Bread Loaf School of English2016

Total Page:16

File Type:pdf, Size:1020Kb

Bread Loaf School of English2016 BREAD LOAF SCHOOL 2016 COURSE OF ENGLISH CATALOG SUMMER 2016 1 SUMMER 2016 SESSION DATES VERMONT READ THE Arrival and registration . June 21 Classes begin . June. 22 Classes end . August. 2 Commencement . August. 6 WORLD At Bread Loaf, we engage and inspire innovative thinkers who, NEW MEXICO Arrival and registration . June 18–19 through the interpretation of literary and critical texts, Classes begin . June. 20 contribute creative thought, write persuasive and original arguments, Classes end . July . 28 and use relevant emerging technologies to develop effective Commencement . July. 30 teaching and learning practices. OXFORD Arrival . June 27 Registration . June . 28 Classes begin . June. 29 IN A WHOLE Classes end . August. 5 Commencement . August. 6 NEW WAY 2 BLSE SUMMER 2016 1 WELCOME TO BREAD LOAF WHERE YOU'LL FIND ■ A community of engaged students eager to immerse themselves in rigorous graduate study with leading faculty from eminent colleges and universities across the U .S . and U .K . ■ The opportunity to work closely with faculty and fellow students . ■ Innovative, place-based learning oppor- tunities at three culturally distinctive campuses . IMMERSIVE UNIQUE INNOVATIVE The six-week summer schedule allows working Courses at Bread Loaf’s three campuses in Students have access to major libraries; state- ■ A one-of-a-kind chance to refresh and professionals to pursue graduate education. Vermont, New Mexico, and Oxford, England, of-the-art digital tools for research, writing, and recharge your imagination in a collabo- The full-time residential experience encourages link education to place and give students unpar- teaching; and membership in the nationally rative environment for six uninterrupted students to immerse themselves in curricular alleled access to diverse cultural experiences. recognized Bread Loaf Teacher Network. BLTN weeks . and co-curricular life and shape a dynamic Degree candidates must attend the Vermont promotes the translation of Bread Loaf summer learning community through daily connections campus at least once, but are encouraged to study into innovative teaching methodologies, ■ An expansive curriculum in literature and with colleagues, professional actors, faculty, and attend all three campuses. providing the training, connections, and support culture, pedagogy and literacy, creative staff. Classes are complemented with field trips, for teachers to transform their classrooms. writing and theater arts—especially films, dances, readings by Pulitzer-prize winning INDIVIDUALIZED useful to K-12 English and language authors, student-generated conferences, and Bread Loaf classes are small, and instruction is TRANSFORMATIVE arts teachers, to students preparing sports activities. adapted to students with different training, expe- Bread Loaf fosters opportunities for professional for a PhD, and to professionals seeking rience, talents, and goals. The faculty meet with advancement and intellectual enrichment, which intellectual challenge and enrichment . EXPANSIVE students regularly to guide work in progress that allow students to return to their communities The Bread Loaf curriculum combines the study of builds on individual background and interests. with the partners, skills, and inspiration to ■ A year-round professional development literature with study in creative and pedagogical Students can enroll for one or more summers of develop innovative projects and pedagogies. network built on long-term partnerships fields, encouraging students to think across disci- continuing graduate education, or pursue a mas- Bread Loaf challenges students to form new ways and a track record of extraordinary plinary boundaries. As leaders in multiple fields, ter of arts or master of letters degree in English. of reading, writing, performing, teaching, and success in underserved schools . faculty members bring diverse and groundbreak- interpreting the world. ing approaches to what and how they teach. 2 BLSE SUMMER 2016 3 WHERE WE ARE Bread Loaf students spend their summers at three culturally distinctive campuses: in the Green Mountains of Vermont; Santa Fe, New Mexico; and the historic city of Oxford, England. BREAD LOAF/VERMONT is located on Students may take advantage of weekend excur- Middlebury’s Bread Loaf mountain campus in sions arranged by the Bread Loaf staff. Ripton. With the broadest curriculum, it is the largest of the programs and enrolls roughly 250 BREAD LOAF/NEW MEXICO takes place at students each summer. Bread Loaf/Vermont is St. John’s College, stretched out below the Sangre also home to the acclaimed Bread Loaf Acting de Cristo Mountains. The program enrolls Ensemble, an integral part of the summer approximately 80 students, and the curricular experience. and co-curricular offerings take advantage of the Students are housed in historically preserved cultures of the Southwest. Victorian buildings on campus, most in double Students are lodged in double rooms and rooms, and share meals in the Bread Loaf eat together at St. John’s College. Students with Inn. Students with families arrange their own families arrange their own off-campus housing. off-campus housing. Students have access to Students have access to the library and other two libraries: the Davison Memorial Library on facilities of St. John’s College. the Bread Loaf campus, where reserve readings Extra-curricular offerings include a Santa Fe for summer courses are shelved, and the Davis Opera workshop and field trips to sites such as Family Library on the Middlebury campus, Tent Rocks National Park and Acoma Pueblo. which houses the main collections. The rural campus sits within the Green BREAD LOAF/OXFORD is based at Lincoln Mountain National Forest and has access to College, University of Oxford, and is centrally trails, mountain lakes, and rivers, as well as situated within the city. The program enrolls athletic facilities on campus and at Middlebury. approximately 75 students and features courses on British and world literatures. Students take Historic Oxford’s old English charm; the southwestern style one two-unit course (six semester-hour credits), of Santa Fe; the mountain views in Ripton, Vermont . half of which is devoted to independent research. SUMMER 2016 5 HISTORY In 1915, Joseph Battell, a former Middlebury College student and longtime Middlebury ACADEMICS businessman, willed to Middlebury College an inn, a collection of Bread Loaf provides students with a rigorous and innovative curriculum cottages, and 31,000 Ripton, Vermont 1885 well suited to the needs of K–12 English and language arts teachers. acres in the heart of Vermont’s Green Mountains . These lands and residences became home to the Bread Loaf School of English, THE MASTER OF ARTS (MA) DEGREE THE MASTER OF LETTERS which held its first session in 1920 with the aim of providing graduate education in the fields The Master of Arts program gives students (M LITT) DEGREE of English and American literatures, public speaking, creative writing, dramatic production, a broad familiarity with the fields of British, The Master of Letters program allows students and the teaching of English . In 2015, the philanthropy of trustee Louis Bacon ’79 ensured American, and world literatures. The curriculum to achieve mastery of a specialization within the the conservation of 2,100 acres of Bread Loaf land in perpetuity through the Bread Loaf is divided into six groups: fields of literature, pedagogy, and/or the creative Preservation Fund . arts. The MLitt is similar to the MA degree except that MLitt candidates design their own 1: Writing, Pedagogy, and Literacy fields of concentration: seven of the 10 required 2: British Literature through the units must be in the field. Although no thesis is Seventeenth Century required, in the final summer each degree candi- Students have single accommodations in Lincoln date must pass a comprehensive examination or 3: British Literature since the College or its annex in Lincoln House, with produce a final project representing the course Seventeenth Century bathrooms en suite. A limited number of rooms work done in the field. 4: American Literature are available on site for students with partners, and some off-site accommodations are available 5: World Literature CONTINUING GRADUATE EDUCATION for students with families. Students have access 6: Theater Arts Students may enroll for continuing graduate to both the Lincoln College Library and the education for one or more summers. Students 400-year-old Bodleian Library, one of the finest receive a certificate in continuing education research libraries in the world. Degree candidates must complete 10 units, five after successful completion of each summer Students may take advantage of course- of which must meet distributional requirements. term. Continuing education students may take Professor Jeri Johnson’s seminar on James Joyce . related field trips to such places as London, No master’s thesis is required. Though students advantage of all that Bread Loaf offers, including Stratford-upon-Avon, and Bath. The cosmo- have 10 years to complete the degree, they ordi- membership in the Bread Loaf Teacher Network, Classes are small (six to eight students each), and politan city of Oxford is home to many parks, narily take two units per summer and finish the and may elect to pursue a degree, as long as they most include individual tutorials in addition to museums, shops, and places of historical and degree in four to five summers. are in good academic standing. Credits earned seminar meetings. contemporary interest. at the School of English are generally eligible for 6 BLSE SUMMER 2016 7 transfer to other graduate institutions as long as the courses are not to be counted toward a Bread KEN MACRORIE Loaf degree. WRITING CENTERS COURSE LOAD Each of the Bread Loaf campuses runs Each unit is equivalent to three semester hours a writing center staffed by trained or four and one-half quarter hours of graduate Bread Loaf students . The centers were credit. Classes at the U.S. campuses are valued established in honor of Ken Macrorie, at one unit each; Oxford classes are valued at a leader in the field of writing and two units, one of which is constituted by inde- education . Peer readers at each center pendent study.
Recommended publications
  • Layout Version Gerlach
    The Brock Review Volume 10 (2008) © Brock University Greenscape as Screenscape: The Cinematic Urban Garden 1 Nina Gerlach Ruprecht-Karls-Universität Heidelberg Abstract : The relationship between city and garden appears in many feature films in order to visualize narrative dualisms. In particular, the character of the boundary - as a fundamental medial characteristic of gardens - determines the meaning of the represented space. According to the Western representation of ideal places and the historically-developed antagonism of city and garden, the boundary defines the latter as the diametrically opposed utopian antithesis to urban life. This antagonism is used, for example, in The Garden of the Finzi-Continis (1970) in the political context of World War II, or as in Being There (1979), embedded in a philosophical discourse centered on Voltaire and Sartre. The dystopian city of Los Angeles in Ridley Scott’s Blade Runner (1982) lacks space not only for gardens, but for any natural environment in general. The only garden that remains, exists as a kind of Paradise Lost , a placeless topos with a unicorn, banished into and limited by the world of imagination of the protagonist. As this example indicates, the cinematic garden and particularly the more specialized topic of the relationship between the garden and the city within cinema is still an under-examined realm of the research of garden history.2 In cinematic genres where the city is usually presented as the essential character -- such as in Neorealism, Film Noir, and dystopian science fiction -- garden space is hardly discovered. 3 These types of films frequently transport an extremely negative connotation of the city.
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • Last Updated July 2020 Changes from Last Version Highlighted in Yellow Author Title Date Edition Cover Sgnd Comments
    Last updated July 2020 Changes from last version highlighted in yellow Author Title Date Edition Cover Sgnd Comments ANON THE LAWS OF ROYAL AUCTION BRIDGE 1914 1st Card Small, stitched booklet with red covers ABERN Wendell & FIELDER Jarvis BRIDGE IS A CONTACT SPORT 1995 1st Card ABRAHAMS Gerald BRAINS IN BRIDGE 1962 1st No DW Ditto 1962 1st DW Ex-G C H Fox Library "A C B" AUCTION BRIDGE FOR BEGINNERS AND OTHERS 1929 Rev ed No DW ACKERSLEY Chris THE BRIDGING OF TROY 1986 1st DW Ex-G C H Fox Library ADAMS J R DEFENCE AT AUCTION BRIDGE 1930 1st No DW AINGER Simon SIMPLE CONVENTIONS FOR THE ACOL SYSTEM 1995 1st Card ALBARRAN Pierre & JAIS Pierre HOW TO WIN AT RUBBER BRIDGE 1961 1st UK No DW Ditto 1961 1st UK DW Ex-G C H Fox Library ALDER Philip YOU CAN PLAY BRIDGE 1983 1st Card 1st was hb ALLEN David THE PHONEY CLUB The Cleveland Club System 1992 1st DW Ex-G C H Fox Library Ditto 1992 1st DW AMSBURY Joe BRIDGE: BIDDING NATURALLY 1979 1st DW Ditto 1979 1st DW Ex-G C H Fox Library ANDERTON Philip BRIDGE IN 20 LESSONS 1961 1st DW Ex-G C H Fox Library Ditto 1961 1st DW PLAY BRIDGE 1967 1st DW Ditto 1967 1st DW Ex-G C H Fox Library ARKELL Reginald BRIDGE WITHOUT SIGHS 1934 2nd No DW Ditto 1934 2nd No dw ARMSTRONG, Len The Final Deal 1995 1st Paper AUHAGEN Ulrich DAS GROBE BUCH VOM BRIDGE 1973 1st DW Ex-Rixi Markus Library with compliment slip "BADSWORTH" BADSWORTH ON BRIDGE 1903 1st Boards Ex-G C H Fox Library aeg BADSWORTH ON BRIDGE 1903 1st Boards Aeg; IN PLASTIC PROTECTIVE SLEEVE AUCTION BRIDGE AND ROYAL AUCTION 1913 2nd Boards BAILEY Alan ABRIDGED
    [Show full text]
  • Modern Architecture and Spatial Experiences in Film
    Modern Architecture and Spatial Experiences in Film Rizka Fitri Ridayanti Advisor: Diane Wildsmith Architecture International Program Faculty of Engineering University of Indonesia ABSTRACT Architecture and film in this modern era are inseparable concerning the generation of perceptual spaces. Architecture is built in and around spaces, which may provide the setting for a film, whereas film stands as a two-dimensional medium to explore and present architecture as a narrative framework. Architecture is a fundamental component in order that film can deliver its narrative. This paper discusses how architectural representation is conveyed to encase the spatial narrative of a film and the important role they hold in conveying messages, underlying narratives, and the spatial experiences in a film. It discusses the workings of real to reel, borrowing Nezar AlSayyad‟s term in reference to the reality and the cinema, using the modern architecture in Jacques Tati‟s Playtime (1967) as a case in point. Architecture in the real and reel stand as the main focuses of this paper. Finally, it observes the concept of reel to real, how the architecture and film can affect our perspectives in life and be used as parameters for design. Keywords: architecture; architectural representation; film; narrative; space INTRODUCTION Since the late 19th century, film developed as a medium that has allowed increased awareness and appreciation of the 3D representation of architecture as well as urban spaces.1 Film captures motions, sounds, and sequential narratives of a city‟s architecture that allows an experience of 3D architectural spaces through 2D medium. No other medium has had the power to present an exploration of real or virtual 3D architectural spaces as boundlessly as film.
    [Show full text]
  • Cuisine and Symbolic Capital
    Cuisine and Symbolic Capital Cuisine and Symbolic Capital: Food in Film and Literature Edited by Cheleen Ann-Catherine Mahar Cuisine and Symbolic Capital: Food in Film and Literature, Edited by Cheleen Ann-Catherine Mahar This book first published 2010 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2010 by Cheleen Ann-Catherine Mahar and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-2219-1, ISBN (13): 978-1-4438-2219-0 TABLE OF CONTENTS List of Images............................................................................................ vii Preface........................................................................................................ ix Contributors................................................................................................ xi Culinary Translations of Identity: From Britain to China Chapter One................................................................................................. 2 Translating Crepes: Politics, Economics and Culture in Philipe Massonnet’s “La crêperie de Pékin” Michelle Bloom Chapter Two .............................................................................................
    [Show full text]
  • 16FQ Film Classes
    Film Courses Fall 2016 3020-01 History of Film Staff TTH 1:30-3:35 The course will examine the evolution and development of film from its beginnings in the mid 1890's to rougly 1960. Focus will be upon the four broad areas of investigation: (1) the technological innovations upon which the film industry depended (2) economic modes of production that governed film industry practice (3) aesthetic movements and styles as an expression of national identity, and (4) the cultural and social impacts of the movies. The course chronology will be framed to cover the early years of cinema, or "Primitive Era" (1895-1914), the Silent Era (1914-1927), the Sound Era to the Post War Period (1927-1945), and the High Classical period that ends wtih the breakdown of the studio system (1945-1960). 3240-01 Genre: Horror Cumbow TTH 6:00-8:05 Tales and images of the supernatural, hauntings, human madness, monsters from outside and inside have dominated the art, literature, and culture of every society. These themes and images of horror helped define the early cinema, from the dancing imps and moon people of Georges Melies to the first “Frankenstein,” created at the New Jersey studios of Thomas Edison. Many of the formative classic films are horror films. What does horror tell us about ourselves, about the human condition, and about film art? This course examines two dozen exemplary horror films, spanning several countries and eleven decades of film history, finding reasons for each film’s lasting importance, the light each sheds on its particular era and culture, and how each represents the changing face of the horror genre itself.
    [Show full text]
  • Lecture: Tuesday / Thursday 11:00 A.M.–12:15 P.M., Castellaw 101 Screening: Wednesday 6:00–10:00 P.M., Castellaw 101
    Baylor University ● Dept. of Communication Studies, Film & Digital Media Division ● Spring 2011 Lecture: Tuesday / Thursday 11:00 a.m.–12:15 p.m., Castellaw 101 Screening: Wednesday 6:00–10:00 p.m., Castellaw 101 Professor: Dr. James Kendrick Office: Castellaw 119 Office Hours: Monday, Wednesday 12:00–2:00 p.m. All other times by appointment Phone: 710-6061 E-Mail: [email protected] Web Site: http://homepages.baylor.edu/james_kendrick COURSE DESCRIPTION This course offers an institutional, aesthetic, and cultural history of motion pictures across the world, starting with the invention of moving picture technologies in the late 19th century and concluding with the ever-rising dominance of the Hollywood blockbuster and the development of digital cinema in the 21st century. In studying the history of motion pictures, we will take into account not only the major figures who influenced their development both technologically and aesthetically, but also the cultural influences, politics, and economic factors that helped shape them. We will consider the development of motion pictures as a narrative form, cultural commodity, political object, art form, and avenue of escapist entertainment. One of the keys emphases in the class will be the historical intersections of various sites of cultural production (movies, television, advertising, censorship, political propaganda, etc.) and how they influence and shape each other. Because the breadth of international film history far exceeds what can be covered in a single semester, this course will focus most heavily on the history of film in the United States, although we also look at various historical moments in the Soviet Union, Japan, France, Germany, Italy, and Poland.
    [Show full text]
  • Gold Coast Bulletin
    Gold Coast Bulletin No 4 Wednesday 23rd Feb 2005 Editors Nick Hughes & Nicoleta Giura Silverware going offshore Michelle Brunner and John Holland, Major Pairs Winners bridge professionals from England, Prize Money goes to the top three in won the Gold Coast Pairs yesterday. all sections, down to the Z Consola- Both have represented England, tion (& to 5th in Championships, 4th Michelle has won a World Champi- in Plates). Major prizes will be pre- onship (the Venice Cup in Brazil) sented at the Victory Dinner. Others They are on their second trip to can get theirs after 6pm Friday from Surfers. This time Adelaide, Mel- the ANA desk. bourne, Perth and Uluru are on their itinerary. Championship (& Playoff Points) Michelle & John 1 J Holland - M Brunner Michelle warmed up for yesterday’s 2 M Cornell - R Jedrychowski 20 Success on their second visit final session by giving a talk at the 3 K Dyke - D Wiltshire 15 well-attended teacher’s meeting. 4 M Courtney - P Wyer 10 She will also be one of the panellists Hands from the final 5 P Gosney - N van Jole 5 on the second You ask, We answer, Here’s a neat trump coup: tonight at around 11pm. ]KJT3 Best Women’s Pair Mike Cornell & Ryszard [K M Gidley-Baird - R Finkelstein Jedrychowski had a big final set to }AQT Open Plate overtake Kieran Dyke and David {JT964 1 B Neill - R Klinger Wiltshire, who led overnight but ]Q87652 ]A4 2 J Wignall - B Scott scored below average in Session 3. [6 [J942 3 A & K Nelson Bruce Neill and Ron Klinger won the }J92 }8765 Plate comfortably.
    [Show full text]
  • Portland Daily Press: September 7, 1900
    PORTLAND PATTY PRESS. i i OKI — ■ LAND, MAINE, FRIDAY SEPTEMBER 1900. Jt— _ MORNING, 7, PRICE THREE CENTS. I IfiW APVjKHTISEMKNTa® NEW ADVERTISEMENTS® remains of officers and enlisted men of and seize the herself. Her IIE the marine empire pro- ~SOliilY TALKED. navy and who died or corps, PEOPLE Of PQBTLAN3 AND VIGINIIY. posal is an unfriendly act toward Ger- ifTHE ... were killed 1 in action ashore or afloat and jsy—' many,. since Count Von Waldersee an- buried outside of the continental limits nounced that he would an I am to announce to the of the never give pleased citizens Gf Portland and m x- United States since April to 31, 1898, order to retreat,” New the official date of the of the patrons throughout England, that I have a beginning The opened fine new * Vossiohe Zeitung says: office at 478 1-2 Ftockhill Interview Re- Spanish war. optical Congress street (opposite Preble House) ‘‘Russia is trying to establish a protec- I be to torate over the celestial empire, in doing where will pleased moot all persons whoso eyes trouble pudiated. ENGLAND PLEASED. which it makes no difference to her if in I am not a them any way. and do she vexes physician not perform opera- Emperor William and thwarta tions on the nor treat them with At Germany’* Expressed Determination the policy of eyes medicines. I wiil examine Germany.” free of to Remain in PcUin. Even the semi-ollicial Berliner Post ex- eyes, however, charge, and if need your they glasses I wrll presses ‘‘painful surprise” at the latest so.
    [Show full text]
  • Rock Island Argus/Moline County Board, Resulting in Inaction on Beyond the Unfolding of Daily Events
    2 River Cities’ Reader • Vol. 21 No. 862 • August 7 - 20, 2014 Business • Politics • Arts • Culture • Now You Know • RiverCitiesReader.com With a 90% post-graduation placement rate, we help young alumni start out strong and give our state the professionals we need. #TheUforIOWA River Cities WK2.indd 1 7/30/14 12:56 PM Business • Politics • Arts • Culture • Now You Know • RiverCitiesReader.com River Cities’ Reader • Vol. 21 No. 862 • August 7 - 20, 2014 3 GUEST COMMENTARY by Jeff Ignatius [email protected] Davenport’s Planned News Site: A Bold, Unworkable Idea, Repackaged PR, or ... ? ow would the City of Davenport easily adaptable material that would “Our Story” We need to ... tell our story from the city’s have covered the recent vetoes warmly present Davenport. side.” Hby Mayor Bill Gluba of the Dock But this idea was also pitched by city and the “Truth” “We have a positive message,” development plan and the St. Ambrose staff quoted in the article as “bold” and a The Fiscal Year 2015 Davenport Alderman Ray Ambrose said. “We’ve University rezoning request for a new “deep dive,” words that suggest ambition budget vaguely mentioned “a new always struggled to get that message out.” stadium? And how would it have covered beyond marketing. As Davenport communications initiative, Open “You lose too much when you allow Gluba’s proposal to bring illegal immi- Business Development Manager (and Davenport,” with funding for several somebody else to tell your story,” Brecht grants to Davenport, which was – to put former daily-newspaper reporter) Tory new positions: a part-time Web designer, said.
    [Show full text]
  • Here Were Many Mighty Works & a Great Outpouring of the Spirit So That I Prophesied and Entered Into the Kingdom Celestial
    1938 Letters • 173 [picture postcard: Angel Moroni Monument, Hill Cumorah, near Palmyra, New York]34 [postmarked Hudson, NY, 27 July 1938] Here were many mighty works & a great outpouring of the spirit so that I prophesied and entered into the Kingdom Celestial. B Walpole, New Hampshire. [2(?) September 1938] Dear Kate: Hell no. One manuscript more wouldn’t even be perceptible in the heap I’ve read through in the last two weeks. I trust the comment is full enough. I’d expand it to three-quarters of an hour at Bread Loaf but I wouldn’t say any more. The gospel accord- ing to DeVoto (Uncle Belly as the psychopathology of everyday life made the speaker of the evening call me on Tuesday night) is just this: a story is about one thing, a story is developed, a story is dramatized. It was a good conference, the best yet by a Mormon block. Primarily because there were some writers there. Theodore Strauss, Harriet Hassell, Josephine Niggly, a gent named Ford, another one named Turtellot, all Bread Loaf Fellows, were pretty good, and Strauss is going to be better than that.35 (He did “A Night at Hogwallow,” which I didn’t give a prize in the L-B novelette contest.)36 But the nicest Fellow, and one who is going to go farther than the rest of them except Strauss, is Elizabeth Davis, a very pretty child from Michigan with one of those voices, like Josephine’s in MT, whose teleology is to knock me for a row of nostalgic heartbreaks.37 Someone wrote me about a long story of hers in Good Housekeeping, called “Fourteenth Summer,” and it turned out to be damned good.
    [Show full text]