts We strongly advise graduates not to pay money before getting a Job. Report fraudulent jobs to 0201533571
Sometimes, it's the little things that end up being remembered. For interviews in particular, it can be easy to spend all your energy focusing on the big picture, but it's equally important to know the ins and outs of interviewing etiquette.
To assist with that, this infographic offers great tips for every part of the interview: before, during, and after. There's even a bonus dining section, which is great for people like me who feel like eating during an interview is just a faux pas waiting to happen.
Read Details : https://goo.gl/nVLY6t


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Voting via cdpACCESS™ Is Now Open
Two weeks ago in Kansas City, Missouri, governmental members at the International Code Council (ICC) Public Comment Hearings considered the "Outcome-Based Compliance" proposed code change (CE37-16) to the 2018 International Energy Conservation Code (IECC). The proposed code change, submitted by the National Institute of Building Sciences, would implement an optional outcome-based path for buildings to achieve energy-efficiency requirements instead of using existing prescriptive or performance pathways. The voting members in attendance considered several options for final incorporation of the proposal into the 2018 IECC. The proposal still must undergo one more vote from the ICC membership to become part of the 2018 IECC. Governmental members are requested to vote in favor of the proposal "As Submitted."
If approved, this would be the culmination of a multi-year, industry-wide effort to include an outcome-based pathway for energy compliance that began with the 2015 International Green Construction Code (IgCC). Working with a diverse group of industry stakeholders, the Institute proposed the change in recognition of the fact that many jurisdictions do not have the personnel or fiscal resources to adequately ensure compliance with energy and sustainability requirements. By focusing on real outcomes, code officials and communities can be assured that requirements are being met while not incurring additional enforcement burdens. The outcome-based compliance pathway sets targets for the actual energy use of a building and determines compliance through the building's achievement of that target once in operation.
Now that the proposal has been approved by the ICC voting membership at the Public Comment Hearings, the full ICC voting membership, which consists of code officials and government representatives from the United States and other countries, has the opportunity to vote on the proposal through cdpACCESS™. This cloud-based system for the code development process (cdp) allows all ICC governmental member voting representatives and honorary members, even those who did not attend the hearings, to cast their votes.
"The outcome-based pathway has received strong support from across the industry. However, it still needs one more vote to become part of the 2018 IECC," said Ryan Colker, National Institute of Building Sciences Presidential Advisor, who presented comments during the hearing. "If you're an ICC governmental member, we urge you to vote in support of this code change. If you're not a voting member, we encourage you to reach out to your colleagues who do vote to let them know why you support this measure."
The IECC, which is updated every three years, is in use or adopted in 47 states, the U.S. Virgin Islands and Puerto Rico.
A number of industry representatives, including the National Institute of Building Sciences, New Buildings Institute (NBI), Target Corporation, and the Alliance to Save Energy, spoke in favor of the proposal at the hearings. Additional supporters of the measure include the Institute for Market Transformation (IMT) and the National Insulation Association (NIA).
Voting will close at 12:00 am (midnight) PT, November 22, 2016. To vote on CE37-16, log in to cdpACCESS now.
Want to learn more about the outcome-based pathway?
View "Achieving Energy Performance Results through an Outcome-Based Pathway."
Read "Frequently Asked Questions on An Outcome-Based Compliance Path for Energy."
Visit the "Outcome-Based Pathways for Achieving Energy Performance Goals" page on the WBDG Whole Building Design Guide®.
11/16/20172018 FEDCon® Keynote Will Highlight WBDG Whole Building Design Guide®
11/14/2017Volunteer and Save: Students Needed to Assist at Building Innovation 2018
11/9/2017BSSC Training Courses Now Available On-Demand
11/28/2017 » 11/29/2017Green California Schools & Community Colleges Summit & Exposition
1/8/2018 » 1/11/2018Building Innovation 2018 Conference & Expo
3/22/2018 » 3/25/2018World of Modular
4/15/2018 » 4/18/2018BEST Building Enclosure Science & Technology Conference (BEST5)
5/8/2018 » 5/9/20182018 Air Barrier Association of America (ABAA) Conference and Tradeshow


text: Field Marshal Blucher brought his army of fours corps into Belgium in 1815 to crush Napoleon once and for all. The Prussians depended on their infantry, both the stout regulars and the enthusiastic but often poorly trained Landwehr (militia) to do most of the fighting. They were supports by artillery and cavalry, including the fearsome uhlan lancers. This kit includes all the battalions, regiments, brigades, and corps in Blucher's army in 10mm scale, over 10,000 miniatures printed in full color on 44 letter-sized sheets of cardstock.


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Paul Alfrey - Balkan Ecology Project |
Friday, 24th November 2017
This is the third year of our Market Garden Polyculture Study. Our trials include a comparison between growing vegetables in polycultures and growing them in more traditional blocks as well as our experimentation with annual vegetable polycultures. Below you will find an overview of the trial garden and the polycultures we are growing, a... more
Permaculture magazine |
Thursday, 23rd November 2017
The Sustainability Centre in Hampshire, UK (home of Permaculture magazine) had been laying hedges since 1997. The groaning of twisted hazel branches and the splitting of green wood was a common sound for the first decade of the 21st century. But, this came to an abrupt end in 2015 when the courses became no longer feasible. A combination of lack... more
Maddy Harland |
Monday, 20th November 2017
What elements of design in permaculture can be linked to agroecological practices and to what extent are they functional in terms of sustainable or regenerative farm productivity and in what context? Agroecology works well with permaculture design: it uses stacking to create multi-functional yields, microclimates, greater edges, biodiversity,... more
Sjoerd Wartena & Elisabeth Winkler |
Monday, 13th November 2017
It all started in 1972. My wife Elisabeth and I were leading a quite well-to-do university existence in Amsterdam. I worked with medieval manuscripts but was more interested in the present. We were inspired by the back-to-nature movement, and visited communes in the US, then France. In 1973, we started a 25-hectare goat farm from scratch in... more
Maddy Harland |
Wednesday, 25th October 2017
Being a permaculture practitioner, I recently visited Sattva Land, a tropical food forest and the Maya Mountain Research Farm (MMRF), both in Belize to learn more about how permaculture design works in tropical climates. Both the projects were built on lands where conventional farming techniques had been used, causing exhausted soils, erosion and... more
Healthline.com |
Monday, 23rd October 2017
Adding a little sunshine to your life by getting outside more can relieve anxiety and reduce depression. If you live in higher latitudes with little sunlight, a light box may provide some mood-boosting benefits. From treating skin conditions to strengthening bones, sunlight has other health benefits as well. Sunlight, Serotonin and Mental Health... more
Maddy Harland |
Tuesday, 10th October 2017
I am fascinated by natural springs. They are a result of surface water seeping into the Earth and filling a recharge area like a cave or aquifer (a geologic layer of porous and permeable material such as sand and gravel, limestone, or sandstone, through which water flows and is stored). When an aquifer is confined by impermeable rock layers in... more
Gustav Milne |
Monday, 2nd October 2017
So what have parks, pets and windows got in common? A lot more than you might think, as we shall see. Let's start with the room with a view. A study in California suggests that the more daylight a school captures, the more attendance increases, test results improve and learning rates are enhanced. And in hospitals too, windows have significant... more
Paul Alfrey - Balkan Ecology Project |
Friday, 29th September 2017
Not many plants offer so much to the grower while demanding so little in return. A tree that requires so little attention and care, that even if there were an RSPP - Royal Society for the Protection of Plants (which there should be judging by the amount of tortured house and garden plants I come across), no-one would ever get prosecuted for Morus... more
Keith Pierce |
Sunday, 10th September 2017
Universal Basic Income (UBI) is an economic system whereby every citizen of a country receives a guaranteed amount of money, enough to allow them to provide themselves with the basic essentials of life: food, shelter and safety. UBI is paid to each and every citizen, regardless of age, gender, income or status, without precondition or threat of... more


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Eagles Wings Bow Tie Repeat
Made of 100% Polyester, Knit
Price: $24.99
Sneak NCAA spirit into your next big event with the Eagles Wings Bow Tie Repeat. The bow tie features a woven team logo pattern for fan pride at the office or awards nights and has a neck band that adjusts from 11 to 19 inches.
- Style: 20664717
- Color: Red
- Made of 100% Polyester, Knit
- Apparel & Accessories


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My name is Alicia Laine Matheson Pickens, and I create oil paintings digitally in Photoshop. Though they are created on the computer, I do not use 'oil painting' filters, every stroke you see is painted by me in the program. This one is titled "I Have Lost Things You Would Never Understand," and is Matt Smith from "The Rings of Akhaten" episode.
You can see my other paintings on my Deviant Art, here. I also have a Tumblr, where I post all my Doctor Who stuff, here.
Comments Powered by Creators


text: Human Rights Observatory Fusion Reactor Still in Works All today's nuclear power plants make energy by thge splitting of uranium atoms -- which creates a lot of useful heat but also a lot of dangerous and deadly nuclear waste. The opposite process -- fusion -- also creates heat but with hardly any pesky radiation. The problem is that fusion is way more difficult to achieve. Scientists from 35 nations, including United States, Russia and China, are painstakingly trying to solve the problem -- to create technology that could power the world for...Read complete article© Voice of America - Friday, April 22, 2016


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Are you terrified of writing reviews for books you enjoy? Do you not know how to start, or why it's even important? You aren't alone. Few readers bother to write online reviews, and fewer still realize just how important they are to authors and their books. One of the greatest challenges a writer will face is convincing people who truly love their work to express that satisfaction online.
In fact, it may seem counterintuitive, but the most daunting tasks an author faces over the lifespan of their books seem to occur after publication. To non-writers, the writing itself must seem the struggle. The daily chore of bending over a keyboard and pressing life into characters and worlds one stroke at a time seems like sorcery, or at the very least an exhibition of mettle and concentration few readers feel they might themselves possess. For writers though, this act of creation is the ultimate calling. To not write would be infinitely more tedious.
What follows the writing, for those of us who perform such sorcery with ease, is often much more uncomfortable. There's the web of social media to untangle; there's the "author's platform" to construct, plank by arduous plank; there are the business-like query letters to fashion; the rejection to stomach; the contracts to pore over; the expectations of publishers to meet; the talks to give; the books to sign. Okay, that last one bothers few authors, but anything spent not writing can feel torturous. Of all these, however, two non-writing tasks loom the highest and most fearsome: The first is convincing readers to give your story a try, even when you know they'll love it. The second (and most frustrating) is getting readers to rate and review your book, even after they tell you how much they did indeed enjoy it!
Why do reviews matter, and why do so few readers write them? Reviews matter more than just for sales, even though they play a crucial role in them. When Amazon and Barnes and Noble suggest titles for readers, their websites pull first from those with many positive reviews. And more and more readers are turning to their online peers for advice on what to read next. With each purchase and expense mattering more and more (not to mention the time invested in reading a book), the tendency is to read whatever tops a list or garners lots of praise. My Molly Fyde series is an excellent example. The more reviews the book gets, the more sales that trickle out the digital divide. One hopes these sales lead to more reviews, and the trickle begins a flood, but as stated before, one of the few tasks more difficult than selling a book is coaxing a review out of a reader.
Before listing my theories on why such is the case (and tips on alleviating these barriers), I'd like to touch on another reason reviews are so important to writers, an even more important reason. And that is validation. What fuels me as a writer is knowing my words are being read and enjoyed by others. I have to resist the urge to give away my books, just to urge more imaginations into the lands I've created. I want feedback on every page, on every twist of the plot, on each hero and villain. I want to hear what readers liked and disliked, and I think there are few authors who would disagree with these sentiments. So much time and energy goes into our works, hundreds and hundreds of hours of labor, of strained concentration, of sleepless nights with a pen scratching on a notepad and waking our spouses. What is the reward expected? For a handful of writers, perhaps money ranks over this need for validation, this desire to have company in our imaginary lands. I haven't met any such writers, myself.
So: books sell because of reviews, and authors almost literally subsist on them. Why, then, when I recently asked a college classroom of admittedly avid readers how many had ever written an Amazon review, did only one hand go up? Partly, it's because few appreciate the value of their opinions both to the author's ego and the work's selling success. Mostly, though, I believe it's because of a fear of the pen and a general unfamiliarity with how to wield it. I hope my transparently desperate pleadings have settled the first matter of a review's importance. I would now like to dispel the psychological and skill-based blockades that might still prevent good reviews from going up and rewarding a writer and a good book.
Imagine the paralysis: You've just read an amazing story full of wonderful prose, uplifting messages, snappy dialog, and characters that practically stir the pages with their exhalations. Now you're sitting in front of your computer, wondering what to say about the book, trying to reward its creator, but nothing comes to mind. You think your words will come across as trite or silly. You worry about your grammar and spelling. How can you do the book justice?
And so you don't even try.
It's such a sad and far too common story. So let me assure you, the reader, that there's no such thing as a bad review when the intentions are positive. You're not writing for the Times; you're just expressing your opinion. So let it out! Make it as conversational and relaxed as an email. If it helps, write a review as a list of likes and dislikes. For instance, if I was writing a review for my latest novel, Molly Fyde and the Fight for Peace, it might hypothetically go something like this:
Liked: Awesome action. Loved the flashbacks, so much more of the characters! Thought it wrapped up a ton of the previous questions and plots really well. The ending was awesome!!
Disliked: That it ended. 😦
That's it. Sentence fragments are fine. Use as much grammar as a ninth grader might breathe into a text message. It doesn't matter! Just give the book as many stars as it deserves (five, in this hypothetical case), and write a few thoughts. If I wanted to go on longer, I could, but it isn't necessary. Another nice touch is to list books, movies, TV shows, and anything else the work reminded you of. That lets readers with similar interests latch onto books they're likely to enjoy. Hearing that my first book was a blend of Alice in Wonderland and the TV show Firefly was perfect. The reviewer could've stopped right there. I was ecstatic and ready to get up the next morning and write some more.
So, now that we see how easy the actual writing bit can be, what other roadblocks prevent every happy reader from rewarding the author with an honest review? Well, there's also the technical hurdles to sort out. Which is why I've included the following, handy tutorial for those of you who have never written a review on Amazon.
The first step is to go to the book's page. That's as easy as searching for it on Amazon as if you were shopping for extra copies for friends and family (an excellent idea!)
Scroll down, and you'll come across the first reviews for the book you've chosen. Off to the right, click button "Create your own review."
The rest is simple. State that you're over 13 years of age, click the number of stars you think the book deserves, then write a few thoughts in the text box below. As I explained earlier, keep it as simple as you like. Don't stress about the quality of the review, just give the author a bit of praise for keeping you entertained!
When you're done, you can add "tags" if you like, but it isn't necessary. There are suggested tags below the box if you want to just click a few. Amazon will add them for you, and it'll help classify the book for other readers. Nifty, eh?
The final step is to click the "Preview your review" button. This will give you one final chance to look over what you've written. If you're satisfied, click the button that says "Publish your review," and you're done! You can also choose to edit your review further, but I bet it was perfect the first time.
See how easy it is? And now that you know how crucial these reviews are for a book's success and an author's sanity, perhaps it will compel you to take a few minutes after a good read to share your thoughts. Remember: there isn't any pressure to write a perfect review (the only mistake is to not write one at all). And the steps required are few in number and pleasantly simple to follow. So what are you waiting on? Sit down right now and pay back those hours and hours an author spent writing with just a few minutes of your own. Start with the last good book you read. Trust me, the author will read what you write, and they will not judge you. They'll be too busy dancing around the room and cheering in the company of another imaginative soul who has joined them in the world they toiled to create.
Hugh Howey is the author of the critically acclaimed Molly Fyde series, which landed on several Best of 2009 lists. The YA Book Queen named the first book, Molly Fyde and the Parsona Rescue her Best Book of the Year. The series follows the adventures and exploits of a small group of orphans, cast out from their diverse cultures, only to find one another and form a new family: The crew of the starship Parsona. http://hughhowey.com


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Frugal Traveler 'goes deep for the cheap'
New York Times' Frugal Traveler Matt Gross brought his globe-trotting thriftiness to NYC this week and put together a low-budget traveler's guide to the city that he says should offer "everything you'll need to figure out how to have a good time without a Wall Street bonus." Sounds like our kind of guide—and in fact, which recent list of B&Bs for under $150 a night does Gross include in his handy section on where to crash? Rhetorically, ours. Also making a cameo is The skint, our favorite daily blast of cheap and free events in the city, alongside various other suggestions for "discount dining," "drinks and other freebies " and "frugal fashion." Gross invites readers to leave their own suggestions, with some hilarious and also helpful results, and I think we ought to do the same. What did he miss? I'll go first: pizza.
For those visiting, parking is really not that much of a headache, as long as you are willing to park in Brooklyn. If you are staying for 4 or 5 days, there are plenty of street parking options near trains in Cobble Hill, Carroll Gardens, and Boerum Hill. Street cleaning is usually Monday/Tuesday, which frees up a lot of easy, no hassle parking on other days.
Congrats on the NY Times mention!


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We've just had a little fun on Twitter — with a collective game of Mad Libs. I think you'll recognize the base text here, and this is the finished product. Continue reading Twitter Mad Lib
Category Archives: Miscellany
Reflections on (and at) HighEdWeb 2009
I attended the HighEdWeb Association's 2009 conference in Milwaukee (October 4–7) and benefited from the experience. Here are some of my reflections. This post will definitely remain under progress as I add and revise. Continue reading Reflections on (and at) HighEdWeb 2009
Music Picks 2008
In what's becoming an annual tradition, I have asked derek becker and Jim Boyd for music recommendations so that I could get some fresh music in my collection. Here are the items they've recommended (with notes as I acquire some of them): Continue reading Music Picks 2008
Music Picks 2007
In June of 2007, I asked respected friends for music recommendations so that I could get some fresh music in my collection. Both derek becker and Jim Boyd gave fascinating tips, and I bought eight of the albums they plugged: Continue reading Music Picks 2007
Setting all the clocks
Here are all the clocks I have to reset twice a year for daylight-saving time: Continue reading Setting all the clocks
Filed under: Hindsight is 20/20
Humbling (or disturbing?) fact of the day: 60.1% of Americans voted against Abe Lincoln.
Smelly forearms?
When I was a kid, I remember being puzzled why grown-ups apparently needed to put deodorant or antiperspirant on their forearms. No one I knew had smelly or sweaty forearms. I never actually saw anyone doing it in person, but they were constantly showing you how to in TV ads.
How Easy
What makes someone good at what they do is not how hard it is; it's their knowing how easy it can be.


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GraphicRiver Replay Email 7069140
Logo Template \ Objects
Vector \ Services \ Fontsquirrel \ Courier \ Information \ Additional \ Support
Logo Template - Replay Email 7069140 by acongkecil @ GraphicRiver
Logo Template \ Objects
Replay Email – Logo Template
Suitable for : Company Logo, Business, Office, Studio, organization or your product name, etc.
Description .
It is easy to change the size, color and text
Basic design in Corel, you'll get in the file .
- Consists of 4 files : CorelDraw Cdr. 10, Adobe Illustrator AI (rgb-cmyk), Vector Eps 10 and CS, PDF) fully editable
Specifications .
- 100% vector based logo (the logo resize without losing quality)
- Ready to print
- Resolution 300 dpi
- Color (CMYK)
- Support file
The font used (Free) : www.fontsquirrel.com/fonts/Aller
For additional information, if you need other services.
Please call if you are interested, I will help you experience a problem or have a question!
Thank you, I hope you are satisfied with my logo templates.
Do not forget to give this a 5 star rating
Success to you and God bless you
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Rated 3.5 / 5 stars
The colors are very well done and the figure has very nice proportions. Unfortunately, I believe the image is held back because it lacks any dynamics. If you look at the line of action, it's very stiff and straightforward. This makes the image very boring and plain in my opinion when it could've been curved to show more emotion and movement out of Tracer. Still, the attention to detail in the armor and the light effects following her are a great touch. Well done!
Thank you for the feedback! I agree the pose is rather stiff. Fluid/dynamic poses has been one of my greatest challenges.
Rated 4 / 5 stars
Nice stance, simple but lovely lighting, and a good matching color scheme. The biggest thing that holds it back in my view is that the artist did some great texture details for the clothes and weapon, but the fur and mane details could have used more of a touch-up in my opinion (e.g. too many small tuffs of fur along the face, knees, and abs that could've meshed better with the rest of the fur). Overall, a great piece, though.
Thank's! I will try to do the best!


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See also: Steel Bat
The Steel Bat is an enemy in Final Fantasy V. It does not pose a significant threat. It uses an attack called Vampire that saps HP each turn from its target. The attack can also be learnt as a Blue Magic spell. A couple attacks from any party member should bring it down.
AI script Edit
Other appearances Edit
Pictlogica Final Fantasy Edit
Steel Bat from Final Fantasy V appears as an enemy in Pictlogica Final Fantasy.


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MA Creative Writing Prose Fiction (Part Time)
- Attendance
- Part Time
- Award
- Degree of Master of Arts
Since completing her MA in Creative Writing (Prose Fiction), Emma Healey's debut novel has been published to universal praise and she has toured the world to promote her work. She joined UEA with half a draft of her novel 'Elizabeth is Missing' and having developed links with publishers during her time on the course, she achieved every writer's dream of being signed by a literary agency. Her book was published by Penguin in June 2014.Watch It
"My year at UEA was one of the best of my life"
In their words
Ian McEwan, Creative Writing Graduate and Booker Prize winner
UEA has announced the launch of the British Archive for Contemporary Writing (BACW), which contains the extensive personal archive of the Nobel Laureate, Doris Lessing, and literary material from other prominent authors such as Naomi Alderman, Tash Aw, Malcolm Bradbury, Amit Chaudhuri, J.D. Salinger, Roger Deakin, Lorna Sage, WG Sebald and the playwright Snoo Wilson.Read It
About this course
The MA Prose Fiction at UEA is the oldest and most prestigious Creative Writing programme in the UK. It is uniquely focused on the writing of fiction. We take a rigorous and creative approach to enable you to develop your ideas, voice, technique and craft. This part-time MA is taken over two years.
Our students' success is unparalleled – around 38% go on to publish their work. While you are at UEA, however, the focus will very much be on exploring your creative potential, in a highly supportive and well-resourced environment. Recent visiting professors include Margaret Atwood, Ali Smith, Tim Parks and Ian Rankin.
Aside from the core workshops, you can choose from a wide range of optional modules, either critical or creative-critical in focus, and where you can explore specific forms and genres, such as the short story, the writing of crime/thriller fiction, and the dialogue between theory and practice in fiction.
Our students' success is unparalleled – around 38% go on to publish their work. While you are at UEA, however, the focus will very much be on exploring your creative potential, in a highly supportive and well-resourced environment. Recent visiting professors include Margaret Atwood, Ali Smith, Tim Parks and Ian Rankin.
Aside from the core workshops, you can choose from a wide range of optional modules, either critical or creative-critical in focus, and where you can explore specific forms and genres, such as the short story, the writing of crime/thriller fiction, and the dialogue between theory and practice in fiction.
Course Profile
Please note that the closing date for receipt of complete applications (including all documentation and references) is 1 May 2018. However, the course may be full before the closing date and so candidates are advised to apply as early as possible.
The Creative Writing (Prose Fiction) MA at UEA is the longest-running in the UK and has enjoyed unparalleled success in terms of the publications and prizes achieved by its alumni (see News, Alumni and Interview pages). Our continuing success means we are fortunate in being able to attract many writers of great talent and potential.
This course offers an intensive immersion in the study of the writing of prose fiction. You will take core creative modules, but can also choose from a wide range of critical courses, and benefit from our proven strengths in modernism and creative-critical studies, among others.
Our faculty teach our core courses. At UEA we also maintain close links with our alumni, who regularly come to UEA to give lectures, seminars and masterclasses; recently Ian McEwan, Kazuo Ishiguro and Andrew Miller have spoken to our students. Recent and upcoming visiting professors include Margaret Atwood, James Lasdun, Ian Rankin, Ali Smith, Stephen Poliakoff and Tim Parks. Our Creative Writing Teaching Fellows also contribute to teaching on this course; UEA alumni James Scudamore, Joe Dunthorne, John Boyne and Helen Cross are all associated with the programme.
Course Structure
The part-time MA lasts two years, and is organised over two semesters of 12 weeks. The autumn semester lasts from September to December, and the spring semester from January to April. After Easter in the second year, you will enter the dissertation supervision period, which ends in June. You will submit your final piece of work in September, at the start of the next academic year.
Each semester, you will enrol on two modules. One of these is the compulsory Prose Fiction workshop, a weekly three-hour session during which the group will discuss students' work. This runs over the two years. You can expect to attend a follow-up tutorial with your class tutor each time your work is discussed in the workshop.
There are currently three workshop groups of approximately ten students. Each group is assigned a tutor for the autumn semester, and a different tutor for the spring semester. Groups are 'shuffled' in December, so that you can encounter the widest range of peer responses to your work during the course. Teaching styles vary, but typically three students each week will have their work discussed by the group. The work in progress (typically 5,000 words) is circulated a week in advance, and annotated copies are returned to the student at the end of the session. The emphasis is always on constructive criticism, and the expectation is that the group will gain as much from the discussion as will the individual whose work is being discussed. You can expect your writing to be workshopped at least six times over the course of the two semesters.
In the second semester of the first year you will choose a second module from the broad range of seminar options available to you in the School of Literature, Drama and Creative Writing. These include Creative-Critical Writing, Ludic Literature and Theory and Practice of Fiction. In the second year you can take another optional module, choosing from a range that includes Criticism/Critique; The Art of Short Fiction; Fiction After Modernism; and The Writing of Crime/Thriller Fiction. (Some of these modules may not be available in certain years, if for example teaching faculty are on study leave.)
In the summer dissertation period you will also be assigned a supervisor for a series of four individual tutorials in which you will discuss your dissertation, which you'll write independently over the summer vacation.
You are also required to attend the Research Methodology lecture series, which takes place in the latter half of the spring semester in year two. Most of our Creative Writing tutors give a lecture on their own working methods. You are also able to attend the undergraduate lecture series as these can help extend your awareness of the wider historical and conceptual context of your own writing.
You will be required to submit 5,000 words of original fiction at the end of the autumn semester, and another 5,000 words at the end of the spring semester. In the part-time course structure the first assessment is submitted in January of year one of academic study, and the second in April or May of year two. You must also submit a 5,000-word piece of creative work or an essay (requirements vary) for each of your two optional modules.
For your dissertation, you will write another 15,000 words of original fiction, to be submitted in September. All assessed work is marked and commented upon by two members of Creative Writing faculty, and the mark is agreed between them.
Your work will be read and commented upon by faculty members around 16 times over the course of the MA; this includes workshops, dissertation tutorials and the double-marking of assignments. Since this course and its tutors focus on prose fiction and the development of your abilities as a writer of prose fiction, we cannot workshop or assess other work you might produce, such as poetry or creative non-fiction. However, we would encourage you to circulate such work informally among your fellow students.
Course Tutors and Research Interests
Our tutors are always published novelists of some reputation. Since the MA's inception these have included Malcolm Bradbury, Angela Carter, Patricia Duncker, Lavinia Greenlaw, Andrew Motion, Michèle Roberts, W. G. Sebald and Rose Tremain. In 2018/19 the Creative Writing Prose Fiction MA will be taught by Trezza Azzopardi, Amit Chaudhuri, Andrew Cowan, Naomi Wood, Henry Sutton and Giles Foden.
In some years, Creative Writing Teaching Fellows are invited to teach the Prose Fiction workshop when faculty members of staff are on leave. These Fellows are fiction writers with substantial teaching experience and track records of publication; recent Fellows have included James Scudamore, Richard Beard, John Boyne and Helen Cross.
Where Next?
The principal aim of the Prose Fiction MA is to help you develop a deeper understanding of the craft and context of producing serious fiction, and by the end of the course we would expect you to have become more adept and more self-aware in your own practice. Our commitment is primarily to your writing. While we cannot promise outcomes in terms of publishing, we do have excellent links with agents and publishers, many of whom visit the campus to give talks in the spring semester.
Each year we create an anthology of student writing, which is distributed widely. The literary agency David Higham Associates sponsors a generous bursary, and the agency Curtis Brown awards an annual prize to the best graduating student.
Frequently Asked Questions
I already have a BA in Literature and Creative Writing, and have attended other writing workshops. What can the MA offer that I haven't already done?
The MA in Creative Writing should be a significant step up from anything you will have done previously, not least because you will be in the company of so many other exceptionally promising writers. As tutors we will look to test your assumptions as well as your abilities and there should be no grounds for complacency. We would expect you to want to extend your knowledge and understanding and improve on anything you have written before.
I don't have a first degree in English Literature or Creative Writing. Would I be suitable for the MA?
Our first consideration is always the quality and potential of the writing sample submitted with your application. We accept students with a wide variety of academic backgrounds – and some with none – though many do tend to have a good first degree in English Literature. Whatever your academic background, however, we would expect you to demonstrate in your personal statement, and subsequently in your interview, that you have read widely and deeply, have begun to develop a critical vocabulary for discussing your writing (and that of others), and have the sensitivity and awareness to learn effectively and contribute to the learning of others.
Should I have a clear idea of my writing project before beginning the course?
Some students do have a definite idea of their project before joining the course, but many do not. You should view this MA as a time of experimentation and play – an opportunity to make mistakes and learn from them. Having too rigid an idea of what you want to achieve might make it difficult for you to adapt your work in response to feedback.
Whom should I approach for references – a former tutor, my current employer, a lifelong friend? I know a published author who can vouch for my writing.
Academic referees are most useful to us as they can give an opinion on your suitability for postgraduate study. Employers can sometimes also offer useful information about your abilities and attributes. The testimony of a personal friend is rarely helpful. We will make our own assessment of your writing, but it can sometimes be helpful to read the opinion of a tutor, editor or writer who can comment on your ability to develop in response to feedback.
I want to get a general feel for the University, and of the course, before making my application. Can I meet one of the Creative Writing faculty to discuss this?
Because of our teaching and other commitments, we are usually unable to meet potential applicants individually. We do, however, offer guided campus tours for prospective undergraduate students, which you are also welcome to attend. There is also an annual postgraduate Open Day, when prospective applicants can meet course tutors and current MA students, and ask questions.
How many students do you accept each year?
We receive a great number of applications for the Prose Fiction MA and aim to interview approximately 90 candidates a year. From these we select around 30 students.
What is the average age of your students, and what sorts of background do they have?
The average age of an MA student is around 30, although some are much older, while occasionally we accept students who have progressed straight from their BA. In the past few years we have accepted several practising artists, two former air force pilots, teachers, lawyers, journalists, social workers, full-time parents, a carpenter, a fashion buyer, a police officer, a nurse – the list goes on. Our students arrive from all over the UK, as well as, recently, the USA, Canada, Ireland, Australia, New Zealand, Singapore, Malaysia, China, India, Pakistan, South Africa, Nigeria and Brazil, among other countries – this is a truly international course. A very high standard of written and spoken English is of course expected of all our students.
Will I be able to teach undergraduates while completing my Master's degree?
Opportunities to teach undergraduates are limited to PhD students in the second and third years of their doctoral studies. However, opportunities do sometimes arise for MA students to participate in schools-based initiatives, both locally and further afield.
Course Modules 2017/8
Students must study the following modules for 20 credits:
This is the Prose Fiction workshop, the core of the Prose Fiction MA, and runs for 12 weeks in the autumn semester and 12 weeks in the spring semester. The sessions are three hours long and take place on Tuesday afternoons (2-5pm). Each week work (up to 5,000 words) from three students is discussed. This discussion is led by the tutor, however careful and informed contribution from the rest of the class (including annotating the scripts) is fundamental. Over the two semesters everyone will have at least six opportunities to have their work discussed. Key and topical issues of theme and craft will be addressed and wider reading may be discussed and suggested. Individual tutorials (of half an hour) are then held for those students who have been workshopped.
Students will select 20 credits from the following modules:
Students can only select a Semester 2 module. Please contact the Course Director if you wish to take another Masters level module not shown below.
Critical reading and creative writing meet in the activity of adapting a text in one medium for presentation in another. The module focuses on dramatic adaptation, establishing a foundation in basic theory and then focusing on readings or original works and screenings. Discussions probe the choices offered by original texts and explore the possibilities and limitations inherent in different dramatic forms. In the later sessions, students will have the opportunity to workshop an adaptation for a final project.
Too often, academic critical writing seems to bring pre-packaged language to bear on works whose whole essence and aim is to change the ways in which we see and describe our world. And too often such writing fails to acknowledge the ways in which it itself necessarily participates in the literary 'creativity' it is also about. How, then, to write criticism? Criticism which responds inventively to the literature which it analyses? Criticism which registers, in its own form, language, method and thinking the ways in which it has been transformed by the work(s) of art it encounters? Criticism which recognizes that it cannot rest on received concepts and categories? This module aims to explore those questions. Over the course of the semester we'll read, ponder - and experiment with - a broad range of possible ways of practising creative-criticism, including the 'essay' form, auto-commentary, conceptual writing, criticism as performance, inventive 'theoretical' writing, and diaristic writing.
Throughout the medieval and Early-Modern periods Norwich was one of England's most important cities - probably second only to London - and East Anglia one of the country's culturally liveliest and richest areas. This module explores the literature of these periods in its material contexts (the region's prosperity and power may still be seen in its architecture and in the rich holdings of its libraries and museums) and asks whether there was a specifically East Anglian cultural tradition. The module explores East Anglia's rich dramatic traditions, its devotional literature and practices (in orthodox forms and in those that brush against the heterodox), and, insistently, the manner in which its literature participates in its broader social and cultural worlds. The module is compulsory for students on the Medieval and Early Modern Textual Cultures MA but may also appeal to those with an interest in the cultural traditions of Norwich and East Anglia or, more generally, in the literature of place.
Play, or the ludic, is often listed as one of the main characteristics of postmodernist art, but what is meant by play is usually left no more clearly defined than what is meant by postmodernism. This course seeks to trace the evolution of leading postmodernist styles and themes, especially ludic ones, back to their origins in Joyce, Kafka, Borges, and Nabokov. Using these enormously influential authors as a starting point, we will read a range of ludic authors, passing back and forth between languages, nations, and genres. Authors studied will include Georges Perec, Italo Calvino, Raymond Queneau, Thomas Pynchon, Donald Barthelme, Robert Coover, Angela Carter, Paul Muldoon, and John Ashbery. We will examine these authors in relation to one another, and to their major pre-postmodernist sources, such as Carroll, Rimbaud, Mallarme, and Dostoevsky. We will also be reading theorists of play such as Schiller, Huizinga, Derrida, and Bakhtin. Central to the module is the exploration of play as a response to literature, and a way of creating new literature out of old, through the play of parody, imitation, transposition, and translation. We will be studying these ancient modes of literary response and performing them ourselves: all students will be encouraged to try their hand at parodying and imitating the texts we are studying, though this is not compulsory. Final assessment can take the form of a 5000 word critical essay or of a combination of a creative piece and a critical essay, to make up 5000 words.
This module aims to give students an introduction to the modern publishing industry and a practical survival guide to the different functions involved in the publication of a book. As well as learning about the structure and economics of the British book industry, the opportunities and challenges of digitalization, students will engage with the process whereby books are chosen for publication, review principles of text and jacket design, practise basic copyediting and proofreading skills and learn tips for running a marketing and publicity campaign, writing 'blurbs' and press releases. The course will also touch on copyright law, finance and distribution. Students from the module are invited to join the core team producing the annual MA Creative Writing anthologies.
Some of the most exciting and innovative fiction of the moment is in fact a hybrid form of fiction, borrowing subject matter and techniques from traditionally non-fiction modes such as memoir, criticism, journalism, reportage and life-writing. These novels depart from the usual concerns with character, realistic dialogue and plot to focus on voice, place, time, employing strategies of literary craft to be formally innovative. This course looks at original non-fiction and also at contemporary 'realist' novels which are pushing boundaries and gaining attention in the wider literary culture. We will study the forms, techniques and thematics of both non-fiction and fiction, with an aim to experimenting with and improving students' writing in both forms. Some writing in class and between classes will be required. The second half of the module will include workshopping student work-in-progress. This is a practice-based module taught by a novelist and non-fiction writer and aimed primarily at students on the creative writing strands but is also open to students studying for critical MAs.
This module explores innovative and experimental forms of place writing, from the critical and theoretical to literary and artistic. Among the critical and theoretical approaches that the course takes in will be such subjects as psychogeography, ecocriticism, critical heritage studies, deep mapping, animal studies, and literary activism. At the same time, it will consider a number of original works of literature from recent years, thinking carefully about the relationship between theory, method and form.
This module is designed to complement the prose fiction workshop but is open to students on related programmes. It is intended to provide students with creative and critical knowledge in a single experiential burst, by exploring as they are relevant to writing fiction such topics as time, place, dramatic structure, character and concinnity. The unit also gives consideration to professional issues confronting novelists, from writer's block to editing, contracts and dealing with the media. The module presents the writer as both artist and supplier of intellectual property to a market, while examining that and other tensions critically. Reading, writing and analysis happen alongside each other. Fictional, critical and professional texts are examined, writing exercises illuminating the issue at hand are undertaken. Students are also expected to make presentations on topics of their choice. Assessment by creative writing coursework with a critical commentary.
Students must study the following modules for 120 credits:
This 10-credit module consists of a series of lectures by Creative Writing and Critical faculty of direct relevance to the practical aspects of researching and writing a major piece of creative work. Attendance is compulsory.
Students are required to write a dissertation of a length as specified in their MA Course Guide on a topic approved by the Course Director or other authorised person.
In the second semster, you will be organised into new workshop groups. Other than that, this remains the workshop where we we'll discuss form, style, voice, characterisation, and structure (amongst other literary concerns) in relation to your own work. Throughout the module you'll learn how to become a better writer by becoming a better reader and editor of others' work. You'll also improve your own writing by working on the feedback given by the tutor and your workshop group. You'll learn how to identify the strengths and weaknesses of each person's text, and you'll learn how to communicate literary feedback constructively. You'll attend a 3-hour workshop every week. You'll submit three pieces of work over the module of up to 5,000 words each. You'll receive feedback within the workshop setting, and you'll also receive written feedback from your tutor and your peers. The tutor may elaborate on the issues provoked by your piece with a selection of chosen texts; key and topical issues of craft may be discussed. Your tutor will lead the discussion, but careful and informed contribution from the rest of the class is fundamental. You'll then have a one-to-one tutorial with your tutor after the workshop to deepen your understanding of the response from the group. During the module, you'll be reading independently, across genres, time-periods and geographies, to further strengthen your understanding of the forms in which you're working. The intensive study of your writing, and your peers' writing, will make you a more thoughtful reader, editor and writer. At the end of the module, you'll be able to test your own work against the literary principles discussed in the workshop. You'll also be able to communicate these judgements more effectively to others. You'll hand in a reworked draft of your work for your second summative assessment. Only students who are registered for the MA in Creative Writing: Prose may enrol for this module.
Students will select 20 credits from the following modules:
Students can only select a Semester 1 module. Students may, with the permission of the Course Director, choose modules from outside the School of Literature, Drama and Creative Writing.
This module introduces you to the ways in which material texts (both in manuscript and print) were transformed during the vital era from the emergence of print at the end of the middle ages to the close of the seventeenth century. How did the ways in which books were published change? How can we use the evidence of annotated books to reconstruct readers' habits and interests? How far did print transform the nature of the book? What happened to books as they started to become absorbed and classified within modern libraries? And how did manuscript documents -- especially letters -- enable the enormous boom in communication characteristic of the seventeenth century? How did the transformation of material texts create new possibilities for writing and thinking? The module equips you with the skills in early-modern archival studies that are necessary to tackle these questions. In particular, we spend a portion of each seminar learning how to read the handwriting of sixteenth and seventeenth century documents. The module culminates in visits to two archives in Norwich -- the Norfolk Record Office and the Norfolk Heritage Centre -- and your summative assessed work will take the form of a study of document(s) from these archives. The module is a requirement for those taking the 'Medieval and Early-Modern Textual Cultures' MA, but will be of interest to anyone who wants to learn more about the most vitally important era of the transformation of the book.
This module tracks the notion of 'Critique' in philosophical and political thought, as well as literary criticism and artworks' own self-reflection, from the late 18th century to the present. 'Critique', from the Greek term krinein ('to discern'), brings together questions of philosophical method, from the relation between concept and intuition to the project of understanding a historical moment through its cultural artefacts and practices; however, it also engages the 'criticality' of artworks: how they reflect on their own processes and socio-economic conditions. But if these various intellectual projects converge around a shared sense that they are doing 'critique', then it is not clear that political critique and aesthetic critique aspire towards the same thing; the concept of critique thus also permits us to grasp discrepancies and points of dissensus between different forms of intellectual, and 'critical', praxis. The module starts by providing a historical grounding in debates around 'Critical Philosophy', linking Immanuel Kant's 'critical' distinction of concept and intuition to German Romanticism's model of a 'literary absolute' in which literature actualises itself as 'critique', such that through its ironic relation to its own linguistic medium, it assumes the place of philosophy itself. We consider Hegel's responses both to Kant's critical philosophy and to the literary theorising of the Schlegels and Novalis, with readings from the Phenomenology of Spirit, the Logic and the Aesthetics, before turning to the development of Hegelian thought in Marx. Having established this basic historical narrative, we then trace the different intellectual projects and problematics that the notion of 'critique' opens up, from the 'critical theory' of the Frankfurt school through thinkers including Althusser, Fanon, Foucault, Braidotti, and Ranciere. Against this we encounter an alternative series of responses to 'critical' philosophy, notably via Heidegger, Deleuze, and Simone Weil. At the crux of these different approaches to 'critique' is the relation between different philosophical, political and literary intellectual movements, and central to this module is the question of how 'critique' extends beyond scholarly activity, whether it is the ways in which avant-garde art and poetics incorporate self-critique into their understanding of support, medium, process, etc., or whether it is in practices of political resistance. To this end, the module is overtly forward-looking, not only charting a contested history from Kant to the present, but also asking what forms future attempts at critique can, and should, take.
This MA module is compulsory for students taking the poetry strand of the MA in Creative Writing. It is also offered as an optional unit for students taking other MA programmes. We often think of poetry as a descriptive art, representing our experience of the world. One of the most important things it describes, however, is the experience of language. This module will consider some of the ways in which poetic language has been described in philosophy and literary criticism, and some of the poems in which it has described itself. It offers a historical survey of some of the major texts in Western poetics, from Plato to the Language poets, to be read alongside a range of poetic treatises in verse. Students will be encouraged to contribute texts from their own reading for discussion. Short writing exercises will also be set in class, in preparation for the final 5,000-word coursework essay.
Fiction 'After' Modernism: Re-reading the 20th Century responds to the current reassessment of critical narratives about twentieth century fiction by restoring significance to a critically awkward phase of twentieth-century writing. Focusing roughly on the years between 1930 and 1980, we examine what it meant for mid-century writers to work in the wake of modernism. By thinking about mid-century fiction in terms of its own historical and aesthetic awkwardness, we will challenge the formalist distinction between experimental and realist fiction that has dominated the most influential work on the mid-century novel, and which has also stamped many post-war writers as irretrievably minor. In a similar spirit, we will explore how writers worked in the 'between' of modernism and postmodernism. Rather than produce a cohesive narrative about the period, we will examine how our writers engage with, and disturb, their own literary, historical and critical inheritances. This module is an opportunity to participate in an emerging critical conversation that is carving out new directions in literary study. Working through the period with special attention to previously marginalized (and in some cases forgotten) writers, alongside a selection of critical and theoretical texts, we will examine the ways our writers accede to, challenge, and disrupt our critical understanding of fiction after modernism. By re-reading the 20th century, this module offers an opportunity to participate in - and indeed contribute to - a still emerging critical conversation that is redefining twentieth century literary studies. Recent critics have expressed an "invariable sense of disappointment" with the aesthetic failures of fiction written 'after' modernism: but it is precisely the fiction these critics have neglected to read critically that is leading other scholars to radically re-think the stories critics have told about the period. The critical re-evaluation of neglected writers is pushing twentieth century scholarship in new directions, and creating new debates and dialogue about how we read the twentieth century. In this module, we join the conversation.
A COMPULSORY MODULE FOR STUDENTS ON THE MA IN MODERN AND CONTEMPORARY WRITING. This core module will introduce students to Modern and Contemporary Writing. It does so through the idea of 'Living Modernism', highlighting the worldliness of modern writing and exploring modernism's continuities in contemporary culture. After an introductory session focusing on some recent critical attempts to assert modernism's continuing relevance, students will spend five weeks reading James Joyce's Ulysses, and Virginia Woolf's To The Lighthouse alongside critical essays exploring the texture and the worldly contexts of these modernist experiments. The second half of the semester will consider the living legacy of worldly modernism. Starting with a consideration of the 1930s and 1940s as key decades in literary-historical accounts of the 'end' of modernism, we will consider Djuna Barnes' Nightwood and George Orwell's Nineteen Eighty-Four as different responses to the radical energies of modernist culture. This is partly a question of literary influence: Has modernism degenerated into a 'host of distinct private styles or mannerisms' as Fredric Jameson argued? And what is its significance for the critical theory of Jacques Derrida, Fredric Jameson, Giorgio Agamben and others? The other focus is on the persistent 'worldliness' of modern writing, as it continues to tarry with ideas of law and justice. With this in mind, we end the module by turning to Roberto Bolano's epic 2666, a contemporary novel with ambitions to compare with those of Joyce. The questions of whether, how and where modernism continues to live--which have elsewhere been posed as drily academic questions about where we draw the boundary lines between literary periods or movements--are taken here to have an urgent aesthetic, ethical and political significance for our contemporary moment. Authors explored will include James Joyce, Virginia Woolf, Djuna Barnes, George Orwell, Jacques Derrida, Roberto Bolano, and Giorgio Agamben.
PLEASE NOTE: ENROLMENT PRIORITY IS GIVEN TO MA PROSE FICTION STUDENTS. Short fiction is too often defined in terms of what it is not - namely, a novel. Whether stories, novellas or experimental short fiction, short fiction is an art form in its own right. While acknowledging that there are no 'rules' as to what makes a good short story, we will look at the expectations and technical challenges created by the form, and in so doing to sharpen our analytical and critical faculties. This is predominantly a practical, workshop-based course oriented at writing short fiction, although students will also be asked to form critical opinions and perspectives on published short stories, the technical aspects of writing in the form, and on themes and trends in short fiction.
This module will provide students with critical and creative knowledge of modern crime/thriller fiction, and is designed to complement the Creative Writing MA programme, but is open to students across the MA. Crime/thriller fiction, the world's most popular literary genre, is particularly subject to ever evolving conventions, expectations, precedents and sub-genres. Understanding the presiding logistical and thematic issues is fundamental to both the creation of and critical response to crime/thriller fiction. The module will analyse the developments and characteristics of the modernisation of the genre, through a symptomatic approach to authors, from Dashiell Hammett to Denise Mina, from police procedurals to psychological thrillers. Issues of literary worth, escapism and social context, particularly will be examined. A prior interest in the genre is not necessary, while there will be much focus on the structural aspects of the novel. Creative work will also concentrate on how to craft a convincing plot, creating believable characters, building narrative drive and suspense, and generating voice. Students will be required to make presentations on particular authors from the set texts, and to produce original crime/thriller fiction. Assessment by creative writing, fiction up to 5000 words, and/or an accompanying critical essay.
DisclaimerWhilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring, review and update of modules and regular (five-yearly) review of course programmes. Where this activity leads to significant (but not minor) changes to programmes and their constituent modules, there will normally be prior consultation of students and others. It is also possible that the University may not be able to offer a module for reasons outside of its control, such as the illness of a member of staff or sabbatical leave. In some cases optional modules can have limited places available and so you may be asked to make additional module choices in the event you do not gain a place on your first choice. Where this is the case, the University will endeavour to inform students.
Further Reading
War of the Words
The pen really is mightier than the sword. New research by UEA Professor Rachel Potter brings to light significant changes writers throughout the twentieth century have made to international legislation.
UEA Literary Festival
The University of East Anglia's first literary festival took place in 1991 and over the last twenty five years we have welcomed a host of award-winning authors, journalists, illustrators, scientists, economists, broadcasters and more.
Unlocking The Past
How can the study of dusty manuscripts lead to the creation of interactive digital mapping tools? How does digitising globally significant medieval and early modern letters lead to donning walking gear and creating heritage trails across Norfolk?
Why children's books that teach diversity are more important than ever
Bedtime stories aren't just lovely endings to the day or a way to induce sleep, they are also a safe way to experience and discuss all sorts of feelings and situations.
Your University questions, answered
Essential Information
Entry Requirements
- Degree Subject UK BA (Hons) 2:1 or equivalent preferred but not essential.
- Special Entry Requirements Sample of work - see below
Students for whom English is a Foreign language
We welcome applications from students whose first language is not English. To ensure such students benefit from postgraduate study, we require evidence of proficiency in English. Our usual entry requirements are as follows:
- IELTS: 7.0 (minimum 6.0 in each section and 7.0 in writing)
- PTE (Pearson): 68 (minimum 55 in each section and 68 in writing)
Test dates should be within two years of the course start date.
Other tests, including Cambridge English exams and the Trinity Integrated Skills in English are also accepted by the university. The full list of accepted tests can be found here: Accepted English Language Tests
INTO UEA also run pre-sessional courses which can be taken prior to the start of your course. For further information and to see if you qualify please contact firstname.lastname@example.com
Promising candidates will be invited to one of our interview days, which are scheduled across the academic year. Typically a candidate will be interviewed by two members of the Creative Writing faculty and we aim to inform candidates of the outcome within five working days. Unsuccessful candidates are welcome to re-apply, though not within the same academic year. Successful candidates will either be offered a place for the forthcoming academic year or a place for the following academic year (if it is felt that they need more time to develop as a writer). Once the forthcoming year is 'full' candidates will be offered a place on our reserve list with the option of a place for the following academic year if a place does not become available. If you are living overseas, the interview may be undertaken by telephone or preferably by Skype at a mutually convenient time.
Please note that those candidates offered a place on the course will not be able to defer their offer to the next year if they are unable to take up the offer of a place, however they are welcome to reapply the next year.
Special Entry Requirements
Candidates will be expected to submit a portfolio of writing for assessment of between 3000 and 5000 words, which could be part of a novel in progress or a piece or pieces of short fiction.
The School's annual intake is in September of each year.
Alternative Qualifications
If you have alternative qualifications that have not been mentioned above then please contact the Admissions Office directly for further information.
Fees and Funding
Tuition fees
Tuition fees for the academic year 2018/19 are:
- UK/EU Students: £7,550
- International Students: £15,800
If you choose to study part-time, the fee per annum will be half the annual fee for that year, or a pro-rata fee for the module credit you are taking (only available for UK/EU students).
We estimate living expenses at £1,015 per month.
Scholarships and Awards:
There are a variety of scholarships and studentships available to postgraduate applicants in the Faculty of Arts and Humanities. For further information relevant to the School of Literature and Creative Writing, please click here.
How to Apply
Applications for Postgraduate Taught programmes at the University of East Anglia should be made directly to the University.
You can apply online.
Please note that the closing date for receipt of complete applications (including all documentation and references) is 1 May 2018. However, the course may be full before the closing date and so candidates are advised to apply as early as possible.
Further Information
To request further information & to be kept up to date with news & events please use our online enquiry form.
If you would like to discuss your individual circumstances prior to applying please do contact us:
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International candidates are also encouraged to access the International Students section of our website.
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Published: Saturday 6th June 2015 by The News Editor
One Direction have reassured fans they will not split up following Zayn Malik's exit.
Niall Horan, Liam Payne, Harry Styles and Louis Tomlinson opened Capital's Summertime Ball with Vodafone at Wembley Stadium, after playing their first UK gig as a foursome in Cardiff last night, since Malik left the group in March.
Payne batted away the rumours, saying backstage before they performed: "We don't know where that came from because we've got loads of stuff going on.
"We have just started the process for recording the new album, we've got a whole new tour going on, there are some really good songs so I don't think we are going anywhere for a while."
The chart-topping boyband are the first act of the star-studded line up ahead of Ariana Grande, Olly Murs, Rita Ora, Little Mix, Avicii and chart-toppers Meghan Trainor and OMI.
They are playing two stadiums in one day and will rush back to the Millennium Stadium in Cardiff for tonight's gig after the Wembley show.
Payne said of their new material: "We've just been rehearsing the new songs at the minute so it'll take time. We want to get that right – get it right in motion and it'll arise somewhere I'm sure."
Styles added: "As time goes on, we will keep adding to them."
Payne also said that Malik's absence has been missed, although he joked about the 22-year-old singer's soulful vocals.
"Obviously Zayn's got a good voice so it's quite fun doing the high bits," he quipped.
One Direction performed six songs including Steal My Girl, Story Of My Life and What Makes You Beautiful.
Horan told the screaming crowds: "This day last year we played this stadium. You guys are amazing, Wembley."
Little Mix, who were also on the bill, said performing at the one-day music festival meant "everything" to them.
Jesy Nelson said: "It's everything. We are coming back, we're performing Black Magic for the first time so we are so excited."
Canadian singer Carly Rae Jepsen, who wore a stunning green dress by DSquared with a Joan Jett-inspired black bob, admitted she had to find a last-minute outfit after her clothes were stuck at customs.
"This is all DSquared who were very sweet and gifted it to me. All my actual clothes are stuck at customs right now so this is a last-minute decision," she said.
Published: Saturday 6th June 2015 by The News Editor


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Category:Tatehagi okegawa dou (dō) gusoku
The okegawa dou (dō) is an Japanese (samurai) chest armour of rivetted lames. Okegawa means "tub-sided" and refers to the tub-like shape of the dou (dō). There are two types of okegawa dou (dō): yokohagi (horizontal lames), and tatehagi (vertical lames).
This category has only the following subcategory.
- ► Tatehagi okegawa dou (dō) (1 F)
Media in category "Tatehagi okegawa dou (dō) gusoku"
This category contains only the following file.
- Return of the Samurai 2.JPG 2,736 × 3,648; 1.84 MB


text:
phillip hunt
English (North American), English
Middle Aged, Senior, Teen, Young Adult
Special Skills
Audiobooks, Business, Cartoons, Documentaries, Educational, Internet, Movie Trailers, Podcasting, Radio, Telephone, Television, Videogames
1 year Telemarketing, 1Radio advertisement
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Request a quote for your project today.


text:
Four charged over two separate armed robberies
Police have arrested four people over two separate armed robberies in Toowoomba.
A 25-year-old local man is due to appear in the Toowoomba Magistrates Court today charged with robbing a takeaway shop on the weekend.
Police allege he threatened a female staff member with a knife on Sunday night before fleeing with cash.
Investigations are still continuing.
Meanwhile three teenagers have been charged with robbing a service station last month.
They say the trio threatened two attendants with knives before running away with money and cigarettes.
A 17 year old and an 18 year old are due to appear in court today on two counts each of armed robbery.
A 15-year-old boy will be dealt with under the Youth Justice Act.
Topics: courts-and-trials, armed-robbery, toowoomba-4350


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Private Show Trailer (1985)
"She is 17 and at the edge of her life. Tonight, the city is a witness to a private show." 01 October 1985
About virginal barely-legal Myrna, who was forced to work as a torera (live sex worker).
Watch the official Private Show 1985 trailer in HD below or find more Private Show videos on Vidimovie.


text: I would appreciate some opinions on the pros and cons of 52'' ZTR. My situation involves steep work in wet conditions as a crital factor, at the moment l am using a Toro Hydro WAM 44'' Super Flow with steerable sulky, which is virtually bullet proof. The Ferris IS 1000 looks like a great machine ???. Steve


text:
In Chronic constipation, a drop of HYDRASTIS Q in water, first thing every morning, is most effectual.
Dr. Newton
Home PHILOSOPHY Clinical Tips CONSTIPATION
I think that bryonia is the best for choronic constipation.
sufficient hydration & fiber .. yes: ALWAYS look first to food/water intake ..
Goldenseal is Hydrastis canadensis – http://homeoint.org/books/boericmm/h/hydr.htm
I do not know what that is. Eating 2 cups of vegies at lunch and 2 more cups at supper helps a lot more than constipation.


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DescriptionReviewsAdditional Info
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- Sagittarius Necklace: November 22nd - December 21st
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The Mineral County High boys basketball team won both its games last weekend and finished the first half of conference play at 7-0. The first win was Friday night as the boys overpowered Smith Valley, 78-46. After a slow start, 13-11, the Serpents ran past the Bulldogs 26-10 in the second quarter to take a… [More…]
Serpents Remain Perfect in Conference After Pair of Wins
Serpents Lead 1A-West
The Serpents won both games this weekend and finished the first half of conference play at 7-0. The first win was Friday night as the boys overpowered Smith Valley, 78-46. After a slow start, 13-11, the Serpents ran past the Bulldogs 26-10 in the second quarter to take a halftime lead, 39-21. The third and… [More…]
Serpents Win Pair of League Contests
The Mineral County High boys basketball team coasted to wins over the weekend. On Friday, the Serpents traveled to Carson City to play Sierra Lutheran. The Mineral County boys led 49-29 at the end of the third period and cruised to a 65-46 victory. Andre Davis was the high scorer with 16 points. Taylen Wachsmuth… [More…]
Serpents Win Two at Bishop Tourney; JV Team Wins Title
Both the junior varsity and varsity boys basketball teams traveled to Bishop for the three-day holiday tournament last week. The junior varsity boys went 4-1 and defeated the Rio Hondo Prep from Southern California to win the championship game. Their only loss was to Bishop in their third game of the tournament. The young Serpents… [More…]
Serpents pull into tie for first place after wins
The Mineral County High boys basketball team won both conference games over the weekend to move into a tie with Whittell for the top spot in the conference. The Serpents put together a strong second half to beat Sierra Lutheran at home Friday 62-36 after only leading 30-23 at the break. Mineral County upped the… [More…]
Hawthorne Rockets win titles
The 7th and 8th grade Rocket teams won their respective titles for the fifth straight year. The 7th grade defeated Smith Valley 35-19 to nail down their championship. Preston Jaramillo scored eight points; Glenn Reeves and Nathaniel Montoya had six points each. Julio Alverez and Joe Davis each added four points. Landon Scarlata and Ryan… [More…]
MCHS teams finish 2-3 in Serpent Classic
The young Mineral County High basketball team displayed the potential they have in four of their five games over the weekend at the annual Serpent Classic in Hawthorne. The Serpents played well in their opener against Lovelock in the first half, trailing the Mustangs 35-29 at the break. The second half was all Lovelock as… [More…]
Shorthanded Serpents win one, lose one
Last weekend was tough on the Mineral County High boys basketball team as they played Friday and Saturday's contests without three players. Despite being shorthanded, the Serpents played tough and were able to come away with one win against two conference opponents. On Friday, the Serpents went on the road to Smith Valley and played… [More…]
Serpents suffer first league loss to Whittell
After running its conference record to a perfect 6-0 with a road victory over Excel Christian, the Mineral County High boys basketball team suffered its first league loss Saturday afternoon to defending state champion Whittell High. On Friday, the Serpents traveled to Sparks to play Excel Christian and picked up a 66-53 win. Jon Cromer… [More…]
Serpents win 3, lose 2 at Bishop tournament
After a brief layoff for winter break, the Mineral County High boys basketball team returned to the court last week, winning three games in a five game tournament in Bishop, Calif. The MCHS boys opened up against a tall and experienced Lee Vining team. The Serpents came out on top 56-49. Brady Cardenas led the… [More…]


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Help please with Canon body and Sigma 300 f2.8 HSM auto focus...
I have bought used Sigma 300mm f2.8 HSM and have really lousy results with auto focus performance on my two Canon bodies (7d and 5d2).
I just have finished shooting AF target chart (camera on tripod, triggered from my netbook). Used DPP, shot JPG Large in Manual exposure (1/200; F2.8; ISO 100 with studio strobe triggered remotely). Test chart taped to the wall, camera set on tripod, roughly 45 degree angle to center of the test chart, shoting center vertical line on the test chart.
First I have tried 7D - One Shot AF, center AF point spot. Had to dial +13 micro adjustment to get consistent result. Tried other AF modes with same +13MA. All of them were OK accept center with assist (4 adjacent AF points). Every shot I tried in this setting was with heavy front focus.
Next I tried in ServoAI. All shots turned out to have heavy back focus. I dial +20 micro adjustment and even then could not achieve correct focus.
Later I tried my 5D2 using same setup and only center AF point. First in One Shot AF
with center AF point only. Had to dial positive MA (+10). Switched to servo AF with center AF point only and same problem. Heavy back focus - even with +20MA.
Has anyone experienced similar problems with such camera lens combination? Or perhaps someone can advise me where should I go with this problem. Should I call Canon or Sigma?
Thank you.
Good or bad I'm guy with a big lens.
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|Nov 17, 2010
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|Nov 18, 2010


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More Mile Vegas Running Sock
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(BPT) - Last call for your summer road trip. Grab the family, call your friends: The Great American Road Trip still awaits. Don't let summer fade into the sunset without a last hurrah.
According to the Auto Club, you won't be alone: 37.5 million Americans hit the road during the Independence Day holiday this year, up 2.9 percent from 2016. And to no one's surprise, the Auto Club says the old-school, family-type road trip and visits to national parks and theme parks remain the most popular types of vacations for families.
They say getting there is half the fun, so before you head out on a 'roadie,' here are a few tips to make the trip safer and more enjoyable.
* Be flexible: It's always wise to plan ahead, and leave a little extra time in the master schedule, especially if you're traveling with kids. But it's also fun to be spontaneous, so don't plan too far ahead. Maybe you want to stop and see the world's largest thermometer in Baker, California. Make time for the fun stuff that's off the beaten path. * Lost and found: There's nothing more frustrating than being lost, especially while on vacation. Use apps like Waze and Google Maps to help you get around traffic and get to your destination. * Must-haves: Don't forget to bring: the cell phone charger, flashlight, batteries, bottled water/juice, first-aid kit, snacks, music and toys/games/videos for the kids.
* Lost and found: There's nothing more frustrating than being lost, especially while on vacation. Use apps like Waze and Google Maps to help you get around traffic and get to your destination. * Must-haves: Don't forget to bring: the cell phone charger, flashlight, batteries, bottled water/juice, first-aid kit, snacks, music and toys/games/videos for the kids.
* Must-haves: Don't forget to bring: the cell phone charger, flashlight, batteries, bottled water/juice, first-aid kit, snacks, music and toys/games/videos for the kids.
* Clean sweep: Since your family or friends will be in your vehicle for several hours a day, be courteous and throw out the ancient Big Gulp cups, food wrappers, empty sugar packs, old gym clothes and all the junk you've tossed in your backseat the last few months. Besides, you'll need to make room for all the silly souvenirs you're going to buy along the way.
* Check, please: One thing you definitely need on a road trip is a reliable vehicle, so you'll want to make sure yours is in excellent, road-worthy shape. Pre-check everything, from all the fluids to your tires. Especially your tires - even the spare.
'I can't say enough about the importance of your tires, especially if you're heading out on a family road trip,' says Fred Koplin, senior director of marketing and motorsports for Yokohama Tire Corporation, manufacturer of a variety of tires for passenger cars, SUVs and pick-up trucks. 'Tires are the only part of a vehicle that actually touches the road and they affect everything from braking and steering to comfort and handling.'
Koplin says while it doesn't matter what type of vehicle you drive, it's super important that you have the right tires to get the best handling, ride and treadwear.
For a fun summer road adventure - and daily driving, too - Koplin recommends a touring tire, which combines the comfort and tread life of a passenger tire with the handling and sports-like feel of a performance tire. 'The Avid Ascend is a great example of a touring tire,' says Koplin, 'because it offers exceptional all-season performance, remarkable treadlife and excellent fuel efficiency.'
To learn more about touring tires, Koplin says to check tire company websites like www.yokohamatire.com or your tire retailer's website for more help.
Koplin offers more tire tips that will help you throughout the year:
* Check tire pressure at least once a month - this takes about five minutes. Always use an accurate tire gauge and make sure the valve is free of debris and water. Consult the vehicle's owner's manual or placard on the driver's door to determine proper tire pressure. The correct tire pressure is specified by the manufacturer of the vehicle, not the tire manufacturer. Tire pressure should be checked when the tires are cold - at least four hours since the vehicle was last driven.
* Check your tread depth by placing a penny upside down into a tread groove. If you can see all of Lincoln's head, your tire's tread has worn down to the legal limit and you need to buy new tires.
* Tires should be replaced when the tread is worn down to 2/32 of an inch, the lowest legal limit. It's best to replace them before they reach 2/32 for optimal performance, especially in bad weather.
* Rotating your tires regularly promotes even wear of the tread. Tires should be rotated every 5,000 to 8,000 miles.
* Check your alignment at least once a year or sooner, especially if the vehicle is pulling to one side. This will help avoid uneven wear on tire tread. Tire balance should also be monitored.
For more tire care and safety tips, visit www.yokohamatire.com/tires-101 or www.USTires.org.
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