DOCSLIB.ORG

FALL 2012 Undergraduate Course Offerings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FALL 2012 Undergraduate Course Offerings 5L 5L FALL 2012 Undergraduate Course Offerings NYU Gallatin 1 Washington Place New York, NY 10003 212.998.7370 TABLE OF CONTENTS 3 NEW COURSES 4 COURSE SCHEDULE 9 GLOBAL COURSES FALL 2012 COURSE DESCRIPTIONS 10 FIRST-YEAR PROGRAM All students who enter Gallatin with fewer than 32 units are required to take three courses that constitute the First-Year Program: a First-Year Interdisciplinary Seminar, which introduces students to the goals, methods, and philosophy of university education and to the interdisciplinary, individualized approach of the Gallatin School, and a two-semester writing sequence (First-Year Writing Seminar and First-Year Research Seminar), which help students develop their writing skills and prepare them for the kinds of writing they will be doing in their other courses. 20 INTERDISCIPLINARY SEMINARS Interdisciplinary seminars are liberal arts courses that engage a variety of themes or issues in the history of ideas. Generally, these courses focus on significant works in the humanities, social sciences, and sciences. These courses are relatively small (22 students) and they emphasize class discussion and thoughtful writing assignments. Gallatin students are required to complete 16 units in interdisciplinary seminars. 38 ADVANCED WRITING COURSES In a workshop format with no more than 15 students, the advanced writing courses engage students in a wide variety of writing exercises and offer an opportunity to share work with fellow students and a practicing professional writer/teacher. Some of the courses focus on particular forms of writing— fiction, poetry, comedy, the journal, the personal narrative, the critical essay—while others encompass several forms and focus instead on a particular theme, such as writing about politics, writing about the arts, and writing about one’s ancestry. 42 ARTS WORKSHOPS Gallatin offers a large variety of arts workshops in music, dance, theatre, and the visual arts. These workshops are taught by successful New York City artists, performers, and writers; they are designed for both beginning and advanced students. The arts workshops all employ an “artist/scholar” model that involves giving stu- dents experiential training in the practice of particular art forms as well as providing opportunities for critical reflec- tion about the artistic process, aesthetic theory, and the sociology of art. 49 COMMUNITY LEARNING Community learning courses bridge the gap between the classroom and the sur- rounding New York community. Students engage in various kinds of activities in the city: arts projects, oral histories, documentary video-making, action research, community organizing. They also read and discuss theories relevant to their work and consider the social, political, and ethical implications of the activities. These projects grow out of partnerships with a variety of community-based organizations. 50 GRADUATE ELECTIVES Graduate electives are available in a variety of fields, including arts, creative writing, and social theory and methods. These courses are open to advanced undergraduates with permission of the instructor. 52 INDIVIDUALIZED PROJECTS Gallatin offers students an opportunity to pursue their interests through a variety of alternatives outside the traditional classroom: independent study, tutorials, internships, and private lessons. 53 TRAVEL COURSE FOR STUDENTS STUDYING ABROAD 54 FALL 2012 FACULTY 58 FOUNDATION REQUIREMENT 60 KEY CONTACTS 2 fall NEW FALL COURSES FIRST-YEAR PROGRAM FIRST-UG 77 FYIS: Play and Games in Early China Ethan Harkness FIRST-UG 78 FYIS: Environmentalism: A Global History Peder Anker FIRST-UG 79 FYIS: Fantastic Voyage: The Art and Science of Science Fiction José Perillán FIRST-UG 80 FYIS: Happiness, Tranquility, and Mysticism Bradley Lewis FIRST-UG 81 FYIS: Fear and Loathing: Documentary and Subjectivity Rahul Hamid FIRST-UG 385 FYWS: Contemplation and Culture Jean Gallagher FIRST-UG 386 FYWS: Listening to Rebel Voices: From Medieval Peasants to Contemporary Protesters Sharon Fulton FIRST-UG 387 FYWS: Keeping It Real: Thinking about Authenticity A. Lavelle Porter FIRST-UG 388 FYWS: Debating Science: Great Scientific Controversies in Context José Perillán FIRST-UG 389 FYWS: Translation: History, Theory, and Practice Kathryn Vomero Santos FIRST-UG 390 FYWS: The Return of the Soldier Joanna Scutts INTERDISCIPLINARY SEMINARS IDSEM-UG 1698 The Social Contract: Early Modern European Political Theory Justin Holt IDSEM-UG 1699 Feeling, in Theory Eve Meltzer IDSEM-UG 1700 Becoming Global? Europe and the World: A Literary Exploration Valerie Forman IDSEM-UG 1701 The End of the World Matthew Stanley IDSEM-UG 1702 Spectacle and Mass Media Moya Luckett IDSEM-UG 1704 The Weary Blues: Rites of Passage and Writing about Passages Matthew Vernon IDSEM-UG 1705 Antigone(s): Ancient Greece/Performance Now K. Horton / L. Slatkin IDSEM-UG 1706 The Origins of Language and Its Place in Western Thought Luke Fleming IDSEM-UG 1708 Visions of the Good Life in Ancient Greece James Bourke IDSEM-UG 1709 Global Surrealism Lori Cole IDSEM-UG 1710 Sex and the State Lauren Kaminsky IDSEM-UG 1711 Politics, Writing and the Nobel Prize in Latin America Linn Mehta IDSEM-UG 1712 Empire, Race and Politics George Shulman IDSEM-UG 1713 From Blackface to Black Power: Twentieth-Century African American Literature Laurie Woodard IDSEM-UG 1714 What is Critique? A.B. Huber PRACTICUM PRACT-UG 1301 Practicum in Fashion Business to be announced ADVANCED WRITING COURSES WRTNG-UG 1019 The Basics and the Bold: Fundamentals of Editing Fiction and Creative Nonfiction Barbara Jones WRTNG-UG 1215 Writing the Other Aaron Hamburger WRTNG-UG 1534 Sidelines: The World of the Cross-Genre Writer Lizzie Skurnick ARTS WORKSHOPS ARTS-UG 1647 Making Virtual Sense: 3D Graphics Studio for Critically-Driven Creative Applications Carl Skelton 2012 3 FALL 2012 COURSE SCHEDULE FIRST-YEAR PROGRAM FIRST-YEAR INTERDISCIPLINARY SEMINARS (OPEN TO GALLATIN FIRST-YEAR STUDENTS ONLY) FIRST-UG 24 Migration and American Culture Dinwiddie W 2:00-3:15 p. 10 Friday schedule for travel to and from NYC sites. F 12:30-3:15 FIRST-UG 32 The Social Construction of Reality Duncombe MW 11:00-12:15 p. 10 FIRST-UG 35 Family McCreery MW 11:00-12:15 p. 10 FIRST-UG 49 The Self and the Call of the Other Greenberg MW 12:30-1:45 p. 10 FIRST-UG 65 Beyond Language Erickson TR 2:00-3:15 p. 10 FIRST-UG 69 Boundaries and Transgressions Cruz Soto TR 9:30-10:45 p. 11 FIRST-UG 70 Holy Grails Romig MW 2:00-3:15 p. 11 FIRST-UG 71 Political Theatre Forman TR 3:30-4:45 p. 11 FIRST-UG 74 Historical Memory in War and Peace Gurman MW 12:30-1:45 p. 12 FIRST-UG 76 What is "Development?" Fredericks TR 2:00-3:15 p. 12 FIRST-UG 77 Play and Games in Early China Harkness TR 9:30-10:45 p. 12 FIRST-UG 78 Environmentalism: A Global History Anker MW 9:30-10:45 p. 12 FIRST-UG 79 Fantastic Voyage Perillán MW 3:30-4:45 p. 13 FIRST-UG 80 Happiness, Tranquility, and Mysticism Lewis TR 11:00-12:15 p. 13 FIRST-UG 81 Fear and Loathing Hamid TR 11:00-12:15 p. 13 FIRST-YEAR WRITING SEMINARS (OPEN TO GALLATIN FIRST-YEAR STUDENTS ONLY) FIRST-UG 319 Aesthetics on Trial Trogan TR 6:20-7:35 p. 14 FIRST-UG 323 Artists' Lives, Artists' Work Traps MW 4:55-6:10 p. 14 FIRST-UG 324 Metamorphoses Foley MW 3:30-4:45 p. 14 FIRST-UG 345 Love and Trouble Weisser TR 9:30-10:45 p. 14 FIRST-UG 353 The Faith Between Us Korb MW 8:00-9:15 p. 14 FIRST-UG 357 Wilderness and Civilization Libby TR 4:55-6:10 p. 15 FIRST-UG 361 Collage: From Art to Life and Back Vydrin MW 2:00-3:15 p. 15 FIRST-UG 365 The Idea of America: What Does it Mean? Gurman MW 3:30-4:45 p. 15 FIRST-UG 375 Writing the Self Huddleston MW 9:30-10:45 p. 15 FIRST-UG 379 Utopia Gellene TR 8:00-9:15 p. 16 FIRST-UG 382 The Body Politic and the Politics of the Body Meyer MW 11:00-12:15 p. 16 FIRST-UG 384 Walking and Writing in New York City Ribeiro TR 2:00-3:15 p. 16 FIRST-UG 385 Contemplation and Culture Gallagher TR 11:00-12:15 p. 16 FIRST-UG 386 Listening to Rebel Voices Fulton TR 3:30-4:45 p. 17 FIRST-UG 387 Keeping It Real: Thinking about Authenticity Porter MW 9:30-10:45 p. 17 FIRST-UG 388 Debating Science: Great Scientific Controversies Perillán MW 12:30-1:45 p. 17 FIRST-UG 389 Translation: History, Theory, and Practice Vomero Santos MW 4:55-6:10 p. 17 FIRST-UG 390 The Return of the Soldier Scutts MW 12:30-1:45 p. 18 TRANSFER STUDENT RESEARCH SEMINARS (OPEN TO TRANSFER STUDENTS ONLY) FIRST-UG 801 Myths and Fables in Popular Culture Lennox MW 11:00-12:15 p. 19 FIRST-UG 802 Coming Home: Identity and Place Lemberg MW 2:00-3:15 p. 19 FIRST-UG 803 Working Ding MW 9:30-10:45 p. 19 4 fall FALL 2012 COURSE SCHEDULE INTERDISCIPLINARY SEMINARS SOPHOMORES ONLY IDSEM-UG 1122 Discourses of Love: Antiquity to the Renaissance Mirabella TR 11:00-12:15 p. 20 SOPHOMORES AND JUNIORS ONLY IDSEM-UG 1592 American Narrative I Shulman R 3:30-6:10 p. 20 IDSEM-UG 1712 Empire, Race and Politics Shulman T 6:20-9:00 p. 21 SOPHOMORES, JUNIORS, AND SENIORS ONLY IDSEM-UG 1061 Literary Forms and the Craft of Criticism Friedman W 12:30-3:15 p. 21 OPEN TO ALL, 14-WEEK, FOUR-CREDIT SEMINARS IDSEM-UG 1128 Bodily Fictions Ciolkowski R 3:30-6:10 p.
Load more

Recommended publications
  • Nuclear Discourse and Its Discontents, Or Apocalypse Now Or Never Jean Bethke Elshtain
    Vietnam Generation Volume 1 Number 3 Gender and the War: Men, Women and Article 21 Vietnam 10-1989 Nuclear Discourse and its Discontents, or Apocalypse Now or Never Jean Bethke Elshtain Follow this and additional works at: http://digitalcommons.lasalle.edu/vietnamgeneration Part of the American Studies Commons Recommended Citation Elshtain, Jean Bethke (1989) "Nuclear Discourse and its Discontents, or Apocalypse Now or Never," Vietnam Generation: Vol. 1 : No. 3 , Article 21. Available at: http://digitalcommons.lasalle.edu/vietnamgeneration/vol1/iss3/21 This Article is brought to you for free and open access by La Salle University Digital Commons. It has been accepted for inclusion in Vietnam Generation by an authorized editor of La Salle University Digital Commons. For more information, please contact [email protected]. NucLear D iscourse ancI Its D iscontents, or, ApocAlypsE Now or Never Jean BEThkE ElskrAiN Human beings think most often in images; a terrible or delightful picture comes into our minds and then we seek to find words to express it, to capture it, to make it somehow manageable. Thus it is with the possibility of nuclear war. Our images are fixed. The scenes of utter destruction at Hiroshima and Nagasaki; two cities laid waste; people disappeared, remaining as shadows on cement or persisting in a terrible and painful twilight zone of lingering death from radiation. Or, even years later, moving through the world carrying within them a perceived taint, a threat to themselves and others: “I am one who has been touched in the most frightening way by the most horrible sort of weapon.” I taught a class at the University of Massachusetts/Amherst for five years called “Issues of War and Peace in a Nuclear Age.” Inevitably, we would arrive at the section of the course that required a discussion of the dropping of the atomic bombs in World War 2.
    [Show full text]
  • 9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry
    9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry. No.1 - September 5, 2011 Dear Lori: I am grateful to Ryoko Kudo, Maxine Steinman and our MSU dancers for opening the doors to the studio in Life Hall last week and welcoming me to sit in on three sessions of the setting of excerpts from There is a Time (1956) by Jose Limon. They worked on “Opening Circle,” “Plant and Reap,” “Mourn,” “Laugh and Dance,” and “Hate & War.” Reviewing and editing my on-site notes, I recalled a helpful observation by Doris Humphrey in The Art of Making Dances with regard to this work. She writes, “There is a Time states its thematic material in the opening section and builds all the rest of its many parts on variations of the same movements. Unfortunately, this escapes most people; what they see is a suite form, contrasted ideas of dramatic or lyric significance. This is because the eye is not sufficiently trained to remember movement themes, and will usually miss them completely.” Indeed, the fact that the original title of There is a Time was Variations on a Theme came through powerfully during these sessions. Ryoko’s precisely-planned and at the same time intuitively- executed method was the embodiment of Limon’s preliminary concept notes for the dance, when he said that “the community…form[s] a very close circle which pulsates symbolizing an ovum or womb in travail…[T]he large circle…symbolize[s] time – the great continuity – eternal, unbroken…without hurry and without end.” I was also mindful of a point that Carla Maxwell made in an interview with The New York Times ten years ago about classic modern dance: “What's indispensable is a consistent point of view that relates to the times,'' she said.
    [Show full text]
  • Columbia College Today Columbia Alumni Center First, Aid 622 W
    Fall 2017 JENNY SLATE ’04 THE LANDLINE ACTRESS GOES TO HER ROOM PATRICIA KITCHER THIS YEAR’S GREAT TEACHER ON THE VALUE OF THE CORE Columbia THE BIG “C” HOW DID IT GET College THERE, ANYWAY? Today After a turn as Aaron Burr — and a moment in the hot seat — STAR Brandon Victor Dixon ’03 continues to dazzle on and POWER off Broadway 12 save the date! REUNION 2018 THURSDAY, MAY 31 – SATURDAY, JUNE 2 If your class year ends in 3 or 8, save the date for Reunion 2018, a chance to reconnect with classmates and friends on campus and throughout New York City. college.columbia.edu/alumni/reunion2018 Columbia Contents College CCT Today VOLUME 45 NUMBER 1 FALL 2017 EDITOR-IN-CHIEF Alexis Boncy SOA’11 EXECUTIVE EDITOR Lisa Palladino DEPUTY EDITOR Jill C. Shomer ASSOCIATE EDITOR 12 18 24 Anne-Ryan Heatwole JRN’09 FORUM EDITOR Rose Kernochan BC’82 ART DIRECTOR features Eson Chan 12 Published quarterly by the Columbia College Office of Alumni Affairs and Development Star Power for alumni, students, faculty, parents and friends of Columbia College. After a turn as Aaron Burr — and a moment in ASSOCIATE DEAN, the hot seat — Brandon Victor Dixon ’03 COLUMBIA COLLEGE ALUMNI RELATIONS continues to dazzle on and off Broadway. AND COMMUNICATIONS Bernice Tsai ’96 By Yelena Shuster ’09 18 ADDRESS ALL CORRESPONDENCE TO: Columbia College Today Columbia Alumni Center First, Aid 622 W. 113th St., MC 4530, 4th Fl. New York, NY 10025 Margaret Traub ’88 experiences “the best and worst humanity 212-851-7852 has to offer, side by side,” doing on-the-ground disaster relief.
    [Show full text]
  • Rudolf Laban in the 21St Century: a Brazilian Perspective
    DOCTORAL THESIS Rudolf Laban in the 21st Century: A Brazilian Perspective Scialom, Melina Award date: 2015 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 Rudolf Laban in the 21st Century: A Brazilian Perspective By Melina Scialom BA, MRes Thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2015 Abstract This thesis is a practitioner’s perspective on the field of movement studies initiated by the European artist-researcher Rudolf Laban (1879-1958) and its particular context in Brazil. Not only does it examine the field of knowledge that Laban proposed alongside his collaborators, but it considers the voices of Laban practitioners in Brazil as evidence of the contemporary practices developed in the field. As a modernist artist and researcher Rudolf Laban initiated a heritage of movement studies focussed on investigating the artistic expression of human beings, which still reverberates in the work of artists and scholars around the world.
    [Show full text]
  • Translation Studies As a Transforming Model for the Humanities
    TRANSLATION STUDIES AS A TRANSFORMING MODEL FOR THE HUMANITIES Lynn Hoggard Dennis M. Kratz Midwestern State University (U.S.A.) The University of Texas at Dallas (U.S.A.) [email protected] [email protected] Rainer Schulte The University of Texas at Dallas (U.S.A.) [email protected] Abstract: The digital revolution that began in the twentieth century and continues today has profound and surprising implications for the role of the humanities in higher education. Three prominent characteristics of the twenty-first century — ubiquitous technology, global interaction, and relentless change — require a new approach to the education that fosters technological expertise, communication across boundaries of language and culture, and creative response to new challenges and opportunities. This situation creates new opportunities for a revitalized role of the humanities in education that combines critical with creative thought and emphasizes communication in a world connected by interactive technology. Literary translation can be a key contributor to the development and implementation of a humanities curriculum for the modern world designed to educate technologically sophisticated, innovative “citizens of the world.” This paper has two sections. The first section sets a conceptual framework; the second suggests ways to apply translation to achieve this 1 goal: both employing translation in a traditional manner and attempting to expand its meaning and implications. Key Words: translation; interpretation; creativity; humanities; education 1. PART ONE: EDUCATION IN THE DIGITAL WORLD The digital revolution that began in the twentieth century and continues today has profound and perhaps surprising implications for the role of the humanities in higher education. Despite superficial differences, from a wide range of sources — among them educators, economists, psychologists, and futurists — there has emerged a consensus of three essential characteristics of our brave new world.
    [Show full text]
  • Andrzej Kopacki Laudatory Speech for Martin Pollack Good Evening
    Andrzej Kopacki Laudatory Speech for Martin Pollack Good evening, Martin. Good evening, ladies and gentlemen. Just what does it mean to be a translator? That’s a tricky question and one that has become suspiciously relevant these days. I say “suspiciously relevant” because passing fads and short-lived cultural trends are dodgy by definition. Literary translation has become fashionable. It’s a staple focus of conferences and seminars, symposiums and workshops nowadays. The good old translator, once the wallflower in the ballroom of literature, has suddenly been asked to dance. But the music is not very pleasant because the orchestra seems to be playing—literally—out of tune. It does not seem to know the score, but only abstract concepts hatched in the theory of translation, cultural studies and linguistics. These abstract concepts are apparently needed for the “transcultural” world to reflect on its own globality. Passing fads should not be overestimated; between one ballroom and another, the translator puts on the overalls of a pipefitter of literary works. Things are supposed to be fast and neat. The payment will be made according to the rate set by the works dealer. The name of the man or woman in the overalls, with a black case full of nuts and bolts, seems unimportant. There is no space for it on the website. The face? Who remembers the face of a pipefitter? Yet translators have always been with us. Let’s face it: the vast majority of literary works would have never been known to us had it not been for translators.
    [Show full text]
  • Eastern Europe, Literature, Postimperial Difference
    Form and Instability 8flashpoints The FlashPoints series is devoted to books that consider literature beyond strictly national and disciplinary frameworks, and that are distinguished both by their historical grounding and by their theoretical and conceptual strength. Our books engage theory without losing touch with history and work historically without falling into uncritical positivism. FlashPoints aims for a broad audience within the humanities and the social sciences concerned with moments of cultural emergence and transformation. In a Benjaminian mode, FlashPoints is interested in how literature contributes to forming new constellations of culture and history and in how such formations function critically and politically in the present. Series titles are available online at http://escholarship.org/uc/flashpoints. series editors: Ali Behdad (Comparative Literature and English, UCLA), Founding Editor; Judith Butler (Rhetoric and Comparative Literature, UC Berkeley), Founding Editor; Michelle Clayton (Hispanic Studies and Comparative Literature, Brown University); Edward Dimendberg (Film and Media Studies, Visual Studies, and European Languages and Studies, UC Irvine), Coordinator; Catherine Gallagher (English, UC Berkeley), Founding Editor; Nouri Gana (Comparative Literature and Near Eastern Languages and Cultures, UCLA); Susan Gillman (Literature, UC Santa Cruz); Jody Greene (Literature, UC Santa Cruz); Richard Terdiman (Literature, UC Santa Cruz) A complete list of titles is on page 222. Form and Instability Eastern Europe, Literature, Postimperial Difference Anita Starosta northwestern university press ❘ evanston, illinois THIS BOOK IS MADE POSSIBLE BY A COLLABORATIVE GRANT FROM THE ANDREW W. MELLON FOUNDATION. Northwestern University Press www.nupress.northwestern.edu Copyright © 2016 by Northwestern University Press. Published 2016. All rights reserved. Digital Printing isbn 978-0-8101-3202-3 paper isbn 978-0-8101-3259-7 cloth Library of Congress Cataloging-in-Publication data are available from the Library of Congress.
    [Show full text]
  • The Other Review
    Ryszard Kapu ści ński, The Other (Verso, 2008). Ryszard Kapu ści ński was a Polish correspondent. Victoria Brittain writes in his 2007 obituary for The Guardian : ‘journalism was a mission, not a career, and he spent much of his life, happily, in uncomfortable and obscure places, many of them in Africa, trying to convey their essence to a continent far away.’ 1 She continues that wartime atrocities deeply affected the author’s psyche and this early experiences taught him about helplessness and how language could fail the resonance of events. Nonetheless he became a prize-winning author with books translated into forty languages. Towards the end of his life Kapu ści ński made lecture tours in Mexico with South American author Gabriel García Márquez who gave him the epithet: ‘The true master of journalism’2 But his literary style is a matter of some controversy. This edition of The Other was translated in 2008 by Antonia Lloyd Jones. The flyleaf touts the book as ‘a distillation of reflections from a lifetime of travel’ and suggests that it ‘takes a fresh look at the Western idea of the Other.’ A slim volume at 20,000 words, the book contains four lectures, eleven footnotes and a useful index of terms and names. Kapu ści ński’s work traces how the West has understood the non- European from classical times to the present day but goes further to suggest that even in the twenty-first century Europeans treat those from the Global South as aliens and inferior partners in sharing responsibility for the fate of mankind.
    [Show full text]
  • Model Student Essays
    Model Student Essays A Collection of Essays Written Primarily in Introductory Level College Courses 9th Edition, Summer 2002 The Writing Center @ Franklin and Marshall College Lancaster, PA 17604-3003 717.291.3866 P r e f a c e We learn about writing by studying models. Sometimes nothing helps the novice writer so much as the chance to observe the technique of a more skilled one. But even the student who has been successful at writing in one mode may have trouble with another. One student may write exceptional literary analyses, but has not mastered anthropology papers; the student who excels at a laboratory report may struggle with a paper assignment in a TDF class. In all these situations, model essays can perform great instructional service. The “eureka!” moment—“So that’s a specific thesis!” or “That’s how you use and explain supporting evidence!”—is often all it takes to help students begin to raise the quality of their own work. Model Student Essays is intended for the entire Franklin and Marshall College community. Faculty may use it during an in-class workshop or an individual conference to illustrate a principle of effective writing. Writing Center tutors will find these essays helpful in coaching their tutees about the writing process. And, because faculty members have submitted these essays as examples of the best work they received during the past academic year, students can turn to this booklet to gain an understanding of the qualities of writing we value here at F&M. A new feature this year, we have included, wherever possible, a description of the assignment to which the student responded as well as a brief comment from the professor highlighting the exemplary qualities of the student’s writing.
    [Show full text]
  • Draining the English Channel': the European Revolution in Three Kingdoms & Three Keynotes (By Simon Stephens, David Lan & Edward Bond)
    ©Draining the English Channel©: The European Revolution in three kingdoms & three keynotes (by Simon Stephens, David Lan & Edward Bond) Article (Accepted Version) Fowler, Benjamin (2016) 'Draining the English Channel': The European Revolution in three kingdoms & three keynotes (by Simon Stephens, David Lan & Edward Bond). Contemporary Theatre Review, 26 (3). pp. 328-336. ISSN 1048-6801 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/61989/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content
    [Show full text]
  • Table of Contents English I-IV
    TABLE OF CONTENTS ENGLISH I–IV Literacy From a New Perspective It is important to understand that learning is different in the 21st century than it was in the 20th century. For many of us educated in the 20th century, our learning modalities are closer to Gutenberg than Zuckerberg! Learning changes as technologies change. We’re moving from what would have been a receptive learning ecology to an interactive and productive one. The 21st century is about producing knowledge. It’s a century where students need to develop unique and powerful voices plurally and consider the following questions: How do I speak to different audiences? How do I understand the rhetorical situation? How do I know what my audience needs to hear from me? How do I meet them where they are? There’s not just one generic academic voice; there are multiple voices. It’s also about learning to consider and engage diverse perspectives. —Dr. Ernest Morrell, myPerspectives Texas Author ERNEST MORRELL, Ph.D., Coyle Professor and the Literacy Education Director at the University of Notre Dame 2 Table of Contents myPerspectives Texas provides a rich survey of American, British, and world literature. It ensures that students read and understand a variety of complex texts across multiple genres such as poetry, myths, realistic fiction, historical fiction, speeches, dramas, literary criticism, letters, speeches, articles, short stories, and more. These varied texts allow students to encounter new perspectives, rethink ideas, and deepen their knowledge of contemporary, traditional, and classic literature. STUDENT EDITION THEMATIC UNITS English I. .6 English II . .11 English III.
    [Show full text]
  • Midwest Magic Midwest Magic
    Inside: David Tisherman on Excavation Design • Engineering • Construction Volume 9 Number 7 July 2007 Midwest $6.00 Magic A Missouri designer brings unique passion to the Heartland Fountains Afloat AA looklook atat aa buoyantbuoyant watershapingwatershaping specialtyspecialty Plus: A guide to stone types, colors and characteristics Circle 49 on Postage Free Card Circle 3 on Postage Free Card contents July features 32 Passion in the Heartland By Robert Bledsoe Introducing the exotic to a Midwest clientele 40 48 A Stone Primer Floating Fascination By Joe Nolan By Richard J. Van Seters An expert’s guide to types, Exploring a buoyant colors and characteristics watershaping specialty 4 WATERsHAPES ⅐ JULY 2007 Volume 9 • Number 7 • July 2007 columns 10 6 Structures By Eric Herman Setting the record straight 10 Aqua Culture By Brian Van Bower Avoiding the hazards of stereotyping clients 16 Natural Companions By Stephanie Rose A good, long run draws to a close 20 Detail #78 By David Tisherman Using common sense 16 in approaching excavation 66 Book Notes By Mike Farley Learning the ins and outs of marketing ourselves 20 departments 8 In This Issue 58 Advertiser Index 58 Of Interest Index 60 Of Interest On the cover: Photo courtesy Robert Bledsoe, Cripple Creek Rock Co./Cripple Creek Construction, Gladstone, Mo. WATERSHAPES (ISSN 1522-6581) is published monthly by McCloskey Communications, Inc. 6119 Lockhurst Dr., Woodland Hills, CA 91367. A controlled circulation publication, WaterShapes is distributed without charge to qualified subscribers. Non-qualified subscription rates in the U.S., $30 per year; Canada and Mexico $48 per year; all other coun- tries $64 per year, payable in U.S.
    [Show full text]