Wednesday, July 31, 2019

Everything Your American History Book Got Wrong

James Loewen’s book entitled ‘Lies My Teacher Told Me: Everything Your American History Book Got Wrong’ speaks of criticism against twelve American history textbooks that mislead readers by representing facts and viewpoints that are actually far from truth. There is often a hitch of bias in the way history is being presented nowadays, what Loewen (2008) defined as heroification or â€Å"a degenerative process that makes people over into heroes†¦ turn flesh-and-blood individuals into pious, perfect creatures without conflicts, pain, credibility, or human interest† (p.19). From the Pilgrims up the occurrence of the Vietnam War, this Eurocentric method of formulating the teaching of history bears thoughts and issues, which appear to be very irrelevant to the views of everyday lives. Main Body Loewen (2008) has inserted in his book the words of W.E.B. Du Bois when he said: â€Å"One is astonished in the study of history at the recurrence of the idea that evil must be forgotten, distorted, skimmed over†¦ The difficulty, of course, with this philosophy is that history†¦ paints perfect men and noble nations, but it does not tell the truth† (p.18).   In Loewen’s book, it is emphasized how history textbooks, which are used today in education, proclaim misleading evidences and details that abuse ‘heroification’ and put the angle away from truth. It emphasizes too much on positive qualities that give an overly-emphasized meaning that reflect significant lessons, while distorting the negative characteristics of history and its heroes.   By this, students usually find significant lessons in them, such as, for example, Woodrow Wilson and Helen Keller.   As Loewen (2008) stated, Wilson was usually pictured as an important president, while Keller was an inspiration to the blind and deaf students of this century (pp.19-20). However, as Loewen (2008) stated, â€Å"Heroification so distorts the lives of Keller and Wilson (and many others) that we cannot think straight about them† (p.20).   It takes away the truth behind real people and events by presenting them in a way that leads to a specific objective and design.   It fabricates people’s minds after a certain framework that would theoretically lead to a basic viewpoint, picture, or assumption. Questions that are raised in Loewen’s book consist of the following: (1) How true and accurate are the details that are being presented in educational textbooks in the field of history?   (2) How much morality do the authors, publishers, adoption committees, and teachers nowadays possess in presenting facts and issues that should reflect fair, non-bias, and factual details of history?   (3) What are the exact causes why most elementary and secondary students find the lectures of history bland, boring, and almost senseless?   (4) How can the process of heroification lead to more positive, truthful, fair, yet fruitful results?   Lastly, (5) what can authors, publishers, and teachers do to highlight the truth behind Loewen’s statement that history is an ongoing process that is influenced by specific events, environments, and characteristics of the past.   My general perception after reading the author’s viewpoints or perspectives is that, Loewen (2008) has failed to analyze the other end of the pole, which reflects that, prior to a youth’s desire to be one of the great men of his time, there first has to be the episode of mental and psychological stimulation and inspiration, before one can project positive results and actions that make history a lot more worthwhile. Conclusion I feel that this book of Loewen (2008) is the very thing needed to emphasize the truth behind the statement that history is an ongoing process that is being lived by on the account of one’s everyday life.   The reading has helped me to formulate my own ideas regarding education, as it reflected the issues of accuracy, morality, and the different tactics used in trying to come up with a structure that makes heroes appear like what the readers would expect them to appear: all faultless, perfect, and absolute.   It is, however, far from the truth. Reference Loewen, J.W. (2008). Lies my teacher told me: everything your American history textbook got wrong. New York, NY: New Press.   

History of the Fornication Pants Essay

Jeans today are much more than a simple item of clothing; they are a staple, a comfort and an identity. They are not a piece of clothing that is unique to one culture or society; jeans are jeans no matter where you are. Jeans have transcended nationality, race and even war, and yet they are still one of the most ordinary parts of our lives. What many people take for granted is that Jeans have become such a part of their everyday lives that they never stop to think about where they come from, and what they have done for people. Jeans had a humble beginning, a colourful and influential life and have a bright future. They are a part of North American history and culture and have defined many people’s lives. Cotton denim started being produced in North America in the eighteenth century and with the American cotton industry came slave labour. Plantation owners relied on slaves to keep prices down, and in 1860 there were almost four million slaves in the southern United States. (Kyi p.10) Denim got its name from a French fabric woven of silk and wool. The fabric was made in Nimes, France, and as a result it was dubbed â€Å"serge de Nimes†, but when the fabric began being stocked in English stores, it was shortened to â€Å"deNimes† or â€Å"denim†. (Sullivan p.12) At the time, denim was the strongest fabric and was even thought to have been the fabric of choice for the sails of the ships that Christopher Columbus sailed to the New World. (Sullivan p.14) Jean manufacturers buying denim from mills requested dark blue cloth rather than the pale beige offered as it was a colour that would show less dirt and wear. So denim cloth began to be dyed using indigo, but because of the time needed to make the dye it was one of the most expensive dyes in the world. That changed in the 1880’s, when a German scientist by the name of Johann von Baeyer discovered a way to create the same colour in a lab. The colour blue was now much more accessible and cheaper to achieve using the new synthetic indigo dye. (Kyi p.10) There are two Jean companies that played a major part in the production and distribution of the pants at the end of the 19th century and the beginning of the 20th century, Levi Strauss & Co. and Lee Company. Levi Strauss was born Loeb Strauss in 1829 in Bavaria. After immigrating to the San Francisco, he opened up a whole sale business selling high quality fabrics. He struck it rich during the California gold rush in the 1860’s, but not by finding gold, but by selling his heavy duty work pants. (Kyi p.15) Around the same time in Nevada, a tailor named Jacob Davis, an immigrant from Latvia, was trying to figure out how to make his work pants stronger. Miners were constantly ripping the seams of their denim work pants. Finally while in his barn Davis realised that the copper rivets that were used to reinforce the seams of horse blankets could be used to reinforce pants as well. (Kyi p.18) His pants were a hit, so he contacted his denim supplier, Levi Strauss, to see if he would consider going into business with him and help him purchase a patent. Strauss was convinced and the two applied for a patent in 1873. This was the birth of blue jeans, although they were not called jeans yet. They were still being called high waist overalls or waist overalls. (Kyi p.21) The first cloth called â€Å"jean† was made in Genoa, Italy, and was worn by sailors. In Italian, Genoa is pronounced â€Å"Genes†, but Strauss did not use the Italian fabric and his pants were not worn by sailors so he never used the term â€Å"jeans†. It was not until years after his death that Levi Strauss & Co. Began using the word. (Contini p.158) It did not take long for the riveted jeans to catch on, and production began to soar and Strauss invited Davis to move to San Francisco, where the two hired dozens of seamstresses to work in their new factories. To distinguish which pants were his and to demonstrate how strong they were, Strauss had a leather label designed for the back waistband, that showed a pair of jeans tied between two draft horses going in opposite directions. The horses were trying to rip the jeans apart, but the fabric was too strong. The label worked so well that for decades the jeans were known as the Two-Horse brand. (Kyi p.23) In the 1890’s a pair of Levi Strauss’ jeans cost about one dollar US, about the equivalent of twenty dollars US today, which was enough to make Strauss rich. (Sullivan p.18) When he died in 1902, his company was left in the care of his three nephews, who were eager continue the company’s success, but they were facing competition. The patent on riveted pants expired in 1891, and in the early 20th century, a new clothing manufacturer appeared, Henry David Lee. Lee opened H.D. Lee Mercantile Company in Kansas City in 1899, selling fabric and furniture. Soon he opened up his own factory and began producing what would today be recognized as overalls. (Kyi p.25) He then came up with the idea to sew a denim shirt onto a pair of jeans to form a denim coverall. The Lee Union-All was first marketed to men who loved cars as it could be worn over other clothes to keep them clean. In 1913 it was popular with farmers, engineers, and factory workers, and soon became available for women and children. When the American Army was preparing to join WWI, thousands of Lee Union-Alls were ordered for the soldiers as they were found to be more durable than any other clothing. (Kyi p.26) In 1926, the Lee Company revolutionized jeans, by putting a zipper in place of the buttons in the fly to â€Å"ease access†. During the depression Lee Company managed to convince people that Lee jeans would last twice as long as other pants, making them a good investment. The Company even opened up a new factory in 1936. (Kyi p.31) During WWII, wartime rationing led to shortages of blue jeans, and owning them became a status symbol. At that time jeans were only available in North America, but when soldiers set sail for Europe and Asia, jeans were introduced to the rest of the world. (Kyi p.35) For women working in factories during the war, jeans or coveralls with a bandanna became their dress code, partly because of the famous portrait of Rosie the Riveter proclaiming â€Å"We Can Do It† while wearing a denim shirt. (Sullivan p.70) After the war, the young soldiers who came home became the first teen rebels. They no longer wanted coveralls but pants that fitted snugly around the waist more suited to motorcycle riding than farming. (Kyi p.39) This developed a style that was popularized by Hollywood and stars such as James Dean in Rebel without a Cause. (Sullivan p.92) Marilyn Monroe began wearing hip-hugging jeans that became popular for women in the 1950’s, making jeans sexy for women as well as men. (Sullivan p.96) Jeans were now something that you could wear while hanging out with your friends; they were no longer just for working on the farm or in a factory. Parents began to worry that their children were running wild, and jeans were banned in US schools and in churches in England. (Kyi p.41) It seemed as though Brigham Young could see into the future when in the 1830’s he called jeans the â€Å"fornication pant†, appalled at the button fly. (Sullivan p.9) Denim had left behind its army reputation and had become the newest style trend. Hollywood stars such as Marilyn Monroe and Bridget Bardot began wearing them for press appearances and parties, and that’s when the worldwide love affair with denim began. (Sullivan p. 98) Jeans are now a staple of pretty much everyone’s wardrobe in the 21st century. No matter what ethnicity or social class, everyone wears jeans. You see them on movie stars, your teachers, Presidents and Princes, and when you see news footage of a peace rally in Israel; the protestors are wearing jeans. They now come in over 200 sizes and countless styles and washes, with some made for wear on the farm and others perfect for a date on a Friday night. In the 19th century a pair of Levi’s would set a buyer back about $1.50 US, but today the sky is the limit. Jeans vary in price (for adults) from around $20 US at Wal-Mart to a pair of diamond and gold studded jeans that were sold in 2001 in Italy for $500,000 US. (Kyi p.13) Light wash or dark wash, boot cut or flare, diamond studded or embroidered, jeans are jeans, and are a North American icon. Jeans are one of the only pieces of clothing that have survived over ten decade’s worth of styles, and have always looked pretty much the same, and will be around for many more years to come. Works Cited 1.Kyi, Tanya Lloyd. The Blue Jean Book: The Story behind the Seams. New York, New York: Annick Press, 2007. 2.Sullivan, James. Jeans: A Cultural History of an American Icon. New York, New York: Gotham Books, 2006. 3.Contini, Mila. 5000 Years of Fashion. Secaucus, New Jersey: Chartwell Books, Inc., 1977.

Tuesday, July 30, 2019

English William Shakespeare

?ENGLISH NOTES 2012-2013 Advising and Preregistration ONLY declared English majors (who have formally declared their major by Monday, April 30th) may preregister for English classes via the web on Monday, May 7th during their registration appointment times according to the following schedule: The last day to add a class for Fall Quarter is Friday, September 7th. The last day to drop a class for Fall Quarter is yet to be determined. PLEASE NOTE: The Registrar has indicated that students may preregister for a maximum of two courses in any one department.Students can sign up for additional courses in that department during regular advanced registration. Information Sources When you declare, the undergraduate program assistant automatically signs you up for the departmental listserv. Consult your email regularly for announcements about upcoming deadlines and special events. Additional information is posted in University Hall, published in the WCAS column in the Daily Northwestern, and po sted on the English Department web page at URL: www. english. northwestern. edu. Also, up-to-date information on courses can be found on the Registrar's home page at: http://www. registrar. northwestern. du/ Contact the English Department: Northwestern University Department of English 1897 Sheridan Rd. University Hall 215 Evanston, IL 60208 (847) 491-7294 http://www. english. northwestern. edu/ [email  protected] edu 1 ?ENGLISH NOTES 2012-2013 Applications for the following are available early spring quarter through either the English Office in University Hall 215 or the departmental website at www. english. northwestern. edu Annual Writing Competition The English Department will be conducting its annual writing competition Spring Quarter, with prizes to be awarded in the categories of essay, fiction, and poetry.Announcements about specific prizes, eligibility and submission will be available in the English office by April 1st. The following rules apply: 1) Students may not enter competitions for which they are not eligible. 2) Students may submit only one work per genre. 3) The maximum length for essay and fiction manuscript is 20 pages; the maximum length for a poetry manuscript is 10 pages or 3 poems. Students should submit only one copy of each work. The deadline for submission of manuscripts for the 2012 contest is Thursday, May 3rd by 3:00pm. Awards will be announced at a ceremony on May 25th, 2012 at a time that is yet to be determined.A reception will follow. Literature Major 399 Proposals Individual projects with faculty guidance. Open to majors with junior or senior standing and to senior minors. Students interested in applying for independent study in literature during spring quarter should see the potential adviser as soon as possible. Guidelines for 399 are available in UH 215 and on the English webpage. Writing Major Honors Proposals Writing majors should apply for Honors in the spring of their junior year. The department will have application forms available early spring quarter. The application deadline for the 2012-2013 academic year is yet to be determined.Literature Major 398 Honors Applications Literature majors who wish to earn honors may apply during the spring of their junior year for admission to the two- quarter sequence, 398-1,2, which meets the following fall and winter quarter. The departmental honors coordinator for 2012- 2013 is Professor Paul Breslin. The application deadline to apply for the 2012-2013 academic year is Tuesday, May 8th, 2012by 4:30pm. Declaring the Major or Minor In the past, in order to declare the English Major or Minor, students needed to complete prerequisites. Prerequisites are no longer required to declare the Major or Minor.To declare the Major or Minor, pick up the appropriate declaration form in UH 215 and consult the Director of Undergraduate Studies (Professor Grossman) in stipulated office hours. At this point, the new major will choose a Departmental Advisor and become eligi ble for English preregistration in succeeding quarters. WCAS policy requires instructors to return student work in person or by mail. Student work is not to be kept in the departmental office, nor is it to be distributed in any public place. **Reminder to Seniors: Seniors who have not yet filed their Petitions to Graduate must do so immediately. A Calendar of Course Offerings Taught by English Department Faculty *Class times and course descriptions are subject to change without notice. 105 Expository Writing 205 Intermediate Composition 206 Reading & Writing Poetry MW 9:30-10:50 Webster MWF 11-11:50 Curdy MWF 1-1:50 Kinzie MWF 2-2:50 Curdy TTh 9:30-10:50 Goldbloom MWF 10-10:50 Bresland MW 9:30-10:50 Webster MW 3:30-4:50 Curdy TTh 12:30-1:50 Altman TTh 2-3:20 Breslin MW 11-12:20 Seliy MW 12:30-1:50 Donohue TTh 9:30-10:50 Goldbloom TTh 12:30-1:50 Goldbloom MW 9:30-10:50 Bouldrey TTh 9:30-10:50 Bresland TTh 2-3:20 Bresland MWF 1-1:50 Lane (210-2)MWF 1-1:50 Gibbons MW 3:30-4:50 Curdy M WF 11-11:50 Webster MW 11-12:20 Seliy TTh 12:30-1:50 Goldbloom MW 9:30-10:50 Biss MWF 2-2:50 Webster TTh 9:30-10:50 Kinzie TTh 11-12:20 Bouldrey MWF 11-11:50 Soni (210-1) 207 Reading & Writing Fiction 208 Reading & Writing Creative Non Fiction 210-2,1 English Literary Traditions (Additional Discussion Section Required) FALL WINTER SPRING Several Sections Offered Each Quarter Several Sections Offered Each Quarter ? 3 211 212 213 220 Gender Studies 231 234 270-1,2 273 275 298 302 306 307 Introduction to Poetry (Additional Discussion Section Required) Introduction to DramaIntroduction to Fiction (Additional Discussion Section Required) The Bible as Literature (Additional Discussion Section Required) Gender Studies Introduction toShakespeare (Additional Discussion Section Required) American Literary Traditions (Additional Discussion Section Required) Intro. to 20th-Century American Literature (Additional Discussion Section Required) Introduction to Asian American Studies Introductory Se minar in Reading and Interpretation History of the English Language Advanced Poetry Writing Advanced Creative Writing MWF 11-11:50 Gottlieb FALL WINTER SPRING TTh 9:30-10:50 Phillips MWF 12-12:50 Erkkila (270-1)MW 12:30-1:50 Kim MWF 11-11:50 Grossman TTh 9:30-10:50 Thompson TTh 3:30-:50 Roberts TTh 11-12:20 Breen TTh 12:30-1:50 Goldbloom MWF 12-12:50 N. Davis MWF 2-2:50 Feinsod TTh 11-12:20 Cutler TTh 3:30-4:50 Lahey MW 2-3:20 Gibbons TTh 2-3:20 Kinzie TTh 11-12:20 Froula MWF 11-11:50 Thompson MWF 12-12:50 Stern (270-2) TTh 9:30-10:50 Erkkila TTh 11-12:20 Phillips TTh 2-3:20 Harris TTh 12:30-1:50 Dybek TTh 3:30-4:50 Cross MWF 1-1:50 Manning MWF 10-10:50 Newman ?4 311 Studies in Poetry 312 Studies in Drama 313 Studies in Fiction 323-1 Chaucer 324 Studies in Medieval Literature 331 Renaissance Poetry 332 Renaissance Drama 333 Spenser 35 Milton 338 Studies in Renaissance Literature 339 Special Topics in Shakespeare 340 Restoration & 18th Century Literature 353 Studies in Romantic Liter ature 359 Studies in Victorian Literature 365 Studies in Post-Colonial Literature 366 Studies in African American Literature MWF 11-11:50 Passin TTh 3:30-4:50 Hedman TTh 4-5:20 Schwartz TTh 12:30-1:50 Harris TTh 12:30-1:50 Roberts TTh 2-3:20 Thompson TTh 2-3:20 Law TTh 11-12:20 Feinsod MW 9:30-10:50 T. Davis MWF 10-10:50 Breen MWF 11-11:50 Newman TTh 9:30-10:50 Masten TTh 11-12:20 Evans TTh 2-3:20 Grossman/Soni TTh 9:30-10:50 Soni MW 3:30-4:50 Lane MW 11-12:20 WeheliyeMW 3:30-4:50 Hedman MW 9:30-10:50 Johnson MWF 1-1:50 Newman TTh 3:30-4:50 Harris MW 11-12:20 West MW 3:30-4:50 Evans TTh 12:30-1:50 Harris TTh 2-3:20 Sucich TTh 11-12:20 Roberts TTh 11-12:20 Lane TTh 12:30-1:50 Lahey TTh 9:30-10:50 Dangarembga FALL WINTER SPRING ?5 368 Studies in 20th-Century Literature 369 Studies in African Literature 371 American Novel 372 American Poetry 377 Topics in Latina/o Literature 378 Studies in American Literature 383 Studies in Theory and Criticism 385 Topics in Combined Studies 386 Studie s in Literature and Film 393- Theory & Practice of Poetry FW/TS 394- Theory & Practice of Fiction FW/TS 95- Theory & Practice of FW/TS Creative Nonfiction 398-1,2 Senior Seminar Sequence (Lit) TTh 12:30-1:50 Hedman TTh 4-5:20 Mwangi TTh 2-3:20 Mwangi MWF 11-11:50 Lahey MWF 2-2:50 Grossman MWF 10-10:50 Bouldrey TTh 3:30-4:50 Weheliye MWF 1-1:50 Leong MW 3:30-4:50 Leahy MW 12:30-1:50 Webster MW 12:30-1:50 Bouldrey MW 12:30-1:50 Bresland W 3-5 Breslin MWF 11-11:50 Hedman MW 12:30-1:50 Passin TTh 12:30-1:50 Cross MW 3:30-4:50 Stern TTh 2-3:20 Erkkila MWF 1-1:50 Cutler MW 2-3:20 Roberts TTh 12:30-1:50 Lahey MW 2-3:20 Froula TTh 2-3:20 N. Davis TTh 3:30-4:50 Leong MW 12:30-1:50 Webster/Curdy MW 12:30-1:50 Bouldrey/SeliyMW 12:30-1:50 Bresland/Bouldrey W 3-5 Breslin MW 9:30-10:50 diBattista MW 12:30-1:50 Passin TTh 11-12:20 Froula T 6-8:20 diBattista TTh 3:30-4:50 Cutler MWF 10-10:50 Smith TTh 12:30-1:50 Savage MWF 2-2:50 Soni MWF 1-1:50 Breslin MWF 11-11:50 Feinsod MW 12:30-1:50 Curdy MW 1 2:30-1:50 Seliy MW 12:30-1:50 Biss FALL WINTER SPRING ?6 399 Independent Study SeveralSections Offered Each Quarter FALL WINTER SPRING ?7 ENG 206 [Prerequisite to English Major in Writing] Reading & Writing Poetry Course Description: An introduction to the major forms of poetry in English from the dual perspective of the poet-critic.Creative work will be assigned in the form of poems and revisions; analytic writing will be assigned in the form of critiques of other members’ poems. A scansion exercise will be given early on. All of these exercises, creative and expository, as well as the required readings from the Anthology, are designed to help students increase their understanding of poetry rapidly and profoundly; the more wholehearted students’ participation, the more they will learn from the course. Prerequisites: No prerequisites. No P/N registration. Attendance of first class is mandatory.Course especially recommended for prospective Writing Majors. Literature Maj ors also welcome. Freshmen are NOT permitted to enroll until their spring quarter. Seniors require department permission to enroll in English 206. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student poems. Evaluation Method: Evidence given in written work and in class participation of students’ understanding of poetry; improvement will count for a great deal with the instructor in estimating achievement.Texts include: An Anthology, a critical guide, 206 Reader prepared by the instructor, and the work of the other students. [Prerequisite to English Major in Writing] Reading & Writing Fiction Course Description: A reading and writing course in short fiction. Students will read widely in traditional as well as experimental short stories, seeing how writers of different culture and temperament use conventions such as plot, character, and techniques of voice and dist ance to shape their art.Students will also receive intensive practice in the craft of the short story, writing at least one story, along with revisions, short exercises, and a critical study of at least one work of fiction, concentrating on technique. Prerequisites: English 206. No P/N registration. Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors. Literature Majors also welcome. Teaching Method: Discussion of readings and principles; workshop of student drafts.Evaluation Method: Evidence given in written work and in class participation of students’ growing understanding of fiction; improvement will count for a great deal with the instructor in estimating achievement. Texts include: Selected short stories, essays on craft, and the work of the other students. Fall Quarter: Rachel Webster Averill Curdy Mary Kinzie Averill Curdy Winter Quarter: Rachel Webster Averill Curdy Toby Altman Paul Breslin Spring Quarter: Reg Gibbons A verill Curdy Rachel Webster ENG 207 MW 9:30-10:50 MWF 11-11:50 MWF 1-1:50 MWF 2-2:50 MW 9:30-10:50 MW 3:30-4:50 TTh 12:30-1:50 TTh 2-3:20MWF 1-1:50 MW 3:30-4:50 MWF 11-11:50 Sec. 20 Sec. 21 Sec. 22 Sec. 23 Sec. 20 Sec. 22 Sec. 23 Sec. 24 Sec. 20 Sec. 21 Sec. 22 Fall Quarter: Goldie Goldbloom Winter Quarter: Shauna Seliy Sheila Donohue Goldie Goldbloom Goldie Goldbloom Spring Quarter: Shauna Seliy Goldie Goldbloom TTh 9:30-10:50 MW 11-12:20 MW 12:30-1:50 TTh 9:30-10:50 TTh 12:30-1:50 MW 11-12:20 TTh 12:30-1:50 Sec. 20 Sec. 21 Sec. 22 Sec. 23 Sec. 20 Sec. 22 ENG 208 [Prerequisite to English Major in Writing] Reading & Writing Creative Non Fiction Course Description: An introduction to some of the many possible voices, styles, and structures of the creative essay.Students will read from the full aesthetic breadth of the essay, including memoir, meditation, lyric essay, and literary journalism. Discussions will address how the essay creates an artistic space distinct from the worlds of poetry and 8 fiction, and how truth and fact function within creative nonfiction. Students will be asked to analyze the readings closely, and to write six short essays based on imitations of the style, structure, syntax, and narrative devices found in the readings. Students can also expect to do some brief writing exercises and at least one revision. Prerequisites: English 206. No P/N registration.Attendance of first class is mandatory. Course especially recommended for prospective Writing Majors. Literature Majors also welcome. Teaching Method: Discussion; one-half to two-thirds of the classes will be devoted to discussion of readings and principles, the other classes to discussion of student work. Note: Prerequisite to the English Major in Writing. Fall Quarter: moment, does it become possible to ignore or overlook the political projects embedded in these texts? In readings of Chaucer, More, Sidney, Shakespeare, Milton, Behn and Swift, among others, we will consider how importan t it is to understand these texts from a political erspective, and wonder why this perspective is so often ignored in favor of psychologizing and subjectivizing readings. Teaching Method: Two lectures per week, plus a required discussion section. Evaluation Method: Regular reading quizzes (15%); class participation (25%); midterm exam (20%); final exam (20%); final paper (20%). Texts include: Beowulf; Mystery Plays; Chaucer, Canterbury Tales; More, Utopia; Sidney, Defense of Poesy; Shakespeare, Tempest and selected sonnets; Milton, Paradise Lost; Behn, Oroonoko; Swift, Gulliver’s Travels. ENG 210-2 English Literary Traditions Christopher LaneMWF 1-1:50 Winter Quarter Course Description: English 210-2 is an English Literature major requirement; it is also designed for non-majors and counts as an Area VI WCAS distribution requirement. This course is a chronological survey of important, representative, and highly enjoyable British works from Romanticism to the modern period (rou ghly the French Revolution to the First World War). Focusing on poetry, drama, essays, and several short novels, we'll examine compelling themes, styles, movements, and cultural arguments, paying particular attention to the way literary texts are located in history.For perspective, the course also tackles several comparative issues in nineteenth-century art and intellectual history, drawing on such large-scale themes as tensions between individuals and communities, the narrative fate of women and men, and the vexed, uncertain role of authors as commentators on their social contexts. An overview of English literary history and its traditions during a fascinating century, English 210-2 provides excellent training in the analysis of fiction. Teaching Method: Two lectures per week and one required discussion section each Friday (section assignments will be made during the first week of class). John Bresland Winter Quarter: Brian Bouldrey John Bresland John Bresland Spring Quarter: Eula Biss Rachel Webster Mary Kinzie Brian Bouldrey MWF 10-10:50 MW 9:30-10:50 TTh 9:30-10:50 TTh 2-3:20 MW 9:30-10:50 MWF 2-2:50 TTh 9:30-10:50 TTh 11-12:20 Sec. 20 Sec. 21 Sec. 22 Sec. 20 Sec. 21 Sec. 22 Sec. 23 ENG 210-1 English Literary Traditions Vivisvan Soni MWF 11-11:50 Spring Quarter Course Description: English 210-1 is an English Literature major requirement; it is also designed for non-majors and counts as an Area VI WCAS distribution requirement.This course is an introduction to the early English literary canon, extending from the late medieval period through the eighteenth century. In addition to gaining a general familiarity with some of the most influential texts of English literature, we will be especially interested in discovering how literary texts construct, engage in and transform political discourse. What kinds of political intervention are literary texts capable of making? What are the political implications of particular rhetorical strategies and generic choices? How do literary texts encode or allegorize particular political questions?How, at a particular historical ? 9 Evaluation Method: Two short analytical papers; one final essay; performance in discussion section; final exam. Texts include: The Norton Anthology of English Literature: The Major Authors (8th edition; volume B); Jane Austen, Sense and Sensibility (Penguin); Charles Dickens, Hard Times (Norton); Virginia Woolf, Mrs. Dalloway (Harvest/HBJ). Please buy new or used copies of the editions specified. Texts available at: The Norris Center Bookstore. ENG 211 Introduction to Poetry: The Experience and Logic of Poetry Susannah Gottlieb MWF 11-11:50 Fall QuarterCourse Description: The experience of poetry can be understood in it at least two radically different ways: as a raw encounter with something unfamiliar or as a methodically constructed mode of access to the unknown. The experience of poetry includes both of these models, and theories of poetry from antiquity to the present da y have grappled with these two dimensions of the poetic experience. In order to understand a poem, a reader must, in some sense, enter into its unique and complex logic, while nevertheless remaining open to the sometimes unsettling ways it can surprise us.In this class, we will read some of the greatest lyric poems written in English, as we systematically develop an understanding of the formal techniques of poetic composition, including diction, syntax, image, trope, and rhythm. Students should come prepared to encounter poems as new and unfamiliar terrain (even if you've read a particular poem before), as we methodically work through the formal elements of the poetic process. Teaching Method: Lectures and weekly discussion groups. Evaluation Method: Three papers (5-7 pages), weekly exercises, active participation in section discussions, and a final exam.Texts Include: The Norton Anthology of Poetry. ENG 212 Introduction to Drama: Modernism in Performance Susan Manning MWF 1-1:50 Sp ring Quarter Course Description: This survey course follows the emergence of modernism in diverse genres of theatrical performance—drama, dance, cabaret, and music theatre. In London, Paris, Berlin, and New York, new theatrical practices emerged in the late 19th century and through the first half of the 20th century, practices that have continued to inspire theatre artists into the present.Readings are complemented by film and video viewings and by excursions to Chicago-area theatres. Teaching Method: lecture with weekly discussion sections Evaluation Method: three short papers and a take- home final exam. Texts include: Noel Witts, ed. , The Twentieth- Century Performance Reader (3rd edition); Gunter Berghaus, Theater, Performance and the Historical Avant-Garde. ENG 213 Introduction to Fiction: Worlds in a Grain of Sand Christine Froula TTh 11-12:20 Winter Quarter Course Description: What is fiction? How is it different from history, biography, nonfiction?How and why do peop le invent and tell stories, listen to them, pass them on, often in new versions, forms, or media? In this course we’ll study a selection of fictional narratives from around the globe and from different historical moments, in a variety of prose and verse forms—short story, novella, novel, myth, story cycle, serial—and in visual and aural as well as literary media: ballad, theatre, zine, painting, photograph, graphic novel, film. If, as Ezra Pound put it, literature is news that stays news, we’ll consider how these fictional works bring news from near and far.We’ll think about the traditions, and occasions of storytelling, the narrators who convey them, the conventions and devices they inherit or make new, and some ways in which stories may influence or talk to one another, as well as to audiences and communities within and across cultures. We’ll consider whether and how each work’s historical origin and context may illuminate ? 10 the situation and conflict it depicts; and how its point of view, narrative voice, techniques of character- drawing, plot, imagery, dialogue, style, beginning and end help shape our questions and interpretations.As we taste some of â€Å"the rarest and ripest fruit of art which human thought has to offer,† in Nabokov’s words, we’ll seek to develop skills and awareness that will deepen our pleasure in the inexhaustible riches of imaginative literature. Teaching Method: Lecture and Discussion Evaluation Method: Attendance, participation, weekly exercises, two short papers, midterm, final. Texts include: Texts and course packet TBA. Texts Include: Bible, New Revised Standard Version (NRSV) with apocrypha (Oxford U. Press). GNDR ST 231/co-listed w/ Comp Lit 205 Gender Studies:Feminism as Cultural Critique Helen Thompson MWF 11-11:50 Winter Quarter Course Description: In this class, we will consider the origins and ongoing powers of feminism as a critique of culture. At its origins in the 1790s through the middle of the twentieth century, modern Western feminism fought on two fronts, condemning women’s legal and political disenfranchisement as well as more subtle practices and norms, like the wearing of corsets, that shored up women’s subordinate status at the level of everyday life.In this class, we will explore feminism in America after the legal and political battle has, to some extent, been won: we’ll examine the so-called second wave of feminism, from roughly 1960 to 1980. This exciting, volatile, and radical phase of the feminist movement dedicated its critical energies to problems that persisted beyond women’s nominal political and legal enfranchisement.By disrupting everyday institutions like the Miss America pageant, second- wave feminism revealed that mainstream norms, habits, and assumptions might operate just as powerfully as repressive laws. Because so much second-wave feminism consists of physical activism, cultural interventions, and artistic production, in this class we will encounter a variety of media: academic writing, but also manifestos, journalism, film, visual art, novels, performances, and documentaries.An ongoing goal of the class will be to explore the critical methodologies enabled by the second wave. What tools does second-wave feminism use to read culture? What tools does second-wave feminism use to re-tell history? The class will begin by looking at part of Simone de Beauvoir’s The Second Sex (French, 1949; English, 1953) to examine how its foundational claim that â€Å"one is not born, but rather becomes, a woman† invites us to analyze culture rather than nature. The remainder of the class is broken into units.Unit One, â€Å"Beauty,† includes the documentary â€Å"Miss . . . or Myth? † (1987) on the Miss American pageant and its feminist re-staging, Gloria Steinem on her experience as a Playboy Bunny (1969), and founding discussions of wom en’s looks by Kate Millet, Germaine Greer, Betty Friedan and others. Unit Two, â€Å"Housework/ Domesticity,† covers pivotal texts on women’s lives at home (â€Å"The Politics of Housework,† â€Å"The ENGLISH 220 The Bible as Literature Barbara Newman MWF 10-10:50 Combined w/ CLS 210 Spring QuarterCourse Description: This course is intended to familiarize literary students with the most influential text in Western culture. No previous acquaintance with the Bible is presupposed. We will consider such questions as the variety of literary genres and strategies in the Bible; the historical situation of its writers; the representation of God as a literary character; recurrent images and themes; the Bible as a national epic; the New Testament as a radical reinterpretation of the â€Å"Old Testament† (or Hebrew Bible); and the overall narrative as a plot with beginning, middle, and end.Since time will not permit a complete reading of the Bible, we will c oncentrate on those books that display the greatest literary interest or influence, including Genesis, Exodus, Psalms, Ecclesiastes, the Song of Songs, Ruth, Job, Daniel, and Isaiah; the Gospels according to Luke and John, and the Book of Revelation. We will look more briefly at issues of translation; traditional strategies of interpretation (such as midrash, typology, and harmonization); and the historical processes involved in constructing the Biblical canon.Teaching Method: Three lectures, one discussion section per week. Evaluation Method: Two midterms and final exam, each worth 25% of grade; participation in sections; occasional response papers; some interactive discussion during lectures. ?11 Personal is Political,† â€Å"Why I Want a Wife,† and others); we will examine one mainstream reaction to the feminist critique of domestic labor, Ira Levin’s horror novel and adapted film The Stepford Wives.Unit Three, â€Å"Sex,† will look at second-wave femin ist challenges to both the social and anatomical determinants of eroticism and pleasure (The Myth of the Vaginal Orgasm, Sex and the Single Girl, Lesbian Nation, Pornography); we will read one early 70s feminist novel (Erica Jong, Fear of Flying) and one early 70s mainstream romance (Janet Woodiwiss, The Flame and the Flower) to examine their contesting representations of women’s sexual desire and agency.In the course of this comparison, we’ll take up the issue of rape, or â€Å"rape culture† (Susan Brownmiller, Against our Will, and others); the material conditions and ideologies at stake in romance reading; and the charge that second-wave feminism reflected the concerns of only white middle-class women (bell hooks, Ain’t I A Woman? ). Unit Four of the class will look at feminist cultural production. We’ll look at avant-garde art (short films include Carolee Schneeman’s â€Å"Meat Joy,† Martha Rosler’s â€Å"Semiotics of the Kitchen,† and other videos, images, and performances) and artistic provocations (like Valerie Solanas, â€Å"The S.C. U. M. Manifesto†) to consider how these texts challenge high art and cultural values down to the present day. Macbeth, Henry V, Anthony and Cleopatra, Measure for Measure, and The Tempest. Teaching Method: Lectures with Q; required weekly discussion section. Evaluation Method: Attendance and section participation, two papers, midterm, final exam. Texts include: The required textbook is The Norton Shakespeare, ed. Stephen Greenblatt et al. Textbook available at: Norris Center Bookstore. ENG 234Introduction to Shakespeare Susie Phillips TTh 9:30-10:50 Fall Quarter Course Description: What spooks America? From the Puritan â€Å"city upon a Hill,† to Tom Paine’s Common Sense, to Emerson’s American Adam, America was imagined as a New World paradise, a place to begin the world anew. And yet, from the story of Pocahontas and John Smith, to the origins of the American Gothic in the Age of Reason, to Melville’s Moby Dick, American literature has been haunted by fantasies of terror, sin, violence, and apocalypse.Why? This course will seek to answer this question. Focusing on a selection of imaginative writings, including origin stories, poems, novels, and a slave narrative, we shall seek to identify and understand the significance of the terrors—of the savage, the dark other, the body, nature, sex, mixture, blood violence, authoritarian power, and apocalypse—that haunt and spook the origins and development of American literature.Students will be encouraged to draw connections between past American fantasies and fears and contemporary popular culture and politics, from classic American films like Hitchcock’s Psycho to The Hunger Games, from American blues and jazz to Michael Jackson’s Thriller, from the Red Scare and the Cold War to the war on terror. Teaching method: Lecture and discuss ion; weekly discussion sections. Evaluation Method: 2 papers; quizzes; final examination.Texts Include: The Norton Anthology of American Literature: Beginnings to 1820 (Volume A; 8th edition); Charles Brockden Brown, Edgar Huntly; or Course Description: This course will introduce students to a range of Shakespeare’s comedies, tragedies, histories and romances. During the quarter, we will be considering these plays in their Early Modern context—cultural, political, literary and theatrical. We will focus centrally on matters of performance and of text.How is our interpretation of a play shaped by Shakespeare’s various â€Å"texts†Ã¢â‚¬â€ his stories and their histories, the works of his contemporaries, the latest literary fashions, and the various versions of his plays that circulated among his audience? Similarly, how do the details of a given performance, or the presence of a particular audience, alter the experience of the play? To answer these question s, we will consider not only the theaters of Early Modern England, but also recent cinematic versions of the plays, and we will read not only our modern edition of Shakespeare but also examine some pages from the plays as they originally circulated.Our readings may include Much Ado About Nothing, Romeo and Juliet, Hamlet, Othello, ENG 270-1 American Literary Traditions: What Spooks America? Betsy Erkkila MWF 12-12:50 Fall Quarter ?12 Memoirs of a Sleep-Walker; Ralph Waldo Emerson, Selected Writings; Edgar Allan Poe, Great Short Works; Frederick Douglass, The Narrative of Frederick Douglass; Nathaniel Hawthorne, The Scarlet Letter; Herman Melville, Moby Dick. ENG 273 Post 1798 Introduction to 20th-Century American Lit.Nick Davis MWF 12-12:50 Spring Quarter Course Description: This course aims to draw English majors and non-majors alike into a substantive, wide-ranging, and vivacious conversation about American literature and life, spanning from modernist watersheds of the 1920s to th e present moment. In all of the literature we read, the impressions we form, and the insights we exchange, we will track complex evolutions of â€Å"America,† both as a nation and as a notion, deepened and ransformed over time by new ideas about language, history, movement and migration, individuality and collectivity, social positioning, regional identities, political attitudes, and other forces that shape, surround, and speak through the texts. However, we shall remind ourselves at all points that literature is not just a mirror but an engine of culture; it produces its own effects and invites us into new, complicated perspectives about language, form, structure, voice, style, theme, and the marvelous, subtle filaments that connect any text to its readers.Teaching Method: Lecture and discussion Evaluation Method: Two formal essays, quizzes, and a final exam, plus participation in discussion sections and occasionally in lecture Texts include: William Faulkner’s As I L ay Dying; Marita Bonner’s The Purple Flower; Nathanael West’s Miss Lonelyhearts; Don DeLillo’s White Noise; Suzan-Lori Parks’s The America Play; and others. ENG 270-2 American Literary Traditions Julia Stern MWF 12-12:50 Winter Quarter Course Description: This course is a survey of American literature from the decade preceding the Civil War to 1900.In lectures and discussion sections, we shall explore the divergent textual voices – white and black, male and female, poor and rich, slave and free – that constitute the literary tradition of the United States in the nineteenth century. Central to our study will be the following questions: What does it mean to be an American in 1850, 1860, 1865, and beyond? Who speaks for the nation? How do the tragedy and the triumph of the Civil War inflect American poetry and narrative?And how do post- bellum writers represent the complexities of democracy, particularly the gains and losses of Reconstruction, the advent of and resistance to the â€Å"New Woman,† and the class struggle in the newly reunited nation? Evaluation Method: Evaluation will be based on two short (3-page) essays, in which students will perform a close reading of a literary passage from one of the texts on the syllabus; a final examination, involving short answers and essays; and active participation in section and lecture. Texts include: Herman Melville, â€Å"Bartleby,Scrivener†; Harriet Wilson, Our Nig; Rebecca Harding Davis, â€Å"Life in the Iron Mills†; Harriet Jacobs, Incidents in the Life of a Slave Girl; Emily Dickinson, selected poems; Walt Whitman, â€Å"Song of Myself† and other selected poems; Mark Twain, The Adventures of Huckleberry Finn; Charles Chestnut, selected tales; Kate Chopin, The Awakening. Textbooks will be available at: Norris Bookstore. Note: Attendance at all sections is required; anyone who misses more than one section meeting will fail the course unless both his or her T. A. and the professor give permission to continue.ENG 275/co-listed w/ Asian_Am 275 Introduction to Asian American Studies Jinah Kim MW 12:30-1:50 Fall Quarter Course Description: This course examines literature, film, and critical theory created by Asian Americans in order to examine the development of Asian America as a literary field. We will explore how Asian American literature and theory engages themes and questions in literary studies, particularly related to questions of race, nation and empire, such as sentimentalism, the autobiography, bildungsroman and genre studies.For example, how does Carlos Bulosan draw on tropes and images of 1930’s American depression to Post 1798 ?13 draw equivalence between Filipino colonial subjects and domestic migrant workers? How does Siu Sin Far use sentimentalism as a strategy to evoke empathy for her mixed race protagonists? How does Hirahara manipulate conventions of literary noir to contest dominant recollections of W WII? Thus we are also learning to ‘deconstruct’ the text and understand how Asian American literature and culture offers a parallax view into American history, culture and political economy.Starting from the premise that Asian America operates as a contested category of ethnic and national identity we will consider how Asian American literatures and cultures â€Å"defamiliarize† American exceptionalist claims to pluralism, modernity, and progress. The novels, short stories, plays and films we will study in this class chart an ongoing movement in Asian American studies from negotiating the demands for domesticated narratives of immigrant assimilation to crafting new modes of ritique highlighting Asian America’s transnational and postcolonial history and poesis. Teaching Method: Lecture, Discussion, Readings, Class participation, Guest speakers, Writing assignments, Films / video. Evaluation Method: Presentations, attendance, class participation, mid-term pa per, final paper. Texts Include: Carlos Bulosan, America is in the Heart, University of Washington Press, 1974; Don Lee, Country of Origin, W. W.Norton and Company, 2004; Karen Tei Yamashita, Through the Arc of the Rainforest, Coffee House Press, 1990; Jhumpa Lahiri, Interpreter of Maladies, Mariner Books, 1999; Susan Choi, Foreign Student, Harper Collins, 1992; John Okada, No-No Boy University of Washington Press, 1978; A required reader is available from Quartet Copies and films for the course will stream on blackboard. ENG 298 Introductory Seminar in Reading and Interpretation Course Description: English 298 emphasizes practice in the close reading and analysis of literature in relation to important critical issues and perspectives in literary study.Along with English 210-1,2 or 270- 1,2 it is a prerequisite for the English Literature Major. The enrollment will be limited to 15 students in each section. Nine sections will be offered each year (three each quarter), and their speci fic contents will vary from one section to another. No matter what the specific content, 298 will be a small seminar class that features active learning and attention to writing as part of an introduction both to the development of the skills of close reading and interpretation and to gaining familiarity and expertise in the possibility of the critical thinking.Prerequisites: One quarter of 210 or 270. Note: First class mandatory. No P/N registration. This course does NOT fulfill the WCAS Area VI distribution requirement. Fall Quarter: Jay Grossman Helen Thompson Wendy Roberts Winter Quarter: Betsy Erkkila Susie Phillips Carissa Harris Spring Quarter: Harris Feinsod John Alba Cutler Sarah Lahey FQ Section 20: MWF 11-11:50 TTh 9:30-10:50 TTh 3:30-4:50 TTh 9:30-10:50 TTh 11-12:20 TTh 2-3:20 MWF 2-2:50 TTh 11-12:20 TTh 3:30-4:50 Section 20 Section 21 Section 22 Section 22 Section 21 Section 20Section 20 Section 21 Section 22 Literary Study: â€Å"Coming to Terms† Jay Grossman M WF 11-11:50 Course Description: This seminar will introduce you to some of terms–and through these terms, to some of the materials, methods, theories, and arguments– that have become central to literary study today. By coming to know these terms, we will begin to come to terms with literary study in other, broader ways–to think about what the study of texts might have to do with reading, writing, and thinking in twenty-first century American culture.The seminar is organized around the following terms: writing, author, culture, canon, gender, performance. Some of these terms are of course familiar. Initially, some will seem impossibly broad, but our approach will be particular, through particular literary texts and critical essays. Throughout the course we will also return to two important terms that aren't a part of this list: literature (what is it? who or what controls its meaning? why study it? ) and readers (who are we? what is our relation to the text and i ts meaning[s]? what does â€Å"reading† entail? hat is the purpose of reading? what gets read and who decides? ). ?14 Teaching method: Mostly discussion. Evaluation method: Mandatory attendance and active participation. Shorter papers, some of them revised, and one longer final paper. No exams. Texts Include: Mostly fiction and poetry, including some of the following: Walt Whitman, Leaves of Grass; Emily Dickinson’s poetry; Elizabeth Bishop, Geography III; Michael Chabon, The Mysteries of Pittsburgh; Henry Blake Fuller, Bertram Cope’s Year; Critical Terms for Literary Study (eds.Lentricchia and McLaughlin; second edition). FQ Section 21: Romanticism and Criticism Helen Thompson TTh 9:30-10:50 Course Description: This seminar pairs a series of key texts in the history of critical thought with canonical fiction and poetry of the Romantic era. You’ll learn about critical movements— psychoanalysis, Marxism, feminism, and post- structuralism or deconstr uction—by testing their substantive and methodological claims against poems, novels, plots, images, and fictions.As the class proceeds, you’ll be able to mix and match critical and literary texts to experiment with the kinds of interpretations and arguments their conjunctions make possible. How do entities like history, class struggle, the unconscious, manifest versus latent content, patriarchy, the body, sex, gender, signification, and textuality continue to engender literary meaning and galvanize the claims we make for the poems and novels we read?We’ll pair Karl Marx’s Communist Manifesto and William Blake’s Songs of Innocence and Songs of Experience; Sigmund Freud’s The Interpretation of Dreams and Mary Shelley’s Frankenstein; William Wordsworth’s Lyrical Ballads and key essays in Jacques Derrida’s theory of deconstruction; and Jane Austen’s Pride and Prejudice and Simone de Beauvoir’s The Second Sex. T here will be short supplemental critical or historical materials to flesh out some of these methodologies and provide context for the literary texts.Again, you’ll be encouraged to recombine authors and approaches as we proceed. A central aim of this class will be to facilitate your appreciation of not only the substantive claims made by Marx, Freud, Derrida, and Beauvoir, but also the methodological possibilities that their challenging worldviews open for the interpretation of literature. At the same time, we’ll appreciate that Blake, Shelley, Wordsworth, and Austen are also critical thinkers: indeed, perhaps their poetic and fictional texts anticipate the methodological and historical provocations offered by Marx and the rest.As we gain facility with some of the dominant methodological strands of literary analysis, we’ll think about their historical roots in the Romantic era and ponder the still urgent critical possibilities they open for us today. Teaching Met hod: Seminar. Evaluation Method: TBA FQ Section 22: Contact Wendy Roberts TTh 3:30-4:50 Course Description: European contact with the â€Å"new world† initiated various textual interpretations of people groups and cultures, including our own. The very project of defining what it means to be American can be said to egin in the first encounter with the other. It is often noted that the physical senses were central to this narrative in which textuality became linked to modernity and orality to the primitive. In many ways, the rich metaphor of â€Å"contact† is helpful for thinking about literary methodologies, which often attempt to make strange, at the same time that they attempt to understand, a given text. This course will introduce English majors to some of the key terms and issues in textual interpretation through reading American literature pertaining to contact, broadly conceived.Whether coming face to face with the savage Indian in the wilderness, or conversely, a white ghost, experiencing a supernatural event, or stepping onto American soil after surviving the Middle Passage, the texts we read will offer compelling narratives of rupture, displacement, and recreation helping us to reflect on the various methodologies literary studies offers for interpreting texts and the claims it makes on the real world. We will think about the definition of literature, our status as readers, and the way our encounter, contact, or discovery of a given text becomes literarily, culturally, and personally meaningful.Teaching Method: Discussion. 15 Evaluation Method: Participation, attendance, shorter writing assignments, group blog project, and one revised paper. Texts include: Mostly fiction and poetry, including some of the following: contact narratives by Christopher Columbus and Alvar Nunez Cabeza de Vaca, selection of Native American tales and songs, including contemporary poet Leslie Marmon Silko, Mary Rowlandson’s captivity narrative, John Marra nt’s conversion narrative, Phillis Wheatley’s poetry, Charles Brockden Brown’s novel Wieland, and Walt Whitman’s Leaves of Grass.WQ Section 20: Reading and Interpreting Edgar Allan Poe Betsy Erkkila TTh 9:30-10:50 Course Description: Edgar Allan Poe invented the short story, the detective story, the science fiction story, and modern poetic theory. His stories and essays anticipate the Freudian unconscious and various forms of psychoanalytic, poststructuralist, and modern critical theory. Poe wrote a spooky novel called The Narrative of Arthur Gordon Pym and several volumes f poetry and short stories. As editor or contributor to many popular nineteenth- century American magazines, he wrote sketches, reviews, essays, angelic dialogues, polemics, and hoaxes. This course will focus on Poe's writings as a means of learning how to read and analyze a variety of literary genres, including lyric and narrative poems, the novel, the short story, detective fiction, s cience fiction, the essay, the literary review, and critical theory.We shall study poetic language, image, meter, and form as well as various story- telling techniques such as narrative point of view, plot, structure, language, character, repetition and recurrence, and implied audience. We shall also study a variety of critical approaches to reading and interpreting Poe’s writings, including formalist, psychoanalytic, historicist, Marxist, feminist, queer, critical race, poststructuralist, and postcolonial theory and criticism.We shall conclude by looking at the ways Poe's works have been translated and adapted in a selection of contemporary films and other pop cultural forms. Teaching Method: Some lecture; mostly close- reading and discussion. Evaluation Method: 2 short essays (3-4 pages); and one longer essay (8-10 pages); in-class participation. Texts Include: Edgar Allan Poe: Poetry, Tales, and Selected Essays (Library of America); M. H. Abrams and Geoffrey Galt Harpham: A Glossary of Literary Terms (Thomson, 8thEdition); Julie Rivkin and Michael Ryan, eds. Literary Theory: An Anthology (Blackwell, rev. ed. ). WQ Section 21: Songs and Sonnets Susie Phillips TTh 11-12:20 Course Description: Beginning with the sonnet craze in the late sixteenth century, this course will explore the relationship between poetry and popular culture, investigating the ways in which poets draw on the latest trends in popular and literary culture and, in turn, the ways in which that culture incorporates and transforms poetry—on the stage, in music, and on the screen.We will consider how poets borrow from and respond to one another, experimenting with traditional forms and familiar themes to make the old new. In order to recognize and interpret this experimentation, we will first study those traditional forms, learning to read and interpret poetry. While we will be reading a range of poems in modern editions, we will be situating them in their social, historical, lite rary and material contexts, analyzing the ways in which these contexts shape our interpretation.How for example might our reading of a poem change if we encountered it scribbled in the margins of a legal notebook or posted as an advertisement on the El rather than as part of an authoritative anthology? Teaching Method: Discussion. Evaluation Method: Two papers, short assignments, and class participation. Texts Include: Poetry by Shakespeare, Donne, Marlowe, Sidney, Spenser, Keats, Shelley, Williams, Stevens, and Eliot. WQ Section 22: Representing the Prostitute in Early Modern EnglandCarissa Harris TTh 2-3:20 Course Description: The London stage was continually populated by actors playing prostitutes, from the morality dramas of the 16th century to early 17th-century plays in which the prostitute takes 16 center stage, such as The Dutch Courtesan and The Honest Whore Part 1 and 2. Why was the figure of the prostitute particularly important to early modern English writers, and what did staging the prostitute mean for both authors and audiences?In this course we will explore how early modern English writers used the character of the prostitute to embody a variety of popular anxieties concerning female sexuality, social disorder, the continual influx of foreigners to London, the rapid spread of syphilis, urban growth, and widespread poverty. We will study the literary and cultural meanings of the prostitute, seeking to identify what precisely representing the prostitute on stage accomplished for both authors and audiences in early modern London.We will also investigate the roles the prostitute performs in particular genres, including satirical love poetry, erotica, gender debates, and drama. Readings for the course will include William Shakespeare’s comedy Measure for Measure, Thomas Dekker’s plays The Honest Whore Part 1 and 2, Thomas Nash’s poem A Choyse of Valentines, several short poems by court poet John Skelton, and John Marstonâ€℠¢s plays The Insatiate Countess (unfinished) and The Dutch Courtesan (selections). Teaching Method: Seminar. Evaluation Method: 2 short close-reading papers (3- 4 pp. , an in-class presentation with an accompanying paper (2 pp. ), and a final paper (5-7 pp. ). Texts include: Shakespeare, Measure for Measure (Arden Shakespeare edition); and a course reader Textbooks will be available at: Quartet Copies. SQ Section 20: Modern Poetry & Poetics: Experiments in Reading Harris Feinsod MWF 2-2:50 Course Description: This course offers an introduction to key texts and major paradigms for the reading and interpretation of modern poetry in English. The first half of the course contends with questions at the heart of the discipline of poetics: what is poetry?Is it of any use? How do poems employ figures, rhythms, sounds, and images to address problems of experience and society? How do poems acknowledge or reject tradition? How does poetry enhance or alter our relationships to language and to t hinking? We will read â€Å"experimentally,† pairing works by poets such as Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound and Eliot with theoretical statements of poetics by Paz, Jakobson, Agamben, Stewart, Frye and others. This will allow us to gain fluency with poetic forms and genres, and to practice the fundamentals of close reading.In the second half of the course our attention will shift from individual poems to a series of scandalously inventive collections and sequences (including Williams, Brooks, Oppen, Ginsberg, O'Hara, or others). We will learn to shuttle with agility between the observations of minute formal elements and larger historical, performative, and transnational logics. We will continue to experiment widely and self-consciously with practices of close reading, but we will also flirt with alternatives such as â€Å"close listening† and â€Å"wild reading. We will move between an understanding of a â€Å"text† and its social â€Å"context,† between iterative â€Å"forms† and unrepeatable â€Å"performances,† between discrete â€Å"works† and the wider â€Å"networks† of poems to which they belong. At the conclusion of the course, we will begin to speculate about the future of poetry and poetics in the new media environment of the 21st century. Teaching Method: Lecture and discussion. Evaluation Method: frequent short writing assignments, one ~10 page paper, one in-class presentation. Careful preparation and participation is crucial.Texts include: Individual poems and collections by Dickinson, Yeats, Frost, Hughes, Stevens, Moore, Crane, Pound, Eliot, Williams, Bishop, Ginsberg, and others; criticism by Agamben, Adorno, Culler, de Man, Frye, Greene, Jakobson, Ramazani et. al. ; Brogan, The New Princeton Handbook of Poetic Terms. This list is subject to change, contact me for the syllabus during enrollment. Texts available at: Beck’s Bookstore SQ Section 21: Adapt ation John Alba Cutler TTh 11-12:20 Course Description: This seminar will examine literary adaptation as a way to approach questions of reading, interpretation, genre, and literary culture.Literary works have much to teach us about the act of reading itself, especially when those works adapt some other source material and in the process 17 interpret it. The process of adaptation into poetry or fiction foregrounds how literary texts make meaning. Adaptation will thus provide us a framework for studying basic concepts from poetics, including meter, rhyme, and form, as well as from narratology, including point of view, characterization, plot, and narrative temporality. We will consider literary adaptation from a variety of perspectives: what choices do writers make when creating a work of fiction from historical records?Or a play from a poem? How have poets from the Early Modern period to the present used sources as various as the Bible and visual art as inspiration? What do all of th ese adaptations teach us about how literature compares to other forms of cultural production? The seminar will end by considering what happens when a canonical work of American literature, F. Scott Fitzgerald’s The Great Gatsby, becomes the subject of adaptation and re-adaptation. Teaching Method: Discussion Evaluation Method: Quizzes, short essays. Texts include: Poems by John Milton, W. H.Auden, Langston Hughes, and Frank O’Hara; â€Å"Benito Cereno,† by Herman Melville; A Raisin in the Sun, by Lorraine Hansberry; and The Great Gatsby, by F. Scott Fitzgerald SQ Section 22: Many Faces of Gothic Fiction Sarah Lahey TTh 3:30-4:50 Course Description: The Turn of the Screw has famously been interpreted as both a ghost story and a psychological drama. Some claim it is a novella about supernatural events, and others argue it revolves around a crazy governess suffering hallucinations. As a genre, gothic literature inspires an unusually diverse range of critical reacti ons.Yet, how many ways can we accurately read the same story? What prompts one form of criticism over another? What are the stakes of choosing to read a story in a particular way? These questions will drive our discussion as we examine classic works of gothic fiction in the British tradition from the 18th and 19th centuries. We also will pair each primary text with an excerpt of literary theory or criticism. Our aim is to understand the practice of literary criticism, while at the same time enjoying the thrills – and horrors – of gothicism’s most famous creations.Teaching Method: Discussion Evaluation Method: In-class presentation, two short papers (4-5 pages), and one longer paper (6-8 pages). Texts include: The Castle of Otranto (1764); Confessions of a Justified Sinner (1824); Strange Case of Dr. Jekyll and Mr. Hyde (1886); Dracula (1897); and The Turn of the Screw (1898). ENG 302 History of the English Language Katherine Breen TTh 11-12:20 Fall Quarter Cours e Description: Have you ever noticed that, unlike many other languages, English often has two different names for the same animal?These double names can be traced back to 1066, when the French- speaking Normans, led by William the Bastard, conquered England and installed their countrymen in almost every position of power. In the aftermath of this victory, William the Bastard became William the Conqueror and cows and pigs and sheep became beef and pork and mutton – at least when they were served up to the Normans at their banquets. Like many other high-falutin’ words in English, these names for different kinds of meat all derive from French.As long as the animals remained in the barnyard, however, being cared for by English-speaking peasants, they kept their ancient English names of cow and pig and sheep. In this course we will investigate this and many other milestones in the history of the English language, focusing on the period from the Middle Ages through the eight eenth century. We will pay particular attention to the relationship between language and power, and to the ways people in these periods conceived of their own language(s) in relation to others.This class will also help you to develop a more sensitive understanding of the English language that you can bring to other classes and to life in general. Have you ever thought about analyzing a poem – or a political speech – in terms of which words come from Latin, which from French, and which from Old English? Teaching Method: Mostly discussion, with some lecture. Evaluation Method: Quizzes, a midterm exam, and a final exam, plus a couple of short papers and an oral report. Texts Include: David Crystal, The Stories of English; a course reader. 18Texts available at: Beck’s Bookstore and Quartet Copies NOTE: This course fulfills the English Literature major Theory requirement. ENG 306 Combined w/ CLS 311 Advanced Poetry Writing: Theory and Practice of Poetry Translation Reg Gibbons MW 2-3:20 Spring Quarter Course Description: A combination of seminar and workshop. Together we will translate several short poems and study theoretical approaches to literary translation and practical accounts by literary translators. We will approach language, poems, poetics, culture and theoretical issues and problems in relation to each other.Your written work will be due in different forms during the course. In your final portfolio, you will present revised versions of your translations and a research paper on translation.. Prerequisite: A reading knowledge of a second language, and experience reading literature in that language. If you are uncertain about your qualifications, please e-mail the instructor at to describe them. Experience writing creatively is welcome, especially in poetry writing courses in the English Department. Teaching Method: Discussion; group critique of draft translations; oral presentations by students.Evaluation Method: Written work (â€Å" blackboard† responses to reading, draft translations, revised translations, and final papers) as well as class participation should demonstrate students’ growing understanding of translation as a practice and as a way of reading poetry and engaging with larger theoretical ideas about literature. Texts include: Essays on translation by a number of critics, scholars and translators, in two published volumes and on the Course Management web site (â€Å"blackboard†). ENG 307 CROSS-GENRE Advanced Creative Writing: Finding a Place Goldie Goldbloom TTh 12:30-1:50 Fall QuarterCourse Description: Setting is an often overlooked aspect informing fiction, and yet, when we think back on our favourite books, what remains with us, besides character, is often connected with setting. What would Harry Potter be without Hogwarts? What would The Lord of the Rings be like without Middle Earth, Charlotte's Web without the farmyard, To Kill a Mockingbird without Maycomb, Alabama? We wi ll be examining setting in our own work and in the work of published writers, to determine what it adds to the dreamscape of a story, and how it can be manipulated to express hidden emotion.This is a workshop class, and you will be expected to bring in your own writing for analysis and critique. Prerequisites: Prerequisite English 206. No P/N registration. Attendance at first class is mandatory. This course may be used toward the inter-disciplinary minor in creative writing. Texts include: The Street of Crocodiles, Bruno Schulz, 978-0-14018625-5; Nadirs, Herta Muller, 978-0-80328254-4; Too Loud a Solitude, Bohumil Hrabal, 978-0-15690458-2; Being Dead, Jim Crace, 978-0-31227542-6; The Woman in the Dunes, Kobo Abe, 978-0-67973378-2; Bastard Out of Carolina, Dorothy Alison; Lord of the Rings, J.R. R. Tolkein ENG 307 Advanced Creative Writing: Fabulous Fiction Stuart Dybek TTh 12:30-1:50 FICTION Winter Quarter Course Description: Fabulous Fictions is a writing class that focuses on writ ing that departs from realism. Often the subject matter of such writing explores states of mind that are referred to as non- ordinary reality. A wide variety of genres and subgenres fall under this heading: fabulism, myth, fairy tales, fantasy, science fiction, speculative fiction, horror, the grotesque, the supernatural, surrealism, etc.Obviously, in a mere quarter we could not hope to study each of these categories in the kind of detail that might be found in a literature class. The aim in 307 is to discern and employ writing techniques that overarch these various genres, to study the subject through doing—by writing your own fabulist stories. We will be read examples of ? 19 fabulism as writers read: to understand how these fictions are made—studying them from the inside out, so to speak. Many of these genres overlap. For instance they are all rooted in the tale, a kind of story that goes back to primitive sources.They all speculate: they ask the question What If? T hey all are stories that demand invention, which, along with the word transformation, will be the key terms in the course. The invention might be a monster, a method of time travel, an alien world, etc. but with rare exception the story will demand an invention and that invention will often also be the central image of the story. So, in discussing how these stories work we will also be learning some of the most basic, primitive moves in storytelling.To get you going I will be bringing in exercises that employ fabulist techniques and hopefully will promote stories. These time tested techniques will be your entrances—your rabbit holes and magic doorways–into the figurative. You will be asked to keep a dream journal, which will serve as basis for one of the exercises. Besides the exercises, two full-length stories will be required, as well as written critiques of one another’s work. Because we all serve to make up an audience for the writer, attendance is mandatory . Prerequisites: Prerequisite English 206.No P/N registration. Attendance at first class is mandatory. addition to our readings and discussions of published fiction, we will spend time workshopping your own stories. Dependent on time, each student will have their creative prose workshopped twice. ENG 307 CROSS-GENRE Advanced Creative Writing: Cross-Genre Experiments Mary Kinzie TTh 2-3:20 Spring Quarter Course Description: A creative writing course for any undergraduate who has taken at least two of the Reading & Writing prerequisites (poetry and one prose course).We will explore the blending of prose with poetry in genres such as the â€Å"lyric essay† as well as the insertions of prose into works by poets; the blending of narrative with visual art (as in Donald Evans’s series of stamps

Monday, July 29, 2019

Women and Development Essay Example | Topics and Well Written Essays - 2500 words

Women and Development - Essay Example These women's groups are formed for many different reasons, be these purely social (through women's practical gendered interests, to arrange day care for children in communities directly affected by war, for example), economic (i.e., organizing labor teams when men are away from the home, fighting, for example, or arranging microfinance initiatives to develop their communities, for example) or more political (i.e., strategic gendered interests, as in Uganda, where women's groups pressurized parliament to effect the largest female political representation in the whole of Africa). These different women's groups, aside from being formed for many different reasons, are, as we shall see, run differently and aim for different solutions, dependent on the particular set of problems present in the particular country under study. The following sections will look, through an analysis of ten different academic research papers (as listed in the References section), at specific cases of different political situations in different countries, and will analyze how women and women's groups have been formed in these situations, and how they have responded to these situations. As a As a general background to this paper, it should be noted that, as discussed in the Introduction to Part III of the 1997 book, Women's Voices, Women's Power: Dialogues of Resistance from East Africa, published by Broadview Press, much of African culture is rooted in the traditions of the past, with men's dominance over women explained, and justified, by reference to historical tradition and to cultural traditions: for example, in Marangoli, men are classed as the decision-makers, with men having rights of authority and power over women, as defined in their ideology. That women's groups arise within this historical (traditional) context, is a testament to the power of women, and their ingenuity in the face of severe trauma and tragedy. Unfortunately, in many African countries, such as Uganda, Sudan, Rwanda or South Africa, the politicization of differences has often led to civil war or violent conflict, based on ethnic, racial, religious and other differences (Tripp, 2000). In countries such as these, for example, in Uganda, women's movements have arisen, which have conceptualized the relationship between gender and race/ethnicity/religion, in order to minimize such differences, to try to minimize the resulting violence (Tripp, 2000). Women's movements are thought to be a significant force, in African countries, in terms of depoliticizing difference and searching for the common ground in situations where the politicization of difference has led to violence: for example, since the Rwandan genocidal tragedy, women's movements in that country have been instrumental in initializing contact between Tutsi's and Hutu's (Tripp, 2000). Even though women were not active participants in the genocide, the politicization of ethnicity and the orchestration of genocide and rape inflicted against the Tutsi, as well as the retributions for these events have left powerful resentments and strongly painful memories (Tripp,

Sunday, July 28, 2019

Some argue that outsourcing should not be followed because it export Assignment

Some argue that outsourcing should not be followed because it export jobs overseas Under what circumstances outsourcing should be followed, if any - Assignment Example In the recent developments in technology, firms may outsource so as to ensure the presence of an individual with technological expertise within its workforce. This can result in promoting technological spillover effects thus increasing the output of the workforce. The need for quality improvement can call for outsourcing. This happens when companies seek to bring on board experts who are already performing in other organizations. If an organization does all of its work itself, its work may consume too much time and finances. The quality improvement arises as a result of using different expertise from an external workforce (entrepreneur.com). This mostly features in management consulting where the management consultants advise the company on strategies of increasing its efficiency and product quality. Unavailability of resources, in terms of the skilled workforce, money or even raw materials for the production process. Shortage of a skilled workforce in a given country necessitate outsourcing to take place for efficiency and increased output to be achieved. Finally, the security issue of the data or information may call for outsourcing since some of it has to be handled with great care

Saturday, July 27, 2019

Are Cell Phones Really Dangerous to People Research Proposal

Are Cell Phones Really Dangerous to People - Research Proposal Example The problem has been identified: children have often access to cell phones with the permission of their parents. This trend is extremely dangerous especially since scientists have set severe restrictions regarding the potential use of cell phones by children – but these restrictions seem to be ignored by most of the people worldwide. At this point, the following problem appears: are cell phones really dangerous to people? This problem has been explored through a series of relevant studies. It is proved that cell phones can actually harm health; moreover, it seems that the risks for health can be severe for people of all ages. At the next level, it has been made clear that the ways in which cell phones can affect the health of humans can vary; the direct use of cell phone may be less harmful compared to the residence near a cell phone tower. Dr. Vini Khurana studied the effects of cell phones on health; his research led to the following findings: ‘the use of handsets for 10 years or more can double the risk of brain cancer’ (Geoffrey 2008). In the above study, is given on the fact that certain types of cancer can take quite long to develop – even up to a decade; therefore, the above study – having lasted for such period - provides a precise estimation of the potential effects of cell phones on the brain. Another important finding of the study of Khurana has been the following one: cell phones can be more dangerous from smoking; the above finding indicates the level of risk related to the use of cell phones but also the level at which cell phones intervene in daily activities have led to the development of addiction similar to smoking – as this problem is revealed through the study presented above. The various aspects of the danger of cell phones for human health are analyzed in the article of Kovach (2007); in the above article reference is made to the findings of the research developed by George Carlo, a medical scientis t who has spent years on studying the effects of cell phones – both of handsets and cell phone towers – on health; his research lasted from 1993 up to 1999 and reveals a series of important aspects of the health risks related to the use of cell phones. The key findings of his study could be summarized as follows: a) cell phones are not tested as for their risks for health; they enter the market without any testing, as a result of a legislative gap of the period when these devices appeared – the 1980s, b) cell phones can cause severe problems of health, even death, since they are involved in the continuous transmission of waves which can adversely affect the bio-field of humans (Kovach 2007); it is possible for this reason that cell phones have been also related to the changes in the DNA of their users – as also highlighted below.  

Friday, July 26, 2019

CJUS 310 DB7 Essay Example | Topics and Well Written Essays - 250 words

CJUS 310 DB7 - Essay Example This discussion focuses on the last phase of the juvenile court process referred to as disposition. After the verdict has been passed and the defendant found guilty, the judge orders the department of juvenile justice to prepare a predisposition report. This is aimed at recommending endorsements for the defendant (Krygier, 2009). The report usually entails the background, the family status and criminal history of the defendant. It is normally completed and served to the judge, defense attorney, the defendant and the assistant state attorney. The report also contains the recommended sentence that has been passed to the defendant for the judge to review. The report is not completed for all cases there are others that are an exception (Shoemaker, 2009). The case then proceeds to a dispositional hearing. Here, the judge sentences the defendant according to the crime committed and the circumstances that led to the case. The sentence may be imposed in two ways; either the defendant may be put under probation or may be committed to the department of juvenile justice (Krygier, 2009). Both sentences however do not go beyond the nineteenth birthday of the defendant. In cases where the defendant is put in probation, he/she is expected to complete community service work or letters of apology. This is usually not time conscious since as soon the juvenile serves as it expected of them the sentence may be terminated (Krygier, 2009). On the contrary when the juvenile is committed to the department of juvenile justice, their sentences are time associated (Shoemaker, 2009). In such instances then the court identifies the restriction that is most appropriate. Currently there are four commonly known levels of commitment. These are low risk programmes, moderate risk programmes, high risk programmes and lastly the juvenile prison (Shoemaker,

Thursday, July 25, 2019

Relationship between heavenly love and earthly love Essay

Relationship between heavenly love and earthly love - Essay Example uses on the speech of Pausanias and Socrates, in the Symposium, and that of Augustine of Hippo, in explaining this concept of heavenly and earthly love. It will thereafter analyze any contrast or connection that exists between these teachings of love, with the ideas of Kant. In the symposium, Pausanias denotes that the goddess of love is Aphrodite and there are two types of love, the earthly love, and the heavenly love. Aphrodite is associated with both. Through this speech, we are able to find out that the Greeks believed that all types of love emanates from god that is Aphrodite (Plato, 535). This is both good and bad love. By good love, Pausanias means heavenly love, and by bad, love, Pausanias means common or earthly love. Pausanias believes that loving an individual is neither a positive nor a negative activity. This is because, if it is done properly, then this is a good love, and if it is done negatively, then it becomes a bad love (Plato, 536). Pausanias further believes that common love is bad. This is because the attraction that emanates from common love is indiscriminating, and it is always directed towards the body of an individual. This is as opposed to their minds. It is therefore to the belief of Pausanias, that the fruits of common love involve lust, an interest in women and men, and other negative issues such as sodomy, lesbianism, and even homosexuality. Relationships that are developed out of these issues emanate from common love, and they are only interested in the body of an individual, as opposed to the mind of an individual. Furthermore, the proponents of common love believe that when their target is less intelligence, then it is good. This is because they can easily get their target, and misuse them. Based on these facts therefore, it is possible to denote that earthly or common love, is selfish, and unjust, hence it is a bad type of love. Socrates explains this concept of heavenly love, based on the views of Diotima. Diotima explains that

Cloning of Animals Assignment Example | Topics and Well Written Essays - 1000 words

Cloning of Animals - Assignment Example This somatic cell is from the genetic donor. This is a process where â€Å"the nucleus of a somatic cell is transferred to the cytoplasm of an enucleated egg† or an egg whose nucleus is removed in order to remove the female’s DNA. This female is the egg donor. These bad results of cloning like the oversized heads and the twisted limbs are due to the epigenetics problem. This is the â€Å"control of gene expression (specifically transcription), that is not dependent on DNA base sequence.† This means that SCNT, or somatic cell nuclear transfer, produces the epigenetic error. Why? (READ THE CAUSES): The same technology is used, of course. Those animals that are born alive from the SCNT process are processed as food. So far, cows, pigs and sheep are used as food. But cloned animals for food are not that practical. Why ? Because there are 3 basic problems with this: Second, (READ), Well, this is something we cannot change. Muslims can never eat pork and Hindus will never eat beef, whether cloned or natural. And Fundamental Christians are always against cloning, and they are assumed not to like cloned food. Third, (READ), and now you can imagine the cost of cloning to the government and this cost will be passed on to the taxpayers, and that’s US! I certainly don’t want to pay higher taxes just for people to eat beef from cloned cows or cloned fried chicken. 3. Third, (READ), this means that perhaps cloned food is delicious today and it seems healthy, but we don’t know what will happen later in life. This cloned food might damage the human body in the long run, and the chemicals in cloned food may cause various diseases. More research therefore is

Wednesday, July 24, 2019

Research report on student consumerism Essay Example | Topics and Well Written Essays - 1500 words

Research report on student consumerism - Essay Example However, only three questionnaires were returned and, consequently, considered within the research analysis. Thus, the sample is represented by three female full-time students, who live in the university dorm, are of the same age, but study different majors. The questionnaire they filled in included questions that would provide an insight to why they prefer some types of food over other and how their preferences have changed since their coming to the university. Literature Review Basis for the present research was derived from the analysis of available literature and research on consumer behavior in terms of consumers’ habits, preferences, and approaches to eating and food shopping. The major literature that advised present research included researches that had been conducted primarily among university students in Canada (Eichler, 1988) that studied factors influencing person’s food choices, difference in approaches to student diet, etc. Thus, according to Silverman (19 97) there is a â€Å"Weight Gain Attributed to University Life† phenomenon known as the â€Å"freshman 15.† It is a popular belief that university students gain an average of fifteen pounds during their first year of university (Mason, 2002). Although it is partly a myth, studies show evidence that the majority of students entering university do in fact gain a significant amount of body mass during their first year of university attendance, which is associated with the accumulation of body fat (Blaxter, Hughes, Tight, 2006) A research by Hammersley (1993) looks at the factors influencing a person’s food choices, which are numerous and the relationships between those factors are seemingly complex (Wolcott, 1990). There is a high level of variance between the factors identified and described by researchers; the number and specificity of these factors vary, depending on the scope of the study. (Yates, 2004) Researchers of Healthy University of Toronto limited their study of food security on the St. George campus to five main factors: time, location, cost, variety, and nutrition (Wolcott, 1990). In another study, Holliday (2007) described factors as four stimulus properties of foods: Budget-friendly, Energizing, Sensory satisfaction, and Time; this is known as ‘BEST’ (Holliday, 2007). In contrast, a qualitative study conducted by Ribbens and Edwards (1998) to assess adolescents’ perceptions of factors influencing their food choices uncovered numerous situation-specific factors; media, peer influence, body image, mood, food cravings, and vegetarian beliefs are just some examples (Ribbens, Edwards, 1998) Method In this research Interview method has been used to collect data from our target respondents. We used direct interview method to get the answers. Major reason to use this method is the Open ended nature of Questions which have been asked to the Interviewees but at the same time it was not completely an un-structured typ e of interview because we have used the list of questions to get the desired results for our research topic so one can say that this was the semi-structure type of interview. There is certain benefit for using this approach like, In this way respondents can easily express their feelings more easily and Convenient and in result of this approach the non-biased information can be easily collect to some extent. (Taylor, 2002) The selected sample students are hostelries therefore there are chances

Tuesday, July 23, 2019

Organisational Behaviour and Development-Assessment Task No 2 Essay

Organisational Behaviour and Development-Assessment Task No 2 - Essay Example These are the questions we will seek to address in this report and attempt to provide solutions based on various researches. Emotions in the workplace have a profound effect on everything we do as it affects thoughts and behaviors. On the other hand, attitudes are a representation of beliefs, feelings and behavioral intentions towards a person, object or event and involve conscious logical reasoning unlike emotions which occur as events often without awareness. Emotions affect workplace attitudes. In the workplace as we interact with co-workers, individuals experience a variety of emotions that shape our feelings towards the company, the job itself and our bosses. The most common of this attitude researched about in the work place are job satisfaction and organizational commitment (Workplace emotions and attitudes, n.d). From our case study, Fran’s Hayden suffered significant adverse effects at Dairy engineering arising substantially from job satisfaction and job role expectat ions. Job satisfaction represents an individual’s evaluation of their job and work content (Workplace, n.d). Frans expectations were affirmed from Peter Bruton her boss, Rob the chief accountant and herself. First we learn that Fran’s was interested in a position in the dairy engineering in the hope that she will gain practical experiences in addition to the higher salary. She was offered a position she knew she will not enjoy but still went ahead and accepted it. she was told her work will entail compiling the monthly report known as â€Å"big brother† but later she found her work was entirely clerical which made her wonder why MIS needed her yet she had very little to do in that department. Obviously Fran’s expectations of practical experience were not met. The other problems identified from the case study that made it unbearable for Fran is the poor organizational structure of dairy engineering. Every organization has components that require profession al and effective management. The key components of an organization are people and structure. Formal organizational structures are hierarchical with people at each level having their own objectives and people at the lower levels report to higher level managers. This system has the principle of unity of command inbuilt in it. This determines the efficiency of the organization which depends on the free flow of information, efficient communication system, well defined authority and responsibilities supported by detailed policies, rules and regulations. An organization must have outlined systems that are understood by everyone in the organization (Ashraf, n.d.). Looking at the Fran scenario in the dairy engineering, there was no formal on boarding process in place. On her first day of work, she was accompanied by a colleague who introduced her to the rest of the team then her boss explained to her what her duties are and she started working. A formal new hire process ensures that new emp loyees like Fran are given the same information with respect to company policies, expectations and procedures that ensures consistency and accuracy (Plowman, 2010). When Fran boss went on leave, Fran took orders from Rob the chief accountant who gave her the opportunity to attend a management workshop in Auckland. When Fran got back, her boss Burton was furious that he had not been consulted and he felt his authority was being undermined.Fran is not to blame since all she did was do as she was told. The

Monday, July 22, 2019

The Relationships between Happiness and Meaning Essay Example for Free

The Relationships between Happiness and Meaning Essay Every person on earth experiences happiness as well as unhappiness.   Even infants cry as well as laugh.   Ultimately they grow to realize that there are things that make them happy just as there are situations that make them unhappy.   Understanding the nature of these different things and/or situations is to know how the meanings of these things and/or situations are related to one’s happiness or unhappiness.   Thus, happiness and meaning happen to be closely connected with each other.    There is a reason why we experience happiness or unhappiness.   These reasons are the meanings of our experiences of happiness or unhappiness.   Ã‚  Ã‚  Ã‚   There are many ways to understand happiness.   A person who is ecstatic is understood to be extremely happy.   Another person may experience happiness as he or she enjoys life.   Conversely, a person who does not really attempt to enjoy life may be satisfied with his or her life nevertheless.   All of these people may be happy.   Even so, all of them may have different reasons for being happy.   Ã‚  Ã‚  Ã‚   Prophets and sages have often stated that things on earth cannot always make us happy.   A person who is truly happy with life because he or she enjoys a nearly perfect relationship with his or her spouse may lose the spouse to death.   Another person may believe that material things, e.g. new cars, are responsible for his or her happiness.   The person who loses his or her spouse will experience unhappiness, just as the individual who loses all of his or money would become depressed.   People who believe that happiness is equivalent to material success may also develop â€Å"affluenza,† described in the following ways: (1) â€Å"The bloated, sluggish and unfulfilled feeling that results from efforts to keep up with the Joneses;† (2) â€Å"An epidemic of stress, overwork, waste and indebtedness caused by dogged pursuit of the American Dream;† and (3) â€Å"An unsustainable addiction to economic growth (Leon).†Ã‚   Perhaps the rich people who have committed suicide, e.g. Kurt Cobain, were suffering from affluenza.   Regardless, it is generally believed that a person must find the meaning of his or her life to be truly happy (Brain).   Hence, the person who loses his or her spouse has a couple of choices: (1) Either to commit suicide because he or she cannot deal with the unhappiness caused by the loss; or (2) Find reasons to be happy despite the loss.   Ã‚  Ã‚  Ã‚   Psychologists have found that people feel happy when they increase their understanding.   In other words, knowing the meaning of the things in our world is bound to increase our happiness.   Thus, many people feel satisfied when they read books.   The person who was dependent on his or her spouse for happiness may find happiness in this way.   Alternatively, the individual may decide to pursue a goal that helps to move the human society forward in some way.   The meaning of life is also understood by people to be the service of God (Brain). Regardless of the meaning of life realized by the person who had believed that his or her spouse was responsible for his or her happiness; understanding what his or her life is worth may help the individual to experience satisfaction with life once again.   Moreover, whether the person chooses to serve society or God, by knowing the meaning of his or her existence, the individual opens up to future experiences that may very well allow him or her to find happiness without the spouse.   After all, pursuing a goal to fulfill the meaning of life may lead the person to joyful experiences.   Hence, meaning and happiness could never be separated. Works Cited Brain, Marshall. â€Å"Chapter 41: Material Things Will Not Bring You Happiness.† The Teenager’s Guide to the Real World. 1997. 10 Dec 2007. http://www.bygpub.com/books/tg2rw/chap41excerpt.htm. Leon, Virginia De. â€Å"Money cant buy meaning: Many simplify to find happiness.† Spokesman Review. 9 Jul 2006.