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Physical Processes Linking Solar Radiation and Solar Variability with Global Climate Change
December 2003 SORCE Science Meeting Science Program Review!
The Earth Observer Jan/Feb 2004 Vol. 16, No. 1: "The Solar Radiation and Climate Experiment (SORCE) Science Team Holds its First Meeting Since Launch"
Thanks to everyone who attended/presented at the December 2003 SORCE Science Meeting. This EOS Solar Radiation and Climate Experiment (SORCE) meeting was our first science meeting since the January 25, 2003 launch and it was a great success! The meeting was devoted to our understanding of the physical processes that connect the Sun's radiation and its variability to our terrestrial environment, including the processes involved with climate and ozone response to solar radiative forcing and the mechanisms that cause solar activity and radiation variations. The agenda consisted of both invited and contributed oral presentations and posters. Scientific Sessions were given on the following topics:
Science Program Organizers:
Information Contact:
The meeting began at 8:30 a.m. on Thursday, December 4. Oral presentations were given throughout the day Thursday, Friday, and Saturday morning. Poster summaries and presentations were set up for viewing Thursday and Friday late afternoons, with a special poster reception sponsored by the Bay Area Environmental Research Institute occurring on Friday. Thursday evening there was a dinner planned, featuring Dr. John Eddy as the guest speaker. The dinner was an optional event, but all attendees were encouraged to join in.
The meeting included the following overview presentations:
Scientific sessions planned for the meeting, with the following confirmed speakers, were:
The featured speaker at the Science Meeting Dinner on Thursday evening, Dec. 4, will be Dr. John Eddy. He will be speaking on "Tales of the Sun and Climate".
The Lodge at Sonoma, 1325 Broadway, is located in the heart of Sonoma Valley wine country, just blocks from Sonoma Plaza. This first-class hotel offers magnificent views, golfing, hiking, and biking right outside its front door. The Lodge itself is a relaxing resort and full-service spa.
For more details on The Lodge at Sonoma and their amenities, visit their website at www.thelodgeatsonoma.com or call them at 707-935-6600.
Getting to Sonoma –
Driving directions. MapQuest website -- www.mapquest.com
(linked to The Lodge at Sonoma).
From San Francisco International Airport: Take Highway 101 North to Golden Gate Bridge. Continue on 101 to 37 East toward Napa/Sonoma. Turn left at second light onto Highway 121 North. At the junction of Highway 116 and 121, bear right, then exit at Highway 12. Continue to Sonoma. The Lodge at Sonoma is at the corner of Leveroni Road and Broadway on Highway 12.
From Oakland Airport: Take I-880 North to downtown Oakland. Take I-980 East to Walnut Creek. Take I-580 to San Francisco/Hayward. Take 80 North (Vallejo/Sacramento). Take Richmond/San Rafael Bridge to Highway 101. Go North on Highway 101. Continue on 101 to 37 East toward Napa/Sonoma. Turn left at second light onto Highway 121 North. At the junction of Highway 116 and 121, bear right, then exit at Highway 12. Continue to Sonoma. The Lodge at Sonoma is at the corner of Leveroni Road and Broadway on Highway 12.
From Sacramento Airport: Take I-5 North toward Woodland. Take the Main Street Exit toward Woodland. Turn left on East Main Street. Turn left to take Highway 113 South toward Davis. Take I-80 West. Take Highway 12 North to Sonoma. The Lodge at Sonoma is at the corner of Leveroni Road and Broadway on Highway 12.
Sonoma is a wonderful vacation destination, so you might want bring the family and come early or stay the weekend to enjoy this special place in the heart of California wine country. The Sonoma Valley is cradled between two mountainous ranges surrounding 17 miles of vineyard lands. This is the birthplace of the California wine industry and home to dozens of award-winning wines. Besides boasting two of the oldest wineries in California (Glen Ellen and Sebastiani), Sonoma is well known for it historic Town Square with its many boutiques and fine restaurants, all nestled under enormous shade trees. For local activities and information on nearby highlights, contact the Sonoma Valley Visitors Bureau at 1-707-996-1090 or go on-line to www.sonomavalley.com. The county of Sonoma also has an interesting website with local happenings – www.sonomacounty.com.
Sonoma Valley is not lacking in fun and interesting things to do! The Lodge at Sonoma concierge (707-935-6600) can assist you in planning your visit. Please consider the following ideas when planning your leisure time:
Sonoma Valley Wine Tour:
Saturday, Dec. 6, 12:30 p.m. – 5:00 p.m.
One of the stops will be at the Benziger Family Winery, where you will wander through a century-old ranch with farmhouse, tasting room, and art gallery. A tram will take you through the vineyards to the top of a hill crowned with an Acropolis temple. The view from the ridge top is breathtaking! In the tasting room you will be treated to their reserved wines and learn about their organic stewardship.
We will also visit Gundlach Bundschu, which is the oldest family winery in the country. They have been growing wine grapes for over 143 years! After a special outdoor tasting (weather permitting), we will go on a cave tour and discuss wood and the taste imparted on the wine. Gundlach Bundschu is best known for it Gewurztraminer and Bearitage wines. They grow sixteen different veritals and have won many gold medals.
Finally, we will visit the home site of the father of California viniculture, Count Agoston Harazity, which is known as Bartholomew Park Winery. This beautiful location has a 4000 case winery. The wines are exceptional and are made in the French style. This winery has a very unique history in that it has been used for many other things in its past, including a morgue, school, brothel, and a hospital. Within the building is a fascinating museum, which will take you back to the early days of viticulture.
Tickets: $75. Includes transportation, guided tour, and wine tastings.
December in Sonoma is wonderful, with cool mornings and evenings, and warm afternoons. The temperatures average a high of 60° F and a low of 37° F in early December. The key is to "layer" since you never can tell this time of year in California. Rain is common in December. The following website could be helpful to check before you pack -- www.weather.com (linked to Sonoma, CA local weather).
LASP is committed to making this Science Meeting accessible to all participants. If you require special arrangements, please contact Vanessa George, LASP, 303-492-5486.


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subset: commoncrawl


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A little while back, I published a paper that Rick and I had been working on for awhile. In short, there are quite a number of plants which entrap substrate – sand, dirt, etc. – on their surfaces with sticky trichomes. These species occur worldwide in dunes, beaches and deserts. Quite a number of people, dating back to the late 1800's, had hypothesized that this "sand armor" must protect the plant, but nobody had actually gone out and tested it. So we tested both the hypothesis that it is physically defensive (who wants to chew on sand?) and that it is a form of camouflage (since of course, it makes the plant look like the background).
|Abronia pogonantha, one of the sandiest plants I've seen. Photo: EL.
We found support for the physical defense hypothesis (in two tests) and did not find any evidence that the camouflage protects the plant. You can read (Inkfish – one of the best science blogs) or hear (Quirks and Quarks) more about this project.
The best part of publishing this was hearing from a prominent researcher (who had noticed this phenomenon), that he tells his students: "if you don't believe that sand is defensive for the plant – try sandpaper instead of toilet paper!" Since publishing this, I've been able to continue this research and observe quite a few more cool sandy plants – some of which were new to me and some of which I had only heard of.
|The best sandy plant in the world. The common names for Pholisma arenarium include "scaly-stemmed sand plant", which is my personal favorite plant name ever. About an inch tall. Near Morro Bay, CA. Photo: EL
In that paper, there is a list of sand-entrapping plants. Many of these I had seen and noticed. Others were from published literature. I surveyed a bunch of really good naturalists and they suggested many others (their list was the longest). That is how I happened upon Pholisma, pictured above. This odd plant is a borage (the family includes some wellish-known plants including borage, heliotrope, fiddleneck, baby blue eyes, phacelia, etc.). Looking like a lump – maybe a mushroom? – it is completely chlorophyll-free, instead sucking nutrients from nearby plants (it is an obligate parasite, like Indian pipe, Monotropa, in the east). And the coolest part, of course, is how much sand it catches – it is nearly completely covered! It is very possible that plants which coat themselves in sand suffer a photosynthetic cost because less light reaches them. For Pholisma, that doesn't matter at all!
|LOOK AT ALL THAT SAND! (I am pretty sure those purple things are flower buds – I didn't unfortunately get to see a flowering individual).
Pholisma was, since I learned about it last year, the top of my list of must-see plants and seeing it was one of my spring highlights so far. I happened upon it accidentally while looking at another sand-entrapping plant, Abronia umbellata (I used Abronia latifolia in my experiments).
|Abronia umbellata is not as sandy as some congeners, but it is pinker than most! (there is also a really, really, cool paper on floral evolution in this species – check it out). Photo: EL.
The central coast of California has three species of Abronia which grow in close proximity on coastal dunes. Abronia maritima is generally on the beach while latifolia and umbellata are a little farther up (and occasionally grow over each other). They each catch sand to some extent.
|Abronia maritima. The yellow anthers are positioned right above the stigma and seem to drop pollen onto it (from my couple flower dissections). It has far smaller flowers than the other species. I'd bet quite a bit that it is selfing. Photo: EL.
|Abronia latifolia, the common sand verbena for most of the California coast. Common doesn't mean boring though, its quite awesome. Photo: EL
Abronia are awesome (everyone knows that already) but there are some smaller, more inconspicuous plants that are also really good at sand-catching.
|Tiquilia has nice flowers, but you have to look really hard to find them (they are tiny). This was a tall individual growing in a less-sandy spot (hence the lack of sand on the leaves and stems in the photo – the bottom still had lots). Photo: EL.
Another new favorite plant was Centrostegia thurberi. A tiny, cherry red, spiny bizarre thing, it is mildly sticky and has bracts encircling its stems which catch lots of sand – seemingly with stickiness and also just being shaped like a bowl. This was another favorite.
|Centrostegia thurberi. Photo: EL.
|It catches a lot of sand on its stems, but… (photo: EL)
|It also does this! Dipsacus – teasel – often has these sorts of bracts that fill with water and mosquito larvae and stuff. I've never seen bracts full of sand before (and every plant had them!). Photo: EL.
And lest I turn completely into a botanist, there were some insects, too. Importantly, there was one caterpillar – Hyles lineata – that was really common in a bunch of spots on Abronia. This species, the white-lined sphinx moth, is common over much of North America some years and absent others. Fortunately for me and unfortunately for many herbaceous plants, it is having a good year in southern California (especially near Anza Borrego).
|This Abronia villosa is not as happy as I am about this big (3″+) final-instar caterpillar. Photo: EL.
While Hyles likes to eat Abronia (I've found them on pogonantha, latifolia, umbellata and villosa this year), they not like to eat sand at all. While it doesn't have a good mechanism for taking it off, it seems to concentrate on nonsandy plants first and then on nonsandy parts of the plant, but it always ends up eating the sandy parts of the plant eventually.
|A green-morph H. lineata on pogonantha. They come in lots of colors – black, green, yellow and all manner of in-betweens. They all seem to turn into identical moths. Photo: EL
Unsurprisingly as they don't like it, sand on plants is damaging to them. A normal Hyles mandible at pupation looks like this:
|An SEM micrograph of the right mandible of a Hyles lineata fed on nonsandy Abronia latifolia. Those "teeth" are for grinding up the plant before it enters the body. Photo: EL
But if they eat sandy plants, they get pretty rough:
|Look at the "teeth" – or lack thereof – on this right mandible, from a caterpillar feeding on sandy A. latifolia. Photo: EL
That's it for today: a description of a study, some weird sandy plants, and a teaser of a future paper…


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(Partial List)
1) 1844, the sanctuary, the investigative judgment
Traditional – The sanctuary doctrine is the backbone around which all other doctrines revolve. 1844 anchors us in time: with the start of the Investigative judgment we know that the last step needed before the second coming has already begun. We're still here 170 years later because the church has delayed Christ's coming.
Progressive – 1844 is significant as the start of the Adventist movement. Investigative judgment doctrine is only partially correct and should be deemphasized as a doctrine. Still waiting for the advent but we can't be sure that it is near. The church has not delayed Christ's coming.
2) Evolution, Homosexuality, Hermeneutics
Traditional – Sola Scriptura. Scripture is the sole interpreter of scripture. External sources such as science and culture are judged by the Scripture. If the Bible contradicts reality, then it is not the word of God, but it cannot be reinterpreted.
Progressive – Science and culture inform our interpretation of Scripture: for example, because Evolution is a fact and Homosexuality is natural we need a modified hermeneutic that accommodates both evolution and homosexuality and anything else we disagree with in scripture.
3) Remnant Motif
Traditional – SDAs have an unique message beyond other Christians and therefore have a global mission.
Progressive – SDAs have a contribution to make to Christianity but not an unique message. We can work alongside other Christians and therefore, we don't have a global responsibility alone.
4) Sunday Law
Traditional – A Sunday law will be used to identify dissenters during closing events.
Progressive – The Sunday Law was an interpretation derived from 19th century cultural context and no longer applies. No clear alternative interpretation for Rev. 13 provided.
5) Missions vs. Social Justice
Traditional – Global Mission driven by urgency of second coming. Social justice, medical, educational work as entering wedges to accomplish mission.
Progressive – Because we don't have a global mission and no certainty of an imminent advent, the emphasis on missions is replaced with emphasis on social justice.
6) Church Organization
Traditional – Centralized church government to accommodate global mission.
Progressive – Congregational-style church government to control funds locally and address local needs.
7) Philosophy of church unity
Traditional – unity on common ground
Progressive – unity in diversity with Jesus as the true unifying element.
8) Worship styles
Traditional – against pentecostal/charismatic-like worship philosophy.
Progressive – in favor of pentecostal/charismatic-like worship philosophy.


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Now here's a Success Story that will have you licking your lips: it's Diane Vervin's, a Vatel Lyon 2013 alumnus, who has been the "Telesales - Sales Representative" in England for La Compagnie des Desserts. Yum yum!
"I graduated magna cum laude from high school, specializing in literature, and many Ivy League schools would have accepted me. But my choice was quickly made: I wanted to attend a school that would teach me how to do a job, in a field that I would really love working in.
When I was little, I was lucky to be able to travel a lot, and we stayed in all sorts of hotels and ate in famous restaurants: hotels and restaurants have always fascinated me. So when I discovered Vatel, with its teaching concept and curriculum, I jumped at that opportunity. Vatel was the only school that I applied to, in all fields. When I was having my interview, the Head of Studies asked me what other schools I had applied to. And I told her: "none at all, I want to go to Vatel Lyon!" I was admitted and I got my Bachelor's and Master's Degree there.
One of the key points about Vatel is that it is not only specialized in restaurants and catering, but also in hotel management, and that is a real asset. Weeks of theoretical classes were followed by weeks of practical application allowing us to learn quickly, thus becoming credible for our first internship in a company. Each hotel where I interned, Hotel Mont Blanc**** in Chamonix, Hotel Bloom*** in Brussels and Hotel Fouquet's Barriere***** in Paris - all had a lot of esteem for Vatel interns and for their knowledge, hospitality towards guests, proactivity and autonomy. Vatel is perfect: prestigious, with relevant courses, top quality faculty members and international outreach.
I've lived in London since I graduated in 2013 and now I've adopted the culinary and hospitality trends of this country in which we still have the "French art of hospitality" in luxury hotels and gourmet restaurants, which still remain very traditional and conservative. People use French words, and respect French codes and table arts, and are very attentive to any little whims guests may have.
Today I'm employed as the "Telesales - Sales Representative" in the English branch of "La Companie des Desserts,", a company that produces and supplies restaurants with a range of homemade ice-cream, bread, pastry and sophisticated desserts. My job has four key parts:
- customer service and sales,
- stock management and sourcing from French production hubs,
- following-up on late payment,
- drawing up the marketing and prospection strategy.
What I really like in this job is that I was able to discover another facet of my sector of activities, as a supplier. This job is really relevant in my career projects: discovering other parts of the hotel and catering businesses in order to learn all the tricks of the trade, and one day be able to open my own company, that will be tailored to my personality, inspired by my international trips and habits and needs of the demanding client base that I'm used to working with. Today I appreciate the wealth of my past experience and this allows me to step back in my present job and to adapt myself to my current customers. Now I really understand the differences and similarities between French and English customers.
London is always on the move, and people don't always take time to sit down for lunch or for a coffee break like we do in France. So what really works is "to go" items, and today people are looking for practical and high quality products. So most restaurants will be offering a "to go" menu, and internet sites like hungryhouse.co.uk are specialized in listing these restaurants and linking consumers to caterers and restaurants to facilitate exchanges.
But more importantly, you'll be seeing English coffee shops on every street corner: this is a smart food trend where Baristas are trained to make sumptuous latte coffees that you enjoy with a sandwich or pastry. This sector is thriving and little independent coffee shops play David against Goliath with large chains such as Starbucks, Caffe Nero or Pret a Manger and it's a win-win situation. I, myself, was trained as a Barista to learn how to make and serve these delicious latte coffees, just a week after I arrived in London.
What I like the best is that England has succeeded in imposing two meals as benchmarks mixing modernism and traditionalism on the other side of the Channel: brunch and afternoon tea. It's really interesting to note that brunch has become a popular type of meal, one that can be adapted to everyone's tastes and you can have several types of brunches, whereas the afternoon tea, or "high tea", as it is also called, is still considered to be a distinguished type of meal, a very trendy afternoon snack.
Today all restaurants propose "high teas" where you have a glass of champagne and a very good tea, while nibbling on little sandwiches, scones piping hot from the oven with clotted cream and jam, and tiny cakes. Don't you think it's about time that France adopted a little bit of "English know-how?"


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It is the very fact that we cannot live in the present—that the present for us is always part of an unfinished project—which converts our lives from chronicles to narratives. . . . We cannot choose to live non-historically: history is quite as much our destiny as death. (Terry Eagleton, After Theory, p. 209)
Now that theory is supposedly irrelevant, "over,"
and "dead," and has even inspired an "anthology of dissent,"
is the time finally propitious for the belated arrival of The Postmodern
Beowulf?[1] Are we really belated
and is theory even really dead? I would say, yes and no—to both questions.
As Allen Frantzen has remarked, scholars working in Old English studies who
engage contemporary, poststructuralist criticism often find themselves "challenged
as intruders, as strangers on the beach, not unlike the way Beowulf and his
retainers rouse the coastguard's suspicion as they arrive in Denmark."[2]
Scholars working in contemporary literary studies do not often look to the
field of Old English for enlightenment or direction on the subject of critical
theory, and within the field of Old English itself, the resistance to theory,
in general, has been strong, and occasionally mean-spirited. But here is not
the place to go over old debates, for as Gillian Overing stated more than
ten years ago at the 1991 convention of the Modern Language Association, "we
are changed by this new work," which "has, indeed, arrived."[3]
While Theory, with a capital "T," already has a long history,
which some trace to Plato and others to 1966 when Jacques Derrida presented
a paper, "Structure, Sign, and Play in the Discourse of the Human Sciences,"
at a conference at Johns Hopkins University, it has not, in fact, exhausted
itself and was never and can never be just "one thing" (or "empire,"
as recently argued) to be either embraced or rejected without equivocation.
As reported in The Chronicle of Higher Education, theory is not "a
unified kingdom," but is rather "a loose federation of states
with permeable boundaries, no universally recognized constitution, and not
much in the way of a lingua franca. It looks less like a superpower . . .
and more like the fractious and ever-expanding European Union."[4]
And whether conceived of as empire or fractious union, as Terry Eagleton reminds
us, "[w]e can never be 'after theory,' in the sense that
there can be no reflective human life without it. We can simply run out of
particular styles of thinking, as our situation changes."[5]
Theory will always be with us, if we prefer the examined life (and how could
we not?), although some theories will, of historical necessity, eventually
become useless (except as chapters in our intellectual history).
Styles of thinking have, indeed, changed as particular
situations—social, cultural, political, historical, institutional, and
otherwise—have changed, and this is why, for example, we already have
first-, second-, and third-wave feminist critique, and even post-feminist
critique. A first-ever anthology of critical essays on Beowulf that
represents scholarship influenced by postmodern thought—which is what
we offer here—does, in fact, arrive somewhat belatedly to a set of discourses
long in session in the American university and already famous for pronouncing
their own enervation, but I would argue that it is precisely in its "after-ness"
that Beowulf scholarship of a certain postmodern bent is so timely,
and even needed. It is partly due to the fact that the reception of theory
in Old English studies has been less than welcoming that those scholars wanting
to carry the water to our field of newer analytical models have been so measured
and careful in their approaches that they almost never take foreknowledge
for granted and have thereby bequeathed to us a great gift—they have
taught us theory while also practicing and revising it, and they have not
neglected in the process what is generally understood to be the great strength
of traditional medieval studies: an attention to philology, history, and cross-disciplinary
contexts. Indeed, because of our focus on literature within its manuscript
context, we should hold open the question of our "after-ness"
to theory since, as Roy Liuzza writes, the "poststructural recognition
of the enigmatic contingency of the text, as well as the cultural critics'
attention to the social circumstances of literary production" already
has its parallel in Old English studies, where critics, for a while now, have
already been questioning "the authority of the text, the propriety of
stylistic criticism, the means and circumstances of reading and reception,
[and] the nature of literary creation and transmission."[6]
Paul Strohm's observation is correct: "Postmodern
theory has always needed us," mainly as "a necessary foil to an
argument for an emergent modernity" and as a repository of a supposedly
socially "static" world, but "[o]ur retort must be that
our period, no less than any other, is the plagued and proud possessor of
motile signs, category confusions, representational swerves and slippages,
partial and competing and always irreconcilable narrations." Strohm
is also correct in suggesting that postmodernism is ultimately involved in
a project in "which any good medievalist would describe himself or herself
as engaged: the attempt to restore complexity to our understanding of the
past."[7] This is similar to Lee
Patterson's argument some years ago that medieval scholarship has an
important role to play in instructing "postmodern criticism in the historical
complexity and concreteness of cultural forms."[8]
And this means, too, I would argue, that medieval studies has a critical function
to perform in refashioning contemporary theoretical models, through a rigorous
historicism, that helps to extend and deepen the explanatory power of those
The attempt to restore historical complexity
to our understanding of the past and its cultural forms, and to also show
how Old English studies both practice and reformulate theory, suffices as
a description of the project of The Postmodern Beowulf, which was
initially born out of a desire to provide for students an anthology of "the
best of" contemporary critical approaches to the poem and then later
developed into a "casebook" that we hope more than amply demonstrates
the ways in which Old English scholarship has debated, elucidated, practiced,
historicized, and even developed theory in relation to the critical analysis
of Beowulf. The book is divided into four sections—History/Historicism,
Ethnography/Psychoanalysis, Gender/Identity, and Text/Textuality—that
have been designed, not as much to represent specific movements within theory
(such as deconstruction, new historicism, post-colonialism, Lacanian analysis,
queer studies, and the like), as to offer broad contextual fields of inquiry
within which certain questions regarding history, culture, identity, and language
have perdured over time (and in response to which questions the more narrowly-defined
theoretical "schools" have arisen). This is not to say that specific
theoretical approaches are not purposefully highlighted in the volume, because
many of them are, but it was also our concern to select essays that took up
more than one narrowly-defined approach and that also combined approaches
(both traditional and more contemporary) in strikingly innovative ways. So,
for example, we selected James Earl's "Beowulf and the
Origins of Civilization" because it utilizes Freudian analysis (especially
in relation to Freud's ideas regarding identification and the superego),
but also because what is being psychoanalyzed is not what we might at first
expect (i.e., the characters in the poem), but rather, the readers of the
poem, both the present-day readers (ourselves) as well as one of the poem's
probable Anglo-Saxon readers, Byrhtnoth, the "real life" hero
of the tenth-century Old English poem, Battle of Maldon. At the same
time, Earl also analyzes his own dreams about the poem, thereby drawing himself
(and more generally, the Old English scholar) under the rubric of his theoretical
model. And because his analysis of one of those dreams is also an attempt
to understand the ways in which the poem almost demands a certain kind of
masculine identification with a particular Anglo-Saxon heroic ethos, Earl's
essay also investigates the tensions between gender and ethnography in relation
to the process of reading the poem in our present moment. Ultimately, Earl
creatively interweaves Freud with reader reception theory and even with an
imaginative new historicism (how might Byrhtnoth have read Beowulf?),
and he also provides a glimpse of what "the personal is theoretical"
might look like.
In addition to including essays on Beowulf
here that we feel represent the most innovative uses and refashionings of
multiple critical methodologies—both traditional and more theoretical—we
decided to also include within each section essays which address more broadly-ranging
theoretical issues (grouped under the heading "Critical Contexts"),
so that the Beowulf essays can be read and discussed in the classroom
in relation to, not only other essays on Beowulf (both within and
outside of this book), but also these broader arguments. These are essays
that represent a diverse spectrum of academic fields, from cultural criticism
(Edward Said, "The World, the Text, and the Critic") to Old Norse
studies (Carol Clover, "Regardless of Sex: Men, Women, and Power in
Early Northern Europe") to ethno-archaeology (John Moreland, "Ethnicity,
Power and the English") to Continental philosophy (Michel Foucault,
"What Is an Author?") to medieval studies more generally (the
essays by Claire Sponsler, Alfred Siewers, Jeffrey Jerome Cohen, Carol Braun
Pasternack, and Michelle Warren). Each section of the book contains five essays:
three essays that directly address Beowulf (arranged in chronological
order, by earlier to later publication date), preceded by two "Critical
Contexts" essays that were chosen either because they propose critical
paradigms that are reflected upon and articulated in the respective Beowulf
essays, or because they offer analyses and arguments that broaden the depth
of the critical field within which the Beowulf essays that follow
them can be evaluated (and it just so happens that two of these essays, Siewers's
and Cohen's, also address Beowulf in addition to other literary subjects).
The main objective in doing things this way is to both show the development
of certain theoretical lines of thinking within Beowulf scholarship,
and to also create areas of critical tension that would ideally lead to further
debate in the classroom. So, for example, in the History/Historicism section
of the book, we have included two "Critical Contexts" essays—Edward
Said, "The World, the Text, and the Critic" and Claire Sponsler,
"In Transit: Theorizing Cultural Appropriation in Medieval Europe"—that
both advocate (albeit in different ways) a criticism that would be attentive
to the ways in which a cultural text, whether a poem or symphony or painting,
performs in the particular world(s) in which it circulates, and also to the
manner in which cultural objects are always being "appropriated"
by different groups in different times and places, where meaning becomes as
much a question of the environment of the work's reception as of what
might be called an "original" authorial intention.
The essays that follow Said and Sponsler—Nicholas
Howe, "Beowulf and the Ancestral Homeland," Allen Frantzen,
"Writing the Unreadable Beowulf," and John Niles, "Locating
Beowulf in Literary History"—all seek to understand what
Beowulf, as a cultural text, and also as a myth of "origins,"
might have meant in particular places to particular groups. For Howe, that
means exploring how the Anglo-Saxons might have composed the poem as a kind
of epic of a myth of ancestral migration from continent to island, which "gave
the English as a folc a common identity by teaching them that they
were descended from those who had made the exodus of the mid-fifth century,"
and therefore the poem might have had a critical function in an emerging "national"
identity. Niles's essay (which explicitly acknowledges, as does Frantzen's
essay, the influence of Said's thought) argues for Beowulf's
status as "a socially embedded poetic act" that "responded
to lively tensions, agreements, and disagreements in the society from which
it came." More specifically, Niles sees the poem as responding to "a
mixed and somewhat turbulent [post-Viking invasions] Anglo-Scandinavian society,"
and he argues that the poem is ultimately "the projection of two great
desires: (1) for a distinguished ethnic origin that would serve to merge English
and Danish differences into a neutral and dignified pan-Germanism, and (2)
for an ethical origin that would ally this unified race with Christian spiritual
values." Taking the idea of the poem's social utility even further,
Frantzen's essay looks at Beowulf's role in nineteenth-century
positivist philology, in modern translations, and also in the twentieth-century
literary anthology and literature survey classroom, thereby giving us an invaluable
(if selective) reception history of the poem that also shows us how the multi-vocality
of the text has often been silenced in favor of supposedly authoritative and
authentically "historical" editions. Frantzen also helps us to
see, through a careful attention to the text of the manuscript itself and
its "cruces," "not how Beowulf was created, but
how we have created it, making and remaking not just its literary meaning
but its language." Because Frantzen undertakes a close analysis of the
intra-textuality and syllepsis of the Old English words writan ("to
write") and forwritan ("to cut through," or "to
carve") in the poem, as they relate to the inscription (textual? runic?)
on the hilt of the magic sword that Beowulf retrieves from Grendel's
underwater mere, and which Hrothgar "reads," Frantzen's
essay also practices a Foucauldian exploration of the linkages between writing
and death, while also demonstrating "that the illusive and allusive
nature of writing and reading in Beowulf discourages us from acts
of closure, and indeed prevents those acts of interpretation, of 'cutting
through,' sought by conventional criticism." The Beowulf
essays in the first section of the volume, then, all explore in various fashions
how the story and text of Beowulf have been appropriated for various
historically-situated ideological and ontological ends, while Frantzen's
essay also delineates how the text of the poem will always resist our desire
to read, translate, present, or interpret the poem in narrowly-defined, totalizing
Similar to the History/Historicism section, the
Text/Textuality section of the book begins with two "Critical Contexts"
essays—Michel Foucault, "What Is An Author?" and Carol Braun
Pasternack, "The Textuality of Old English Poetry"—that
together formulate a line of thinking clearly influential upon the Beowulf
essays that follow. Both Foucault and Pasternack call attention to the importance
of the structure of language, as well as of its gaps, omissions, and silences,
in determining "meaning" in any text, and they also urge a reading
of literary texts (what Foucault calls a "typology" or "historical
analysis" of discourse) that sets aside the idea of an "author,"
or what Pasternack calls a "poet-figure," in order to understand
literature as a cultural "intertext" that is composed and recomposed
over time and is always open to multiple interpretations by readers who, more
so than authors, are the real "producers" of the text. The articulation
of texts within socio-historical relations is exactly the focus of the three
Beowulf essays in this section, although the essays are also markedly
different from each other (they do not share, in other words, a programmatic
approach or thesis, although all three are concerned with the ways in which
the language of the poem constructs and is constructed by social meanings
that are always, to a certain extent, in flux). In "Swords and Signs:
Dynamic Semeiosis in Beowulf," Gillian Overing explores the
"nonteleological, nonhierarchical coexistence of the metaphoric and
metonymic modes" in the poem, specifically through the use of Charles
Sanders Peirce's semiotic theory of the "triadic production of
meaning," in order demonstrate how the poem "invites a challenge
to assumptions about the possibility and desirability of a structural overview"
and essentially resists any attempts on the part of the critic to limit or
totalize what is, ultimately, the text's "infinitude." For
Seth Lerer, in "Hrothgar's Hilt and the Reader in Beowulf,"
the main objective is to analyze scenes of "reading" in Beowulf,
especially with reference to the engraved sword hilt Beowulf retrieves from
Grendel's mere, as a means of reflecting upon "the reader's
own relationship to texts, to authors, and to Christian culture generally,"
art as "a public and social act," and also upon how Beowulf
"represents a move from presence to absence as it dramatizes differing
forms of literary communication and response." With reference to "forms
of speaking" in Beowulf, as well as in ancient Greek and Arthurian
literature, and in Scandinavian runology, Lerer also ruminates on "[w]hat
may be called the 'literacy' of Beowulf . . . the way in which
it imagines its own reading public—the way in which it shows us that
to read the legends of the past is to read by ourselves." In her essay,
"'As I Once Did With Grendel': Boasting and Nostalgia in
Beowulf," Susan Kim "locates the poem's representations
of linguistic performance in the context of early medieval linguistic theory"
and "treats the engagements with linguistic performance as negotiations
of concepts of personal identity." Because, according to Kim, "language
works by difference, by alienation of the sign as thing and the sign as meaning,
but also of sign from sign, the very process of identification in language
inscribes alienation within human identity," and on one level, "this
is the alienation of the self understood as the body and the self represented
in language." More specifically, Kim looks at the ways in which this
alienation is "literalized" in Beowulf's identification
with Grendel and in Grendel's severed arm as a "sign" of
that identification, and she also looks at the ways in which nostalgia functions
in the poem as a source for "the potential for an identity not understood
as dislocated or alienated from itself." Ultimately, all three of the
Beowulf essays in this section are interested in the questions posed
at the end of Foucault's essay, "What are the modes of existence
of this discourse? Where has it been used, how can it circulate, and who can
appropriate it for himself? What are the places in it where there is room
for possible subjects? Who can assume these various subject-functions?"
Because there is no essay in the entire book that addresses, explicitly, a
postcolonial approach to Beowulf, perhaps because this is an area
that is just beginning to be explored in Old English studies,[9]
we have also included as a "postscript" essay to this section,
Michelle Warren's "Post-Philology," which calls for the
creation of a new alliance between philology, postmodern critique and post-colonial
studies, and we leave it to our readers to imagine how this might be accomplished,
along the lines Warren illustrates, in Beowulf studies.
Some of the "Critical Contexts" essays
also enlarge (and occasionally problematize) the critical dialectic of the
readings that follow them. In the Ethnography/Psychoanalysis section, John
Moreland's "Ethnicity, Power, and the English" and Alfred
Siewers's "Landscapes of Conversion: Guthlac's Mound and
Grendel's Mere as Expressions of Anglo-Saxon Nation-Building"
both attend to subjects that are not a direct concern of the essays that follow,
but which nevertheless create productive critical tension with some of the
cultural-historical assumptions of those essays, while also broadening the
theoretical horizons within which those essays can be read and appraised.
Moreland argues against the idea of the early English as a stable or "natural"
ethnographic category in his essay, where he provides a thorough overview
of the latest findings in archaeology, anthropology, and sociology, in order
to show that Migration Period groups, such as the Angles, Saxons, and Jutes
of Bede's Ecclesiastical History, were characterized more by
their fluidity, heterogeneity and overlapping identities than traditional
accounts would allow, while at the same time, Moreland admits that "it
would be a debilitating step to move from the rejection of a direct and inflexible
link between ethnic identity and material culture to argue that there is no
relationship." Siewers's essay combines eco-criticism, Augustinian
"sign theory," and Julia Kristeva's theory of abjection
(as it applies to western medieval theology), in order to highlight a certain
"process of cultural differentiation" in Anglo-Saxon England,
where "constructions of nature relate to [the] development of a new
kind of performative subjectivity for cultures and people," and this
is a subjectivity that, of political necessity, required "a defining
of the Welsh and other non-English cultures as Other" as well as a de-humanizing
of the native British landscape. Siewers's and Moreland's essays
are included in the Ethnography/Psychoanalysis section, partly because they
both attend to the archaeology and material culture of early England, which
is not fully addressed anywhere else in the volume and which we see as integral
to thinking about early English ethnography, and partly because they both
attend to the heterogeneous aspects of a so-called "Anglo-Saxon"
identity that are not always acknowledged in studies of Beowulf that
take an ethno-psychological approach, such as the essays here by Earl ("Beowulf
and the Origins of Civilization"), John Hill ("The Ethnopsychology
of In-Law Feud and the Remaking of Group Identity in Beowulf: The
Cases of Hengest and Ingeld," which argues that the poem's narratives
of feud, dismaying to some critics in their violence, are actually "socially
acute meditations on the prospects for settlement" and for "accomplished
and extended community"), and Janet Thormann ("Enjoyment of Violence
and Desire for History in Beowulf," which analyzes, through
Lacan, the "crisis" of history occasioned by feud in the poem,
and also includes an analysis of Anglo-Saxon law codes in relation to that
crisis). Likewise, in the Gender/Identity section, the "Critical Contexts"
essays by Carol Clover ("Regardless of Sex: Men, Women and Power in
Early Northern Europe") and Jeffrey Cohen ("The Ruins of Identity")
raise important questions that are intimately related to (yet not always directly
addressed by) the essays that follow by Clare Lees ("Men and Beowulf"),
Mary Dockray-Miller ("Beowulf's Tears of Fatherhood"),
and Shari Horner ("Voices From the Margins: Women and Textual Enclosure
in Beowulf"). For example, if the "principle of sex"
was not so "final or absolute" as we assume it was in early northern
Europe, and "gender" was not necessarily predicated upon "sex,"
as Clover argues (following Thomas Laqueur's idea of the "one-sex"
or "one-flesh" model of sexual difference that he argues obtained
in the classical world and in premodern Europe), how does that affect our
ideas regarding how masculinity and violence (Lees) or homosociality (Dockray-Miller,
whose essay actually responds directly to Clover's) or women's
spaces (Horner) are constructed in Beowulf? And if, as Cohen argues,
"to be fully human is to disavow the strange space that the inhuman,
the monstrous, occupies within every speaking subject," how does this
affect our ideas regarding how identity—gendered or otherwise—is
represented in the poem? This is a question which Susan Kim actually addresses
in great depth in her essay (described above) in the Text/Textuality section
of the book, which brings us to: how to read this book in the classroom, exactly?
The Postmodern Beowulf may well be used
in the classroom—where we believe it can be used to introduce students
to theory, as well as to teach Beowulf. The four sections of the
book—again—represent broad contextual fields of inquiry to which
certain, more narrowly-defined questions and theories of history, culture,
identity, and language pertain. The first section, History/Historicism, covers
"cultural history" most broadly, and more narrowly, new historicism,
cultural appropriations theory, Foucault's archaeological method, reading
reception theory, Said's "worldly criticism," deconstruction,
and in the case of Frantzen's essay, the intellectual history of Beowulf
scholarship. The second section, Ethnography/Psychoanalysis, attends to anthropology,
archaeology, sociology, eco-criticism, Freudian, Lacanian and Kristevan analysis,
and what can be called, following the work of Georges Devereux, ethnopsychoanalysis.[10]
Gender/Identity, the third section, comprises sexuality and gender studies,
feminist critique (of both the Anglo-American and French varieties), psychoanalysis
(Freud and Lacan), and queer studies. Finally, the Text/Textuality section
of the book includes philology most broadly (in its more traditional and more
poststructural conceptions), sign theory (or, semiotics), deconstruction,
Lacanian anaylsis, Kristeva's theory of intertextuality, and orality
studies. In addition, we have added, as "bookends," an Introduction,
Eileen Joy and Mary Ramsey's "Liquid Beowulf,"
and an Afterword, James Earl's "Reading Beowulf with
Original Eyes," that both take up the question, in different ways, of
the poem's relevance to our current historical moment (and to modernity
and postmodernity more generally).
Merely "listing" the theoretical
concerns (or, approaches) for each section runs the risk of oversimplifying
the diverse hybridity of critical approaches represented in each essay and
also obscures somewhat the very rich connections that are present—both
explicitly and implicitly—among the different sections of the book.
So, while it may be useful to teach the contents of the book section by section,
there are many ways in which the contents can be reassembled to create new
and critically productive groupings. For example, since Frantzen's essay
engages in a close analysis of the "text" of the "giant"
sword hilt in the poem, it can be read alongside the essays by Overing and
Lerer, which take that same sword hilt and its inscribed "text"
as one of the primary focuses of their essays. Likewise, since Kim's
essays takes up the question of how monstrosity functions in the construction
of Beowulf's identity, her essay can be read alongside Cohen's
(whose essay Kim explicitly addresses) in the Gender/Identity section. Thormann's
essay, because it addresses not just a Lacanian analysis of violence in the
poem, but also looks at how the poem attempts to foreclose, through language,
a particular kind of violent history, could easily be read within the History/Historicism
or the Text/Textuality section. Because Earl's essay directly addresses
the issue of how the poem requires a certain gendered identification, and
because Lees's essay directly confronts his argument, as does Dockray-Miller's,
these three essays could form a grouping unto themselves—one could also
add to this group Earl's Afterword, "Reading Beowulf
With Original Eyes," since he provides there a linguistic analysis of
Hrothgar's emotions upon Beowulf's leaving of Daneland that is
strikingly different (yet connected to) the reading that Dockray-Miller provides
for the same scene. Certain essays that concentrate on the issue of violence—Thormann's,
Hill's, Cohen's, and Lees's—could form another grouping.
Essays that center upon the poem's role in constructing a specific cultural
(or, "national") identity—Howe's, Niles's, Siewers's,
Cohen's, and Lees's—form yet another possible arrangement.
How the poem figures loss, absence, and alienation—linguistic, personal
and more broadly social—is also the concern of the essays by Frantzen,
Earl, Thormann, Kim, and Lerer. Because the field of Old English studies,
and of Beowulf studies, especially, is somewhat intimate, the readers
of this book will quickly discern how often the authors included here reference,
and concur and argue with, each other's work, providing a valuable set
of cross-references that, we would argue, will lead to combinatory readings
the even the editors have not yet anticipated.
Ultimately, this book cannot deliver a neatly
programmatic or even a "whole" view of "the state of theory"
in Beowulf studies at present, for we are still living and working
in this moment—a moment, moreover, of constant and continual theoretical
upheaval and change, and into which we place The Postmodern Beowulf
as a selective representation of the first stage of an ongoing conversation
and critical debate among Old English and other scholars over the late modern
interpretation of the poem. To the question of what Beowulf might
have meant to its original audiences, and what it might mean to those of us
reading it and trying to understand it today in this place we call modernity
(or, postmodernity), the essays collected together in this volume offer a
diverse and wide-ranging set of possible answers, while also raising important
questions for future research and discussion. History, the things that actually
happen, as Leopold von Ranke would have said—not only the history of
the so-called Middle Ages, but also our own history, both personal and intellectual—is
always a more messy business than we would like it to be, more random and
chaotic than the structure and order we want to perceive in it (and often
invent for it), and despite the schematic organization of this book, we would
again urge also reading against that schematic, too. Only in that way can
connections between the essays not yet thought be discerned and new paths
of inquiry opened.
In a recent conversation between the two documentary
filmmakers Errol Morris and Adam Curtis, where they discussed the Vietnam
War and 9/11 (the subjects of their two most recent documentaries—The
Fog of War and The Power of Nightmares, respectively), Morris
asked, "is history primarily a conspiracy? Or is it just a series of
blunders, one after the other? Confusions, self-deceptions, idiocies of one
kind or another?" To which Curtis replied, "[h]istory is a series
of unintended consequences resulting from confused actions, some of which
are committed by people who may think they're taking part in a conspiracy,
but it never works out the way they intended." Curtis continued by arguing
that what really affects the outcome of history are ideas themselves (a notion
he credits to Max Weber): "People have experiences out of which they
form ideas. And those ideas have an effect on the world. . . . [e]ven though
it doesn't actually ever work out the way the person who had the idea
intended."[11] Such would be an
apt description of the development of a theoretical history, whether it begins
with Plato or Derrida, and wherever it continues to circulate as a stream
of literary consciousness, whether in the study of the Victorian novel or
Old English poetry. Foucault could not have guessed, when writing "What
Is An Author?" how his argument that the disappearance, or death, of
the author necessitates the tracing of certain textual "gaps and breaches"
in order to locate "the openings this disappearance uncovers"
might have been taken up by Carol Braun Pasternack in her discussion of the
"textuality" of Old English poetry, whose authors were always
already "missing" long before Nietzsche or Roland Barthes or Foucault
declared them so and called the resulting situation "modern."
Such is the inherent transformative power of an idea let loose in the world.
The most valuable intellectual life, I believe, is one which allows for and actively embraces the infinite play and tension between differing ideas and systems of thought, and which desires the always open question over the statement that supposedly "closes" the debate. How could our future—never mind the past—be thought otherwise? Yes, some ideas will always be better (more ethically worthy, let's say) than others, and we cannot entirely escape the responsibility of critical judgment if we believe there is something ultimately at stake in the reading, interpretation, and teaching of a poem like Beowulf, although the question of whether or not poetry "matters," and how, is one of those open questions to which I believe the continued study of Beowulf could matter a great deal. And it is a question, moreover, in which something—the future of the study of literature within the public university, for example—really is at stake. Ultimately, whether we take the more positivist or the more poststructural approaches to the poem, what we are after is meaning. We want the poem to mean something because, even in postmodernity, there has to be some kind of answer to the eventual non-being of everything. The poem itself was likely written out of such a desire. There is no one, definitive way to read Beowulf, either as an artifact that can tell us something about that foreign country we call Anglo-Saxon England, or as a poetic narrative somehow relevant to the concerns of contemporary thought and life, and if The Postmodern Beowulf is read in the manner we have intended it to be read, it will hopefully demonstrate the benefit of an open-ended pluralism of theoretical approaches to the poem, as well as the ways in which the poem itself is inexhaustibly productive of the question of its own meaning. We learned that from theory.
Preface: Eileen A. Joy, "After Everything, The Postmodern Beowulf"
Eileen A. Joy and Mary K. Ramsey, "Liquid Beowulf" [original essay]
Edward Said, "The World, the Text, and the Critic" [originally published in: Edward Said, The World, the Text, and the Critic (Cambridge, MA: Harvard University Press, 1983), 31-53]
Claire Sponsler, "In Transit: Theorizing Cultural Appropriation in Medieval Europe" [originally published in: Journal of Early Modern and Medieval Studies 32.1 (Winter 2002): 17-39]
Nicholas Howe, "Beowulf and the Ancestral Homeland" [originally published in: Nicholas Howe, Migration and Mythmaking in Anglo-Saxon England (1989; Notre Dame, IN: University of Notre Dame Press, 2001), 143-80]
Allen J. Frantzen, "Writing the Unreadable Beowulf" [originally published in: Allen J. Frantzen, Desire for Origins: New Language, Old English, and Teaching the Tradition (New Brunswick, NJ: Rutgers University Press, 1990), 168-200]
John D. Niles, "Locating Beowulf in Literary History" [originally published in: Exemplaria 5 (March 1993): 79-109]
Alfred K. Siewers, "Landscapes of Conversion: Guthlac's Mound and Grendel's Mere as Expressions of Anglo-Saxon Nation-Building" [originally published in: Viator 34 [2003]: 1-39]
John Moreland, "Ethnicity, Power and the English" [originally published in: William O. Frazer and Andrew Tyrell, eds., Social Identity in Early Medieval Britain (London: Leicester University Press, 2000), 23-51]
James W. Earl, "Beowulf and the Origins of Civilization" [originally published in: James W. Earl, Thinking About Beowulf (Stanford, CA: Stanford University Press, 1994), 161-88]
John M. Hill, "The Ethnopsychology of In-Law Feud and the Remaking of Group Identity in Beowulf: The Cases of Hengest and Ingeld" [originally published in: Philological Quarterly 78 (1999): 97-123]
Janet Thormann, "Enjoyment of Violence and Desire for History in Beowulf" [original essay]
Carol J. Clover, "Regardless of Sex: Men, Women, and Power in Early Northern Europe" [originally published in: Speculum 68.2 (April 1993): 363-87]
Jeffrey Jerome Cohen, "The Ruins of Identity" [originally published in: Jeffrey J. Cohen, Of Giants: Sex, Monsters, and the Middle Ages (Minneapolis, MN: University of Minnesota Press, 1994), 1-28]
Clare A. Lees, "Men and Beowulf" [originally published in: Clare A. Lees, ed., Medieval Masculinities: Regarding Men in the Middle Ages (Minneapolis, MN: University of Minnesota Press, 1994), 129-48]
Mary Dockray-Miller, "Beowulf's Tears of Fatherhood" [originally published in: Exemplaria 10 (1998): 1-28]
Shari Horner, "Voices from the Margins: Women and Textual Enclosure in Beowulf" [originally published in: Shari Horner, The Discourse of Enclosure (Albany, NY: State University of New York Press, 2001), 65-100]
Michel Foucault, "What is an Author?" [originally published in: Josué V. Harari, ed., Textual Strategies: Perspectives in Post-Structuralist Criticism (Ithaca, NY: Cornell University Press, 1979), 141-60]
Carol Braun Pasternack, "The Textuality of Old English Poetry" [originally published in: Carol Braun Pasternack, The Textuality of Old English Poetry (Cambridge: Cambridge University Press, 1995), 1-32]
Gillian Overing, "Swords and Signs: Dynamic Semiosis in Beowulf" [originally published in: Gillian Overing, Langage, Sign, and Gender in Beowulf (Carbondale, IL: Southern Illinois University Press, 1990), 33-67]
Seth Lerer, "Hrothgar's Hilt and the Reader in Beowulf" [originally published in: Seth Lerer, Literacy and Power in Anglo-Saxon England (Lincoln, NE: University of Nebraska Press, 1991), 158-94]
Susan M. Kim, "As I Once Did With Grendel: Boasting and Nostalgia in Beowulf" [originally published in: Modern Philology 103.1 (August 2005): 4-27]
Michelle R. Warren, "Post-Philology" [originally published in: Patricia Clare Ingham and Michelle R. Warren, eds., Post-Colonial Moves: Medieval through Modern (New York: Palgrave Macmillan, 2003), 19-45]
Afterword: James W. Earl, "Reading Beowulf with Original Eyes" [original essay]
Preface Footnotes
1. On the supposed irrelevance and death of theory, see Emily Eakin, "The Latest Theory is Theory Doesn't Matter," The New York Times, 19 Apr. 2003: D9, and Stephen Metcalf, "The Death of Literary Theory: Is It Really a Good Thing?" Slate.com, 17 Nov. 2005, available at http://www.slate.com/id/2130583. For a spirited debate over the question of whether "the great era of theory is behind us" and the future of critical inquiry in general, see W.J.T. Mitchell et al., "The Future of Criticism—A Critical Inquiry Symposium," Critical Inquiry 30 (2004): 324-479. As to theory's counter-movement, see Theory's Empire: An Anthology of Dissent, ed. Daphne Patai and Wilfrido H. Corral (New York, 2005).
2. Allen J. Frantzen, "Who Do These Anglo-Saxon(ist)s Think They Are, Anyway?" Æstel 2 (1994): 1-43.
3. Gillian Overing, "Recent Writing on Old English: A Response," Æstel 1 (1993): 135-49. See also T.A. Shippey, "Recent Writing on Old English," Æstel 1 (1993): 111-34, to which Overing's essay is a response. For an excellent historical overview of "the state of theory" (as of 1994) in Old English studies, see Roy Michael Liuzza, "The Return of the Repressed: Old and New Theories in Old English Literary Criticism," in Old English Shorter Poems: Basic Readings, ed. Katherine O'Brien O'Keeffe (New York, 1994), pp. 103-47. For an excellent survey of the most important developments in Old English manuscript and literary studies in general, see Katherine O'Brien O'Keeffe, ed., Reading Old English Texts (Cambridge, 1997).
4. Jennifer Howard, "The Fragmentation of Literary Theory," The Chronicle of Higher Education, 16 Dec. 2005: A12-13.
5. Terry Eagleton, After Theory (New York, 2003), p. 221.
6. Liuzza, "The Return of the Repressed," pp. 129, 130.
7. Paul Strohm, Theory and the Premodern Text (Minneapolis, 2000), pp. 158, 160, 153.
8. Lee Patterson, "On the Margin: Postmodernism, Ironic History, and Medieval Studies," Speculum 65 (1990), p. 106.
9. See, for example, the essays by Nicholas Howe and Seth Lerer ("The Afterlife of Rome: Anglo-Saxon England and the Postcolonial Void" and "'On fagne flor': The Postcolonial Beowulf, from Heorot to Heaney," respectively) included in Postcolonial Approaches to the European Middle Ages: Translating Cultures, ed. Ananya Jahanara Kabir and Deanne Williams (Cambridge, 2005).
10. See Georges Devereux, Ethnopsychoanalysis: Psychoanalysis and Anthropology as Complementary Frames of Reference (Berkeley, 1978).
11. "Adam Curtis Talks With Errol Morris," The Believer, April 2006, pp. 60, 61.


text:
I was going to write my post containing my top ten favourite books read in 2014, but since I'm still a bit in a mood for music, I've got one more music related post before I list my favourite books. I've got about 500 songs on my USB and I regularly update it; hence my previous posts related to the songs from the '80s, '90s, 00's and 10's. This next list just contains those ten songs that, whenever I hear them on my USB, I enjoy so very much. This list could be so much longer, as you may have noticed I've already provided 40 songs in my other lists. I'm pretty happy with this list, hope you like the songs too.
10. The Veronicas - When It All Falls Apart - This is definitely one of my all-time favourite groups, started when I first heard Untouched. That got me and Jo exploring their music (she likes some of their songs too) and I've enjoyed so very much of their music. This is probably my favourite song. They have great vocals, harmonies and such a fantastic pop sensibility. Check out their other music.
9. The Band Perry - If I Die Young - This is one of those beautiful songs that always chokes me up. It doesn't matter if it's country or pop or whatever, just a lovely song. Jo prefers the version she heard on Glee and she's quite right, it's also very beautiful.
8. Lisa Stansfield - Change - It's definitely difficult to pick one Lisa Stansfield song, but she is such a wonderful, jazzy, cool singer. I think this song highlights all of her great singing attributes. It features her great voice, it's a cool song and it makes me feel great.
7. The Stranglers - Golden Brown - Jo introduced me to this song and I've loved it from the very first time I heard it. I love the keyboards at the beginning and throughout, it's such a unique sound. It's like riding a carousel kind of beat, up/ down, gets your head bobbing. I never tire of hearing it.
6. Kate Morgan - Boys with Girlfriends - If you check out my other top ten lists you'll probably notice that I do appreciate talented female artists; their music, their voices, there is so much variety. I found this song a couple of years ago, Kate Morgan is a Canadian singer and I so enjoy listening to this song. Great beat and just a super pop song.
5. Kaiser Chiefs - Ruby - This is my anthem song, first heard it when I was stationed down in Victoria and driving myself through the city back and forth to work. It was a strange time, away from Jo and the puppies while they were in Comox. When I hear it, it does make me appreciate being back together and knowing that we don't have to put up with that again.
4. Caro Emerald - Paris - This is one of those singers that I've become acquainted with over the past few years, Dutch singer Caro Emerald. She has a unique jazzy style and I like every song I've heard by her. This song, Paris, highlights her wonderful voice, and the jazzy style. The orchestration is quite simple and it makes the song that much better.
3. Girls Aloud - Something New - I heard this first when Jo and I went to visit her sister Sue in England for Christmas in 2012. It's one of those songs that I have to play loud whether I'm driving or out jogging. I love how the music changes, great group vocals, then featuring each girl in turn. Great upbeat pop song!!!
2. Demi Lovato - Skyscraper - The first time I heard this song it choked me up, brought tears to my eyes. Not a good thing when you are driving. It's such a heartfelt song, wonderful voice, powerful lyrics.. Beautiful song.
1. Belinda Carlisle - Sun - I like Belinda Carlisle and have enjoyed discovering how talented she is over the past couple of years. Summer Rain is a great song and she has so many others. This was a lovely, pleasant discovery. Great beat, great lyrics; "Indescribable, indefinable, undeniable... ".. love it.. Perfect song.
So that's my last music post for 2014. I'm sure you're happy. Next entry will be back to books, with my ten favourite reads of 2014. Then it'll be 2015 before you know it and I can start discussing new books.


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Epson will be focusing on fabric at its stand in the Brisbane Visual Impact show this week, launching its new SureColor F2160 direct-to-garment (DTG) printer alongside the new SureColor F9360 wide-format textile printer.
Epson says the SureColor SC-F2160 raises productivity ...
April 2019
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Title: The Sweetest Dark (The Sweetest Dark #1)
Author: Shana Abe
Release Date: April 2nd 2013
Publisher: Bantam
Source: NetGalley
"With every fiber of my being, I yearned to be normal. To glide through my days at Iverson without incident. But I'd have to face the fact that my life was about to unfold in a very, very different way than I'd ever envisioned. Normal would become forever out of reach."
Lora Jones has always known that she's different. On the outside, she appears to be an ordinary sixteen-year-old girl. Yet Lora's been keeping a heartful of secrets: She hears songs that no one else can hear, dreams vividly of smoke and flight, and lives with a mysterious voice inside her that insists she's far more than what she seems.
England, 1915. Raised in an orphanage in a rough corner of London, Lora quickly learns to hide her unique abilities and avoid attention. Then, much to her surprise, she is selected as the new charity student at Iverson, an elite boarding school on England's southern coast. Iverson's eerie, gothic castle is like nothing Lora has ever seen. And the two boys she meets there will open her eyes and forever change her destiny.
Jesse is the school's groundskeeper—a beautiful boy who recognizes Lora for who and what she truly is. Armand is a darkly handsome and arrogant aristocrat who harbors a few closely guarded secrets of his own. Both hold the answers to her past. One is the key to her future. And both will aim to win her heart. As danger descends upon Iverson, Lora must harness the powers she's only just begun to understand, or else lose everything she dearly loves.I admit: what drew me to The Sweetest Dark was that gorgeous cover. Seriously. Look at it. But I shouldn't have let it fool me, because the story bound by that pretty thing left me in ugly tears.
In a matter of a few pages, the lyrical and atmospheric writing already gripped me, and I knew I was in the hands of a master. As if that wasn't enough, the mystery was also introduced early on, urging me even more to turn the pages.
But even without those two reasons, I would've kept reading for Lora, whose quiet yet fierce demeanor and no-nonsense attitude made me love her immediately. Instead of being intimidated by the rich, snotty girls in her new school, she stood up to them and held her own, just like her harsh life at the orphanage had taught her. She also faced everything that her new magical life threw at her with practicality, honesty, and courage. And fangs and claws too, both metaphorical and not, because this girl knew how to use her aces. She's the YA heroine I'd unknowingly been waiting for.
With Lora's new school came two equally appealing boys. First was Jesse, the school's groundskeeper, who charmed with his knowledge and dependability; add to that his hidden "talent", sweetness, gentleness, and beautiful way with words, and I was smitten beyond saving. And the second was Armand, son of a duke, whose tough, bad boy exterior hid his vulnerability, which, although predictable, would never fail to be endearing (at least for me). I was daunted at the hint of this love triangle, but for Lora—and every reader, I suppose—Jesse was the clear choice, which was fine by me because Armand already had too much to deal with.
When the magical part of the plot entered, I encountered two problems. I found it weird how easily Lora accepted the truth about her identity, but it was soon realized that it was because the signs that had used to point to her insanity were actually pointing to this truth. Also, as soon as Lora began to delve deeper into her new self, the plot stretched out confusingly, if only at first, to include Armand and his own stash of secrets. It deviated the focus from Lora and lessened the wow factor on her, as she called it, Becoming. But really, these faults were very minimal, and honestly, right now I don't really care about them at all anymore.
I should've guessed that setting this story in England during World War I wouldn't bring about any good for the characters, but the ending surprised me. It was heartbreaking but satisfying and utterly beautiful, hence the tears I've mentioned above. The idea of a sequel confuses me, but I'll surely be reading that one. And soon.
MY FAVORITE PART was the last paragraph in the epilogue. That's the part that brought out the tears.
(cover and blurb from Goodreads.com)


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Jorge Bergoglio is responsible.
"Today Our attention is directed to one of the most common of them (abuses), one of the most difficult to eradicate, and the existence of which is sometimes to be deplored in places where everything else is deserving of the highest praise; the beauty and sumptuousness of the temple, the splendor and the accurate performance of the ceremonies, the attendance of the clergy, the gravity and piety of the officiating ministers. Such is the abuse affecting sacred chant and music."- St. Pius X, Pope
Thursday, 14 July 2016
Cardinal Pell sidelined by Bergoglio and the cabal - financial corruption is the name of the game at the Vatican - have the Know-Nothings been right all these years?
Jorge Bergoglio is responsible.
3 comments:
- GMUA said...
According to you, who are the "know-nothings"?
- 1:16 am, July 14, 2016
- Peter Lamb said...
"They have the buildings. We have the Faith."
That is exactly correct and sums it up in a nut shell.
What more can they do to tell us who they are; what they are trying to do and why?
Bergoglio wears the torch over the templar cross over his heart - the insignia of the Patriarch of the World. The highest judeo-mason on Earth. He is a member of the Trinity of Lucifer. He is the right hand man of the devil, as were his conciliar predecessors. Just let that sink in for a moment. If you doubt that, read the symbolism of masonry, which is freely available on the internet. The evidence is there for all to see. Our Lady warned us, Popes have warned us, Saints have warned us, Catholic doctrine has warned us and numerous heresies have demonstrated to us.
Despite all the evidence, many still call him Pope. They call him the Vicar of our Blessed Lord and Savior Jesus. They wish to pray with him; they seek union and recognition with and from him; they petition him to change his ways as the scorpion petitioned the frog. The wilfully blind aid and abet him thus leading their brethren to the abyss. Their face will be that of the poor soul entering eternal reality whom Vox recently illustrated - the dreadful moment of comprehension.
- 5:06 am, July 14, 2016
- Ana Milan said...
The responsibility does lie with PF, and there cannot be much more time left to him to rectify the scandals he has caused. He looks a pathetic figure and no wonder, tied down by Lucifer's friends at St. Gallen Group (Mafia) with nowhere to go but an infernally hot place if he continues the path he's on. Both PF & PB need to clear their consciences before they pass on. Revealing the Third Secret of Fatima would be a start &, of course, following up with the Consecration of Russia. Will the REAL POPE step forward please and fulfil Our Lady's wishes & then properly step down?
- 9:56 am, July 14, 2016


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ESA Retail to Launch Mobile app for Apple Devices
In an effort to make reporting even easier for our shoppers, ESA Retail are in the advanced stages of launching an app which will be available in the iTunes app store. With this app you will be able to view all your current assignments, including the instructions whilst you're on the go, giving you the ability to fill in your questionnaires when the details are still fresh in your mind. Using the built in camera on your device you will be able to take pictures and immediately upload them to your questionnaire. This app will also allow you to apply for assignments, straight from your smart phone or iTouch device, helping you make sure you don't miss out on your favourite visits.
The app will also let you search for available opportunities based on your location, making picking up that extra visit even easier.
We expect the new app to be launched in January 2014 so make sure that you keep an eye on our news and Facebook pages to keep up to date with all the latest news.« Back to News


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Welcome to the contact page. Use this form to send me a message. Please include your e-mail address and make sure you entered it correctly if you want to receive an answer.
Please note: I couldn't care less about SEO. If you are a human, don't waste your time here offering your services to me. Thank you.


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The incidence of Erb's palsy in our population is similar to that of other reported studies and has remained unchanged over the past 30 years, even as our cesarean rate has risen from 5% to 20%. In other words, there is as much force used during c-section deliveries as with vaginal deliveries.
Among 44,292 infants born between October 1, 1982 and July 31, 1987, there were 92 recorded cases of congenital seventh nerve palsy. Of these '81 were acquired' for an incidence of 1.8 per 1,000. Seventy-four of the 81 (91%) were associated with forceps delivery.
Erb's palsy is the most common obstetric brachial plexus injury followed by total plexus palsy. The distribution of Klumpke's birth palsy with modern obstetric practice is unknown.
When birth weight was controlled for in the analysis, midforceps vacuum, and low forceps remained significantly associated with the Erb's palsy. These data demonstrate a high risk for serious birth injury associated with instrumental midpelvic delivery.
Subscribe to Pathways to Family Wellness Magazine.
Find a Doctor of Chiropractic for your family.
Find a Holistic Family Practitioner in your area.


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Destin Vintage Cycles LLC
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10% Off Scooter Rental for All Hotels Etc. Members! *4 Hr. Minimum. Use Discount Code: DVCRENTS
Enjoy scooter rentals at 10% off the rental rate.
In order to access this discount you will need to join Hotels Etc.! If you are already a member then register or login to access this discount.Back to Directory


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I had an interesting time creating the video in my last post. First, I went from site to site, exploring various platforms that would allow me to make an animated video. I settled on the VideoScribe platform on the recommendation of a classmate, and after trying out Plotagon and not enjoying that experience much.
The video portion was easy and fun to put together, though figuring out the timing was a bit of a learning curve. My problems came when I tried to add a voice recording, because for some reason the headset I use regularly has outlived its usefulness all of a sudden, and gave me horrible sound. I hooked up a webcam with a fantastic mic, and that, too, wasn't optimal. Perhaps I'm too close to the metal beams in the walls here…
Anyhow, I opted not to use a voice recording, and instead added written comments. I think it turned out okay. Like the podcasts, I think that I would have more fun with a second video now that I have gotten the hang of it.
I did have trouble posting the video, and wasn't able to post it to the Pod-o-matic site as a video podcast because I had the free trial version and was only able to post to You Tube then blog it from there.
Do any of you use animation software or platforms? I'd love to hear more about the ones you use!


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News Consular Information Consulate Polish community
Consulate General of the Republic of Poland
12400 Wilshire Blvd. Suite 555, Los Angeles, CA 90025
Front desk opening hours except National/Federal Holidays:
Monday, Tuesday, Wednesday and Friday:
9:00 am - 2:00 pm
12:00 pm - 5:00 pm
Contact: email@example.com
According to Polish Passport Act of 28th of August 2006 and obligation of scanning fingerprints, an application for a new passport must be submitted in person.
The passport application form is available at the Consulate only.
Please, be informed that as of September 1, 2018 the applicants should appear at the Consulate by appoitment only.
Making an appoitment is not required for emergency situations ( such as stolen passport, etc. ).
The form is not available for download due to required specification of the paper weight and size.
MAKE AN APPOINTMENT click here
List of required documents:
1. The most recent Polish passport issued after the year 1996
2. Document confirming personal data (Polish birth and marriage certificate if born/married outside of Poland)
3. One passport photo
4. For minors (children): a valid Polish Passport or Polish Identity Card of one or both parents. Both parents and a child over the age of 5 must be present when applying for passport
5. Passport fee
The waiting time for Biometric Passport is about 6-8 weeks.
If you don't have Polish passport, one of the following documents must be submitted:
1. Polish ID (dowód osobisty)
2. Confirmation of having Polish citizenship issued by the Provincial Governor in Poland (Wojewoda) read more
3. President's decision of granting Polish citizenship
To check if you have PESEL number, please send an e-mail to email@example.com
In the e-mail, please provide the following information: name, surname, date of birth, place of birth, father's name, name and mother's maiden name.
If you don't have Polish vital records certificate:
A foreign birth or marriage certificate must be registered at the Registry Office in Poland (Urząd Stanu Cywilnego) see information
Biometric Passport is valid:
- for children under 13 years of age for 5 years
- for others for 10 years
It is possible to obtain the Temporary Passport valid 1 year while waiting for Biometric Passport.
Biometric 10-year passport - $132
Biometric 5-year passport for children only - $42
Temporary passport while waiting for Biometric passport - $18
In lieu of the lost Polish passport - $396
Due to long distance from the Consulate a new passport may be sent on request by FedEx, additional cost of $9 ( Alaska and Hawaii - $14.)
Reduced payment is taken from:
Pupils and students up to 26 years old, a student card must be shown - $66
Pensioners and veterans who present a proper and valid Polish card or pension receipt - $66
For persons over 70 years of age - free of charge
At the Consulate General in Los Angeles fees can be paid by "money order" or "cashier's check", issued to "The Consulate General of Poland in Los Angeles" and in cash.
During consular outreaches only by "money order" or "cashier's check" issued to "The Consulate General of Poland in Los Angeles."
IMPORTANT: Personal Checks are not accepted.
Ustawa z dnia 13 lipca 2006 r. o dokumentach paszportowych ( Dz. U. z 2006 r. Nr 143, poz.1027, zm.: Dz. U. z 2008r., Nr 32, poz. 192, Dz. U. z 2009r., Nr 69, poz. 595, Dz. U. z 2009r. Nr 95, poz. 791, Dz. U. z 2010r. Nr 8, poz. 51),
Rozporządzenie Ministra Spraw Wewnętrznych i Administracji z dnia 16 sierpnia 2010 r. w sprawie dokumentów paszportowych ( Dz. U. 2010 r. Nr 152, poz. 1026),
Rozporządzenie Rady Ministrów z dnia 09 lutego 2010r. w sprawie opłat za wydanie dokumentu paszportowego oraz ich zwrotu ( Dz. U. z 2010 r. Nr 25 poz. 126 ).
Very recent with neutral face expression, taken within the last 6 months, done in front (en face), with closed mouth, with open eyes, without a hat or dark glasses, not covered with hair.
Color with high quality paper, clear withe background.
Photo in glasses - the eyes must be clearly visible, edge lenses and frames may not cover the eyes, the lenses of glasses may not be reflective
The picture with the glasses with dark lenses - please submit the relevant certificate of disability,
Photo with covered head - permitted only for religious reasons, upon the certificate of membership of a religious community registered in the Poland. Even in such cases the whole face (from chin to the end face) must be clearly visible.SEE MORE


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Yes, Christians can dance. Dancing is biblical.
- 1 Sam. 18:6, "And it happened as they were coming, when David returned from killing the Philistine, that the women came out of all the cities of Israel, singing and dancing, to meet King Saul, with tambourines, with joy and with musical instruments."
- 2 Sam. 6:14, "And David was dancing before the Lord with all his might, and David was wearing a linen ephod."
- Psalm 149:3, "Let them praise His name with dancing. Let them sing praises to Him with timbrel and lyre."
Now, such a blanket approval of dancing doesn't mean that all styles of dancing are acceptable. In modern culture different dance styles, particularly in nightclubs, are indecent. Some movements are explicitly sexual in nature and demonstrate a lack of morality that is exacerbated by rhythmic, sensual movement. This has no place for the Christian who is to exemplify modesty and propriety.
It is not possible to give a blanket approval or disapproval and cover all possible combinations of styles of dancing. So, we need to use Christian love and biblical discernment. Let's use common sense. We are free to dance with our spouses at weddings. I am free to spontaneously dance with my wife in a warm embrace in the kitchen when we have a chance encounter. But, we Christians are not free to participate in any form of dancing that would cause others to lust, incite sexual arousal, or be touched inappropriately.


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Day Dream Friday – Europe's Canals
Another Friday, another day dream about places I can't wait to go see! Today I have canals on the mind. Europe has several cities known for canals, but today I am going to talk about the three most famous. 1. Bruges We have talked about Bruges in some previous posts and it is easily one … Continue reading
Top Movies To Get Excited For Traveling: # 3 Eurotrip
Click the links below for more information: 12. Wild America 11. Forrest Gump 10. Bourne Trilogy 9. Harry Potter 8. The Lord of the Rings 7. In Bruges 6. Shawshank Redemption 5. Snatch 4. Shaun of the Dead & Hot Fuzz 3. Eurotrip Although the Academy would never give it a nod in a million … Continue reading


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Is Kate Upton Back in Victoria's Secret's Good Graces?
According to the New York Daily News, the curvy model just landed the back cover of the latest Victoria's Secret catalog. While Kate Upton and Victoria's Secret would seem to go together like peanut butter and jelly, this placement comes about one year after the booker for the brand's annual fashion show, Sophia Neophitou, famously said, "We would never use her. She's like a footballer's wife, with the too-blond hair and that kind of face that anyone with enough money can go out and buy."
It should be noted, though, that Upton actually already appeared in a Victoria's Secret catalog back in 2011. And even though Neophitou casts the fashion show, she may have no say over who appears in the catalog.
Still, we wouldn't be surprised to see Upton walking in the show this year. Upton's star is on the rise (see: her multiple Vogue covers and legions of adoring fans). Upton really seems like a no-brainer for the brand.
We'd love to see her in an over-the-top themed costume at this year's Victoria's Secret runway. Kiss and make up, Sophia and Kate!
More from Fashionista:
Fashionista's Guide to Bike Riding in Style
We Test Drive the Newest Self Tanners on the Market
Joan Rivers Tells Anna Wintour to Stick a Broom Up Her Ass
15 Bags to Take You to the Beach and Back this Summer


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ManilaMagazine offers a discount on package for ads on our website. It is posted on the homepage sidebar.
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Pampers CruisersReviewing: Pampers Cruisers | Rating:
I do not like this product at all. The main reason is the quality of the material. There is a weaved material that sticks to my grandson's bottom, especially when he has cream on. When the diaper is removed, his skin gets pulled off also. This is not acceptable for a baby.
I have not had a problem with leakage, so it does work in that regards. The Sesame characters on the diaper are cute. The velcro tabs work well, they can be reworked to get the proper fit.
I have tried this diaper several times to see if it was just a one time fluke, but the sticking has happened on several occassions.I do not recommend this diapers. Even with a great sale, I still would not purchase this diapers. This is the only diaper I have had any sort of problem with.


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advair diskus Coupons 2018
Flovent Coupon Code Gsk 2018
Flovent is a topical medicine, having the ability to remove allergy. The main acting substance in the drug is glucocorticosteroid fluticasone. Getting on the mucous membrane, this component effectively relieves swelling, redness, itching, and other symptoms of inflammation. Flovent action grows significantly, after a couple of hours after its first use, and lasts for days. The preparation and may provide treatment and prevention of allergies.
In 2018 This medicine is used for:
• allergic, including seasonal, rhinitis;
The release form form of Flovent is metered spray. It is sprayed into the nose. It should be understood that the effect of the tool begins to emerge gradually. Flovent drug Guide describes the treatment of them, after the first use, the effect is observed approximately after eight hours. To identify the most effective - need a few days to use Flovent spray. For patients of all ages are different dose of this medication. For example, children from two to eleven requires one injection into each nostril - once a day. From twelve years old - starting dose is two spraying each nostril once daily.
Why do we need Flovent Coupon?
If you need Flovent treatment to be effective you must carefully follow the spraying procedure described in preparation instructions:
- Be sure to shake the bottle;
- Keep it upright - during the preparation and spraying on the mucous membrane;
- Before using the "pump" the dispenser by pressing the button until the "cloud" of the spray solution (press the button at least six times);
For adult patients (over the age of twelve) it is recommended to perform two injections in each nostril once a day (in the morning). In rare cases, a doctor may prescribe the use of the drug once per day. For children aged four to twelve years of single and daily dose is one injection into each nostril.
It is important to understand that these drugs have a good effect, but at the wrong dosage, can significantly affect the body and health in general. Flovent is a hormonal agent.
This drug is contraindicated in case of:
- Treatment of children up to four years;
- Pregnancy and lactation;
- Caution is advised when -
- A variety of infections;
- Violation of the integrity of the mucous membrane;
- Together with other hormonal drugs;
Side effects
Flovent treatment often leads to lesions of the nasal mucosa - its dryness, thinning, bleeding. Also, they may develop headaches, change of gustatory and olfactory sensations. In rare cases, allergic reactions were noted, bronchospasm, osteoporosis.
Flovent Reviews
The effectiveness of this tool is the fact that it is often used to remove depending on the vasoconstrictor drops. Here's what people are using Fluticasone able to recover health:
- I performed dripping vasoconstrictor drops constantly for the several years. Well, a real relationship! - Without them, it was impossible to breathe. I had to go to the doctor. He prescribed me Flovent to somehow breathe, even at night. Happy breathing as she could (mouth), and in the evening this spray squirted and slept peacefully. Gradually the swelling began to subside and the day.
- We had a constant swelling due to vasoconstrictor drops. The son of the night was snoring like an old man. Flovent Spray saved me. Be careful with it - it is hormonal.
Patients who used the tool in seasonal allergic rhinitis are often satisfied:
- Flovent helps. It's nice that it is much cheaper than analogues when use coupon code.
- I use Flovent in the spring. When flowering stops - often simply wash out the nose with saline.
Allergy is a difficult and always individual condition. Here it is difficult to identify common scheme, offer treatment options for everyone. It is obvious that Fluticasone helps many. But do not forget that such medicines - only relieve symptoms but do not affect the cause of the disease. Therefore it is always worth investigating what caused an allergic reaction, and to undertake comprehensive efforts to strengthen and improve the body.
To make sure that this drug is quite successful enough to read reviews about it. For example, on one of the forums in which parents interact with children with asthma, as well as doctors, counselors present, Flovent is mentioned often. This medicine, as it turns out, long-term use. The fears of some parents that the use of hormonal agents will lead to dependence and severe side effects, experts dispel.
- Flovent - says consultant - administered locally and, in practice, does not act systemically. Treating them is carried out for as long as required by the patient's condition. For three months, for example, a standard course.
From communicating physicians and patients with bronchial asthma it can be concluded that Flovent is a very popular tool. It is part of the standard treatment regimen and allows you to monitor the patient's bronchial tubes. For a dose adjustment or phasing out the drug must be periodically peak flow procedures (measurement of expiratory flow), which allow us to estimate the degree of narrowing of the airways.
In the web there are a lot of fairly positive reviews and deployed Fluticasone and its application. These reviews talk about the long-term and successful use Flovent without side effects. Many patients who literally live with this medication. Discussing Fluticasone, some point out that it is better, after inhalation thoroughly rinse your mouth or brush your teeth (this will help to avoid such complications as thrush). If you are prescribed Flovent - pay heed to this purpose. Remember: this medicine should not be stopped taking violently to take regularly. As one doctor, answering the questions members of the forum: "If you take Fluticasone from time to time - there will be more hurt by it than good."
It is clear that Flovent is hormonal drug, and without clear and sufficient evidence should not be taken. It is important, also, to comply with all the rules of his admission, prescribed in the instructions and explained the doctor. Then use Flovent will bring significant benefit to the patient and does not hurt.


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2 CommentsAdd your own
1. aleke | August 25th, 2009 at 1:23 am
"About The Author
Stephenson Billings is an Investigative Journalist, Motivational Children's Party Entertainer and Antique Soda Bottle Collector all in one special, blessed package!"
A cha cha cha cha! [chomps on cigar]
2. Bob | August 30th, 2009 at 8:14 am
Umm, christwire is a parody troll site much like landoverbaptist. I know it can be hard to tell the difference sometimes, since fundies are so insane.