Master of Liberal Arts (10/01/21)
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PSYCH: Students Seek Further Knowledge
April 30, 2008 The Gannon Knight • Jumps 13 PSYCH: Students seek further knowledge Continued from page 1 "I knew that was the approach planned to attend the lecmre because he wanted to expand his knowledge of Adler and his theories. born psychologist. Adler, the founder of individual psy¬ that I wanted to use when working "The job I want to do is help others, and I eventuaUy chology, studied personaUties and beUeved that the abiU¬ with kids and families, but even want to go into pubUc health which should help me ty to work with others for a common good was attributed restore social equaUty," he said. to sound mental health. more, I wanted to formalize my life The lecture is free; McCurdy invited everyone inter¬ McCurdy said he has been fascinated by Adler and his around it." ested to attend and get exposure to different Adlerian principles for quite some time. topics. "Once I took a course on Adlerian supervision," he . - Dr. Kenneth McCurdy "It is a reaUy good opportunity to give our students a said. "I knew that was the approach that I wanted to use associate professor variety of venues to get information about Adler and when working with kids and famiUes, but even more, I community counseling program mental health," he said. wanted to formaUze my Ufe around it." McCurdy said he wiU address the stages and processes gy interesting to study. of counseling from an Adlerian prospective. "His theories are pretty versatile and hoUstic, aU while TED HOAG , ijoajf)[email protected] MeUssa Schmidt, a graduate assistant in the communi¬ piecing them together," she said. -
Psychology (PSYCH) 1
Psychology (PSYCH) 1 PSYCH N1 General Psychology 3 Units Psychology (PSYCH) Terms offered: Summer 2020 Second 6 Week Session, Summer 2019 Second 6 Week Session, Summer 2018 Second 6 Week Session Courses Introduction to the principal areas, problems, and concepts of psychology. This course is required for the major; students not Expand all course descriptions [+]Collapse all course descriptions [-] considering a psychology major are directed to 2. PSYCH 1 General Psychology 3 Units General Psychology: Read More [+] Terms offered: Fall 2021, Spring 2021, Fall 2020 Rules & Requirements Introduction to the principal areas, problems, and concepts of Prerequisites: Students who have passed Psych 1, Psych W1, or Psych psychology. This course is required for the major; students not 2 may not enroll in Psych N1 considering a psychology major are directed to 2. General Psychology: Read More [+] Credit Restrictions: Student receives a failing grade in PSYCH N1 Rules & Requirements and is eligible to take PSYCH 1 or PSYCH W1 in order to remove the deficient grade in lieu of repeating PSYCH N1. Students will not receive Prerequisites: Students who have passed Psych N1, Psych W1, or credit for Psych 1, Psych W1, or Psych N1 after completing Psych 2. Psych 2 may not enroll in Psych 1 Repeat rules: Course may be repeated for credit under special Credit Restrictions: Students will receive no credit for PSYCH 1 after circumstances: When students receive a failing grade, they MAY repeat completing PSYCH 2, PSYCH W1, or PSYCH N1. A deficient grade in this or a course equivalent (Psych 1 or W1). PSYCH 1 may be removed by taking PSYCH W1, or PSYCH N1. -
Modernist Permabulations Through Time and Space
Journal of the British Academy, 4, 197–219. DOI 10.5871/jba/004.197 Posted 18 October 2016. © The British Academy 2016 Modernist perambulations through time and space: From Enlightened walking to crawling, stalking, modelling and street-walking Lecture in Modern Languages read 19 May 2016 ANNE FUCHS Fellow of the Academy Abstract: Analysing diverse modes of walking across a wide range of texts from the Enlightenment period and beyond, this article explores how the practice of walking was discovered by philosophers, educators and writers as a rich discursive trope that stood for competing notions of the morally good life. The discussion proceeds to then investigate how psychological, philosophical and moral interpretations of bad prac- tices of walking in particular resurface in texts by Franz Kafka, Thomas Mann and the interwar writer Irmgard Keun. It is argued that literary modernism transformed walking from an Enlightenment trope signifying progress into the embodiment of moral and epistemological ambivalence. In this process, walking becomes an expression of the disconcerting experience of modernity. The paper concludes with a discussion of walking as a gendered performance: while the male walkers in the modernist texts under discussion suffer from a bad gait that leads to ruination, the new figure of the flâneuse manages to engage in pleasurable walking by abandoning the Enlightenment legacy of the good gait. Keywords: modes of walking, discursive trope, Enlightenment discourse, modernism, modernity, moral and epistemological ambivalence, gender, flâneuse. Walking on one’s two legs is an essential but ordinary skill that, unlike cycling, skate-boarding, roller-skating or ballroom dancing, does not require special proficiency, aptitude or thought—unless, of course, we are physically impaired. -
Psychology (PSYCH) 1
Psychology (PSYCH) 1 PSYCH 214 Introduction to Conditioning and Learning PSYCHOLOGY (PSYCH) 3 cr. Undergraduate. Introduction to principles and procedures of conditioning and learning. PSYCH 101 Introduction to Psychology Prerequisites: Psych 101(P). 3 cr. Undergraduate. General Education Requirements: SS The scientific study of behavior. Last Taught: Fall 2019, Fall 2018, Fall 2017, Fall 2016. Prerequisites: none. Current Offerings: https://catalog.uwm.edu/course-search/ General Education Requirements: SS Last Taught: Summer 2021, Spring 2021, UWinteriM 2021, Fall 2020. PSYCH 230 Social Psychology: Psychological Perspectives Current Offerings: https://catalog.uwm.edu/course-search/ 3 cr. Undergraduate. Areas of social psychology such as aggression, attitudes, interpersonal PSYCH 193 First-Year Seminar: attraction, and group processes examined from a psychological 3 cr. Undergraduate. perspective. The specific topics are announced in the Schedule of Classes each time Prerequisites: Psych 101(P). the class is offered. General Education Requirements: SS Prerequisites: none. Last Taught: Spring 2021, Fall 2020, Spring 2020, Fall 2019. Course Rules: Open only to freshmen. Students may earn cr in just one Current Offerings: https://catalog.uwm.edu/course-search/ L&S First-Year Sem (course numbers 192, 193, 194). General Education Requirements: SS PSYCH 254 Physiological Psychology Last Taught: Fall 2019, Fall 2018, Fall 2017, Fall 2016. 3 cr. Undergraduate. Current Offerings: https://catalog.uwm.edu/course-search/ The physiological bases of behavior. Prerequisites: Psych 101(P). PSYCH 199 Independent Study General Education Requirements: NS 1-3 cr. Undergraduate. Last Taught: Summer 2021, Spring 2021, Fall 2020, Summer 2020. For further information, consult dept chair. Current Offerings: https://catalog.uwm.edu/course-search/ Prerequisites: 2.0 GPA; consent of instructor, department chair, and Assistant Dean for Student Academic Services. -
Introduction
Guston, Philip Guston 9/8/10 6:04 PM Page 1 INTRODUCTION DORE ASHTON “Create, artist! Don’t talk!” the aging Goethe counseled his contemporaries in 1815. The painter Degas seconded the old sage when he told the young poet Paul Valéry that when the muses finished their day’s work they didn’t talk, they danced. But then, as Valéry vividly recalled, Degas went on to talk of his own art for hours on end. Painters have always talked, and some, such as Delacroix, Mondrian, Kandinsky, Malevich, and Motherwell, also wrote. Certain painters, Goya, for example, also deftly used language to augment their imagery. Like Degas, who liked to talk with poets and even engaged the inscrutable Mallarmé, Guston liked talking with poets, and they with him. Among his most attentive listeners was his friend the poet Clark Coolidge, whose ear was well attuned to Guston’s sometimes arcane utterances and who has selected some of the painter’s most eloquent sessions of writing and talking, resulting in a mosaic of a life - time of thought. I was also one of Guston’s interlocutors for almost thirty years. I recognize with pleasure Coolidge’s unfurling of Guston’s cycles of talk and non-talk; his amusing feints and dodges when confronted with obtuse questioners, his wondrous bursts of language when he felt inspired, his sometimes playful contrariness, his satisfaction in being a provocateur, and his consistent preoccupation with serious aesthetic ques - tions through out his working life as a painter. Above all, I recognize Guston’s funda - mental rebelliousness, which manifested itself not only in his artistic preferences but in his politics, his choice of artistic battlefields, and his intimate studio life. -
Tv Pg 6 3-2.Indd
6 The Goodland Star-News / Tuesday, March 2, 2009 All Mountain Time, for Kansas Central TIme Stations subtract an hour TV Channel Guide Tuesday Evening March 2, 2010 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 28 ESPN 57 Cartoon Net 21 TV Land 41 Hallmark ABC Lost Lost 20/20 Local Nightline Jimmy Kimmel Live S&T Eagle CBS NCIS NCIS: Los Angeles The Good Wife Local Late Show Letterman Late 29 ESPN 2 58 ABC Fam 22 ESPN 45 NFL NBC The Biggest Loser Parenthood Local Tonight Show w/Leno Late 2 PBS KOOD 2 PBS KOOD 23 ESPN 2 47 Food FOX American Idol Local 30 ESPN Clas 59 TV Land Cable Channels 3 KWGN WB 31 Golf 60 Hallmark 3 NBC-KUSA 24 ESPN Nws 49 E! A&E Criminal Minds CSI: Miami CSI: Miami Criminal Minds Local 5 KSCW WB 4 ABC-KLBY AMC To-Mockingbird To-Mockingbird Local 32 Speed 61 TCM 25 TBS 51 Travel ANIM 6 Weather Wild Recon Madman of the Sea Wild Recon Untamed and Uncut Madman Local 6 ABC-KLBY 33 Versus 62 AMC 26 Animal 54 MTV BET National Security Vick Tiny-Toya The Mo'Nique Show Wendy Williams Show Security Local 7 CBS-KBSL BRAVO Mill. Matchmaker Mill. Matchmaker Mill. Matchmaker Mill. Matchmaker Matchmaker 7 KSAS FOX 34 Sportsman 63 Lifetime 27 VH1 55 Discovery CMT Local Local Smarter Smarter Extreme-Home O Brother, Where Art 8 NBC-KSNK 8 NBC-KSNK 28 TNT 56 Fox Nws CNN 35 NFL 64 Oxygen Larry King Live Anderson Cooper 360 Larry King Live Anderson Local 9 Eagle COMEDY S. -
Kafka and the Postmodern Divide: Hebrew and German in Aharon Appelfeld’S the Age of Wonders (Tor Ha-Pela’Ot)
THE GERMANIC REVlEW Kafka and the Postmodern Divide: Hebrew and German in Aharon Appelfeld’s The Age of Wonders (Tor Ha-pela’ot) DAVID SUCHOFF uch recent cultural criticism has argued that postmodern culture can be di- M agnosed as an unworked-through period of mourning, unable to come to terms with the Holocaust and the definitive break with modernist categories that it represents.’ Aharon Appelfeld’s Hebrew novella The Age of Wonders (1978) portrays the story of an assimilated Jewish writer and his family in Austria be- fore the Holocaust, and the story of his son Bruno, who returns to Austria from Jerusalem after the war in search of his past. The text’s very structure seems to affirm the traditional categories of the modedpostmodern divide. Bruno’s father seems to represent the formalism of modernist fiction and its paradigmatic eth- nic self-denial. As the Holocaust draws near in the first half of the novella, Jew- ish history is truly the nightmare from which the writer, as the “father” of Bruno’s apparently rootless, postmodern fate, unsuccessfully tries to awaken. “Father” (his only consistent name in the novella) constantly seeks to become an “Austrian writer,” with German as his “only language” and “mother tongue,” while critics constantly racialize him as a Jew and compare his writing to Kafka’s “parasitism” and unhealthy Jewish style.2 “Father” seems to represent classical modernism, struggling to break with the mass and enter elite culture, only to con- front the question of Jewish culture in its own terms, and those of its enemies, everywhere he turns. -
Kafka's Anti-Wagnerian Philosophy Of
53 (2/2019), pp. 109–123 The Polish Journal DOI: 10.19205/53.19.6 of Aesthetics Ido Lewit* “He Couldn’t Tell the Difference between The Merry Widow and Tristan and Isolde”: Kafka’s Anti-Wagnerian Philosophy of Music Abstract This essay exposes an anti-Wagnerian philosophy of music in Franz Kafka’s “Researches of a Dog” and “The Silence of the Sirens.” Themes of music, sound, and silence are over- whelmingly powerful in these stories and cannot be divorced from corporeal and visual aspects. These aspects are articulated in the selected texts in a manner that stands in stark opposition to Richard Wagner’s philosophy of music as presented in the composer’s sem- inal 1870 “Beethoven” essay. Keywords Richard Wagner, Franz Kafka, Philosophy of Music, Transcendence, Acousmatic Sound, Silence Max Brod, Franz Kafka’s close friend and literary executor, recalls in his bi- ography of the author that Kafka once said that “he couldn’t tell the differ- ence between The Merry Widow and Tristan and Isolde” (1995, 115). Brod evokes this memory in order to exemplify Kafka’s supposed lack of musi- cality. Indeed, for a German-speaking intellectual such as Kafka, not being able to differentiate Franz Lehár’s light operetta from Richard Wagner’s solemn, monumental music-drama would not simply be an example of unmusicality, but a symptom of cultural autism. While Brod’s recollection is sssssssssssss * Yale University Department of Germanic Languages and Literatures and the Program in Film and Media Studies Email: [email protected] 110 I d o L e w i t __________________________________________________________________________________________________ the only documented reference by Kafka to Wagner or his works,1 it does not necessarily follow that Kafka was unaware of Wagner’s views of music and its effects. -
Anu Asnaani, Ph.D
Date: March, 2021 CURRICULUM VITAE Anu Asnaani, Ph.D. The University of Utah Department of Psychology 380 S. 1530 E BEH S 802, Salt Lake City, UT 84112 [email protected] (801) 585 3644 Education: 2013 Ph.D. in Clinical Psychology, Boston University Dissertation title: “The effects of approach-avoidance modification on social anxiety disorder.” Mentor: Dr. Stefan Hofmann 2012 Pre-doctoral Resident in Clinical Psychology, Brown Alpert Medical School 2008 M.A. in Clinical Psychology, Boston University Masters’ Thesis title: “A cross-ethnic comparison of lifetime prevalence rates of anxiety disorders.” Mentor: Dr. Stefan Hofmann 2007 B.Sc. in Psychology (with Honors), Brown University Honors’ Thesis title: “Borderline personality disorder: A two-part study on heterogeneity within the disorder.” Mentor: Dr. Mark Zimmerman Faculty Appointments: 2019- Assistant Professor, Department of Psychology, University of Utah, Salt Lake City, UT 2014-2018 Assistant Professor in Clinical Psychology, Department of Psychiatry, University of Pennsylvania Perelman School of Medicine, Philadelphia, PA 2013-2014 Instructor, Department of Psychiatry, University of Pennsylvania Perelman School of Medicine, Philadelphia, PA Hospital and Administrative Appointments: 2017-2018 Associate Director, Center for the Treatment and Study of Anxiety (CTSA), University of Pennsylvania Perelman School of Medicine, Philadelphia, PA 2015-2018 Hiring Officer for Faculty Appointments and Post-Doctoral Positions, CTSA 2015-2018 Foreign Visitors Liaison, CTSA 2014-2015 -
Franz Kafka's Transformations
Franz Kafka’s Transformations Andrew Barker ALONE amongst the contributions to the volume, this essay does not address a Scandinavian topic. The theme of transformation in Franz Kafka’s work and life does, however, allow us to recall that Peter Graves is himself a notable example of a changeling, having begun his career at Aberdeen University as a student of German under the venerable Professor Wilhelm (Willy) Witte. What is presented here may thus serve as a reminder of a world Peter inhabited long ago, before he morphed into the Scandinavian polymath we know and honour today. The impetus for the present contribution came from reading James Hawes’ exhilarating study Excavating Kafka (2008).1 This work was promptly written off by Klaus Wagenbach, the doyen of Kafka studies in Germany, who is quoted as saying: ‘Irgendein Dämel kommt daher, weiß nix und schreibt über Kafka’ (Jungen 2008).2 In defence of Wagenbach’s po-faced dismissal of a much younger, non-German scholar’s work, one might plead that his grasp of English was insufficient for him to grasp the book’s satirical and polemical intentions. In fact, Excavating Kafka is the work of a scholar who knows a great deal about Kafka, and writes about him with panache and insight. I can match Hawes neither in my knowledge of Kafka nor the secondary literature, but I share with him a mounting frustration with the commonly-peddled myths about Kafka’s life and work, and it is some of these which I shall address in this short paper. Looking at the work first, I shall concentrate on what is probably Kafka’s most iconic story, Die Verwandlung (1912; ‘Metamorphosis’), the English translation of whose title I find particularly problematic. -
Addition to Summer Letter
May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays. -
PRODUCTION BIOGRAPHIES COURTNEY KEMP AGBOH (Creator, Showrunner, Executive Producer)
PRODUCTION BIOGRAPHIES COURTNEY KEMP AGBOH (Creator, Showrunner, Executive Producer) Courtney Kemp Agboh started her career in the magazine world, publishing articles in GQ, Vibe, and Marie Claire. She then left New York to pursue television writing, starting out in comedy on “The Bernie Mac Show” (Fox), and transitioning into one-hour drama, with stints on “Eli Stone” (ABC) and “The Good Wife” (CBS), among others. She is the creator and show runner of “Power,” which in its first season doubled viewership from its premiere episode to its finale and generated the largest concentration of African American viewership of any scripted premium series since 2006. Kemp Agboh holds a B.A. from Brown University in English Literature and received her M.A. in English literature from Columbia University. She lives in Los Angeles. DAVID KNOLLER (Executive Producer, Director Episodes 203, 205) Working first as an actor in theater, television and film, David Knoller segued into live television producing, while still directing theater and teaching acting in the Los Angeles area. He produced Specials for CBS and HBO, and was soon asked to join Home Box Office as an executive. While at HBO, David produced the concert feature film Martin Lawrence: You So Crazy and the award winning mini-series “America’s Dream” with Danny Glover and Wesley Snipes. David also oversaw the productions of HBO’s “Comic Relief,” “One Night Stand,” “Women of the Night,” “Dream On” and “Larry Sanders,” along with pilots and series for its upstart HBO Independent Productions, which included FOX’s “Roc,” “Down The Shore” and “Martin”.